Search Results (462)

The grey partridge (Perdix perdix Linnaeus, 1758), is a polytypic species with seven recognized subspecies, including P. p. italica (Hartert, 1917), which is endemic to Italy. Until World War II, the species was widespread across Europe but severely declined due to anthropogenic causes, jeopardizing the Italian subspecies gene pool. Genetic characterization and haplotype identification were performed by analyzing the 5′-end of the mitochondrial control region (CR). A total of 15 haplotypes were detected, seven of which were present in the population before 1915. Among them, three haplotypes were never detected again in the individuals collected after 1915. Interestingly, eight of the 15 haplotypes detected in Italian museum samples belonged exclusively to individuals collected after 1915. The obtained data highlight a high presence of specimens originating from other European populations and, despite all the conservation efforts, suggest an uncertain situation of the subspecies in Italy. This research was strongly backed up by extensive bibliographic research on historical documents, allowing the identification of hundreds of restocking events all over Italy. This is an integral part of this research and has laid the foundations for identifying and circumscribing historical periods in which introductions from the rest of Europe had different pressures, aiming to define a baseline. Full article

The Natural History Museum of the University of Pisa hosts the most important osteological collection of extant cetaceans in Italy as well as one of the most relevant all over Europe. Furthermore, it also preserves a significant palaeontological collection that includes several holotypes and otherwise unique specimens of Archaeoceti (archaic cetaceans), Mysticeti (baleen whales) and Odontoceti (toothed whales). Here, we provide a historical overview of these collections and the corresponding displays, with special attention paid to the origin, development and design of the ‘Archaeocete Hall’ and ‘Cetacean Gallery’. These comprise what may be the largest exhibition worldwide among those dedicated exclusively to cetaceans—one that includes 28 complete skeletons and one skull belonging to 27 extant species as well as fossils of nine extinct species. Our review also reveals that the museum exhibitions feature the oldest known specimen of Mesoplodon bowdoini and the type specimen of Ziphius savi, the latter being a validly described species that is currently regarded as a junior synonym of Ziphius cavirostris. Also significant is the display of several holotype specimens of fossil species such as the protocetid archaeocete Aegyptocetus tarfa, the balaenid baleen whales Balaena montalionis and Balaenula astensis, and the monodontid Casatia thermophila. The Archaeocete Hall and Cetacean Gallery are highly appreciated by visitors as well as perused by the museum’s educational team. The online archiving of 3D models of many of the MSNUP specimens on the open-access digital repository Sketchfab and their subsequent dissemination through the Wikimedia platforms has led to the creation of a major osteological resource—one that is broadly accessible to internet users worldwide. Full article

The origin of Ko-Kutani porcelain and its decoration style have been debated for over a century. Despite the well-established theory that identified the wares as the result of porcelain production in Kaga (present-day Ishikawa Prefecture) in the 17th century, there still is no general agreement as to where they were first incepted and fired. In recent years, curatorial traditional criteria have formed the basis upon which a new theory has been gaining popularity in Japan, identifying Arita (present-day Saga Prefecture) as their actual place of birth. Such a new theory, however, has proven insufficient to cast new light on many of the unexplained facts that characterize the history of the wares. Furthermore, scientific evidence has been lacking, as no systematic analyses of the porcelains were carried out until the present work. In order to define univocally the dynamics behind this period of Japanese history, the most important and complete Ko-Kutani collection extant in Japan today (Ishikawa Prefectural Museum of Art) was analyzed by portable X-ray fluorescence (pXRF). The scientific investigation was also extended to the very scarce shards excavated at the Kaga kiln site and Nonomura Ninsei’s masterpieces. For the first time ever, the results herein presented clarify the missing points crucial to reaching a definitive conclusion. Full article

Contemporary art consumption is predominantly online, driven by algorithmic recommendation systems that dictate artwork visibility. Despite not being designed for curation, these algorithms’ machinic ways of seeing play a pivotal role in shaping visual culture, influencing artistic creation, visibility, and associated social and financial benefits. The Algorithmic Pedestal was a gallery, practice-based research project that reported gallerygoers’ perceptions of a human’s curation and curation achieved by Instagram’s algorithm. This paper presents a technical analysis of the same exhibit using computer vision code, offering insights into machines’ perception of visual art. The computer vision code assigned values on various metrics to each image, allowing statistical comparisons to identify differences between the collections of images selected by the human and the algorithmic system. The analysis reveals statistically significant differences between the exhibited images and the broader Metropolitan Museum of Art digital collection. However, the analysis found minimal distinctions between human-curated and Instagram-curated images. This study contributes insights into the perceived value of the curation process, shedding light on how audiences perceive artworks differently from machines using computer vision. Full article

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. Full article

The subfamily Picobiinae (Acariformes: Syringophilidae) comprises obligate and permanent parasites of birds found exclusively in the quills of contour feathers. We studied associations of picobiine mites with birds of the family Sturnidae (Aves: Passeriformes) across the Palaearctic, Afrotropical, Oriental, and Oceanian zoogeographical regions. Among the 414 examined bird individuals belonging to 44 species (35.2% of all sturnids), 103 individuals from 24 species (54.5% of examined species) were parasitised by quill mites. The diversity of mites was represented by five species, including one newly described, Picobia malayi Patan and Skoracki sp. n. Statistical analysis of the Picobiinae–Sturnidae bipartite network demonstrated a low connectance value (Con = 0.20) and high modularity, with significant differences in the H₂′ specialisation index compared to null model values. The network structure, characterised by four distinct modules, highlighted the specificity and limited host range of the Picobiinae–Sturnidae associations. The distribution of Picobia species among starlings was congruent with the phylogeny of their hosts, with different mites parasitising specific clades of starlings. Additionally, the findings suggest that the social and breeding behaviours of starlings influence quite a high prevalence. Finally, our studies support the validity of museum collections to study these parasitic interactions. Full article

Blue is one of the most challenging colors for humans to produce and one of the most important colors in art history. Literature from the Tikuna/Magüta culture, from the Amazon Forest, suggests the use of chemical reactions between the juice of the naīcü fruit and iron to produce a blue colorant still unknown among technical art historians and conservation scientists. Additionally, the coloring materials from the Tikuna/Magüta people were never chemically investigated. Therefore, this manuscript presents the investigation of blue colorants from twenty-two Tikuna/Magüta masks and one stamp used to decorate similar items. Collections from four museums, from the USA and Brazil, were examined, and Raman spectra indicated the presence of Prussian blue, phthalocyanine blue, indigo, ultramarine, crystal violet, amorphous carbon, anatase, and barium sulfate (or lithopone). Although the unknown blue colorant was not detected in this campaign, the authors hypothesize the chemical composition and reactions involved in its production by considering the chemistry of naīcü and anthocyanins. The continuation of this work with community-based participatory research (CBPR) approaches is also discussed, justifying why reproduction was not considered in this work and supporting a more socially responsible and inclusive practice in technical art history and conservation science. Full article

The Ethnographic Museum in Dubrovnik holds an extensive textile collection which includes a number of dresses and costumes from Croatia and neighbouring countries. Until recently, the costumes were displayed on mannequins created by the academic artist Zvonimir Lončarić (1927–2004). His sculptures are expressive forms made of terracotta, fibreglass, wood, metal, acrylic paint and other materials chosen for their visual appeal. Due to their importance, the museum considered the mannequins to be protected works of art in the permanent exhibition; however, they had a harmful effect on the costumes displayed. In 2018, after completing a series of conservation–restoration projects within the collection, it was decided to replace the existing mounts with new, museum-quality mannequins. Two project-based learning workshops were organised, led by a team of textile conservators from the University of Dubrovnik and the Croatian Conservation Institute, in collaboration with the curator of the Ethnographic Museum. This case study highlights the challenges of exhibiting ethnographic costumes by discussing past presentation methods and how new solutions have been implemented in line with the modern conservation–restoration profession. The new solutions take into consideration ethics, decision-making processes, and an understanding of contemporary materials and methodology. Full article

This study investigates the materials and techniques used in three Mexican platters, or bateas, from the Victoria and Albert Museum collection. Our analytical approach included the use of non-invasive techniques, such as infrared reflectography, scanning X-ray fluorescence, and digital microscopy, which informed limited but targeted sampling. Traditional pigments were identified, including indigo, carbon black, red lead, lead white, and orpiment, and materials such as dolomite, gypsum, ochres, and clay were also found. A red organic dye was seen but could not be identified. The stratigraphy of the objects was also investigated. The condition of the objects was also evaluated, and the results will be used to inform future conservation decisions. The findings add to the published knowledge of the materials and techniques of early colonial Mexican objects and can be of use in future investigations, facilitating exchanges and collaborations focused on this type of objects, which are rare in UK collections. Full article

With the “Talents Internship program” established by the Austrian Research Promotion Agency (FFG, Österreichische Forschungsförderungsgesellschaft), 14- to 17-year-old students from various school types visited the Natural History Museum and the Kuratorium Pfahlbauten in summer 2022 to gain practical experience in research. The internship focused on a sustainability approach, discussing recycling methods, the sustainable use of resources and the circular economy in prehistory. The UNESCO World Heritage “Prehistoric Pile Dwellings around the Alps” was used as a research area for the project. The project also aimed to make the content developed by the students available to the public as a digital media tool. The pupils brought an illustration of a prehistoric lake shore settlement to life and created an interactive image available at the website of Kuratorium Pfahlbauten. Various scenes of the illustration have been augmented with animations created by the students of HTL Spengergasse in Vienna. Students from federal secondary schools from Vienna (Stubenbastei) and Upper Austria (Traun) researched the information about the objects and wrote texts that, as a description of the animated videos, introduce the users to the prehistoric artifact and explain the recycling process behind it. The students worked independently using the scientific literature, 140-year-old inventory books and 6000-year-old objects from the collection of the Natural History Museum Vienna. The activities and the supporting program within the internship were recorded by the students in blog posts, available at the Pfahlbauten-Blog. The co-creative approach of the FFG Talent Internship made it possible to introduce a group of school students to the process of scientific work and the communication of results. It was honored with the Creative App Award at CHNT 2023. Full article

This paper summarises the research carried out so far on barniz de Pasto objects from the Victoria and Albert Museum (V&A) and outlines future areas of development for our collection of Indigenous lacquer from Latin America. The V&A was the first UK public institution to identify objects decorated with barniz de Pasto within its collection. Two of these were acquired in 2015 and 2018; others had entered the collection between 1855 and 1902 but were recognised as barniz de Pasto only after 2018. The acquisition in 2015 of a cabinet marked the start of a research campaign to understand the materiality and context of all the museum’s barniz de Pasto objects. The analytical techniques used included X-radiography, polarised light microscopy and digital microscopy, Raman microscopy, X-ray fluorescence (point and scanning), chromatography (py-GC–MS and LC–DAD–MS), Fourier transform infrared spectroscopy, X-ray diffraction, and X-ray micro-computed tomography. Unexpected discoveries were made along the way, including the characterisation and documentation of mercury white (mercury(I) chloride, or calomel) used as a white pigment, a world first. Gel-based cleaning methods were used to remove a non-original, discoloured, natural varnish covering nearly the entire surface of one of the objects, and the recent overpaint on its lid, revealing original surfaces which had been repaired and drastically repainted in the second half of the twentieth century. Full article

The paper aims at documenting the material employed in 1942 for the fabrication of an exhaust valve for a Harley-Davidson WLA/WLC motorcycle and assesses the material features with modern steel standard specifications and treatment. Facing properties of the original historical parts of technical heritage objects according to modern standards is a rare discipline, as these objects are nowadays in collections of museums or private collectors and experimental instrumental analyses are strictly forbidden. In this case, a preserved accessible unused surplus replacement kit was studied. The microstructure was assessed by light optical and scanning electron microscopy, electron probe micro-analysis and by heat treatment–hardness correlation. It was found that the valve was made of Silchrome 1 steel in coherence with the X45CrSi9-3 steel modern material standard, but with a slightly higher content of phosphorus and sulfur. Microscopic observations and hardness profile testing suggested a tempered martensitic structure (sorbite) with very fine grains uniformly distributed in the valve and an even heat treatment. Heat treatment–hardness experimentation demonstrated that the original heat treatment cannot be achieved by the modern standard procedure. The tempering temperature was surprisingly deduced to be lower than the recommended one according to the modern standard, which contrasts with the service temperature indicated in the contemporary motorcycle mechanics handbook. Full article

The Croatian Natural History Museum (CNHM) houses rich fossil collections from the Neogene deposits of Northern Croatia, comprising numerous scallops (Bivalvia: Pectinidae). During the Middle Miocene (Badenian = Langhian and early Serravallian), this region was located at the southwestern margin of the Central Paratethys. The value of the CNHM’s historical collections has been presented through taxonomic revisions and biostratigraphic, paleoenvironmental and paleogeographic study. Methods included the cross-checking of specimens from museum boxes with all available published data, systematic revision of scallops, recording the abundance of each taxon, defining the preservation state of the specimens, measuring the morphometric elements and taking photographs of each specimen. After the conducted revision of 624 specimens, the number of registered taxa in the collections was reduced from 52 to 33, and their stratigraphic distribution has been updated. The species Lissochlamys excisa (Bronn, 1831) has been recorded for the first time at the southwestern part of the Central Paratethys. The southernmost Badenian record of Delectopecten vitreus (Gmelin, 1791) known so far has been described. Six types of pectinid habitats have been distinguished, based on the provided paleontological and lithological data, also estimating the scallops’ abundance in each of them. Bioerosion and encrustation traces on scallops’ shells represent an additional contribution to paleoecological studies. Full article

This article discusses applications of technology for sensory-disabled audiences in modern and contemporary art exhibitions. One case study of experimental artistic and curatorial research by The OtherAbilities art collective is discussed: a series of prototype tools for sensory translation from audible sound to vibration were developed to be embeddable in the architecture of spaces where art is presented. In the article, the case study is approached from a curatorial perspective. Based on bibliographical sources, the article starts with a brief historical reference to disability art activism and a presentation of contemporary accessibility solutions for sensory-disabled audiences in museums. The research for the case study was conducted during testing and feedback sessions on the prototypes using open-ended oral interviews, open-ended written comments, and ethnographic observation of visitors’ behavior during exhibitions. The testers were d/Deaf, hard of hearing and hearing. The results focus on the reception of the sensory translation of audible sound to vibration by test users of diverse hearing abilities and on the reception of the prototypes in the context of art and design exhibitions. The article closes with a reflection on how disability scholarship meets art curatorial theory in the example of the article’s case study. Full article

Diptera identification is fundamental in forensic entomology as well as in funerary archeoentomology, where the challenge is exacerbated by the presence of immature stages such as larvae and puparia. In these two developmental stages, specimens possess a very limited number of diagnostic features, and for puparia, there is also a lack of identification tools such as descriptions and identification keys. Morphological analysis, DNA-based techniques, and cuticular chemical analyses all show good potential for species identification; however, they also have some limitations. DNA-based identification is primarily hindered by the incompleteness of genetic databases and the presence of PCR inhibitors often co-extracted from the puparial cuticle. Chemical analysis of the cuticle is showing promising results, but this approach is also limited by the insufficient profile database and requires specific, expensive equipment, as well as trained personnel. Additionally, to ensure the repeatability of the analysis—a critical aspect in forensic investigations—and to preserve precious and unique specimens from museum collections, non-invasive protocols and techniques must be prioritized for species identification. Full article