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The Grande Rose of the Reims Cathedral: an eight-century perspective on the colour management of medieval stained glass

机译:兰斯大教堂的玫瑰玫瑰:中世纪彩色玻璃色彩管理的八世纪视角

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摘要

The Grande Rose of Reims Cathedral (France), a UNESCO Cultural Heritage Monument from the 13th century, underwent several restoration works during the 20th century. Its colours result from centuries of colour management from which little information remain. We used non-destructive and portable optical absorption spectroscopy to quantify glass colour and determine the colouring species on a large-scale study of this monumental window. We found six distinct colour groups, each containing both medieval and modern glasses, with colouring processes specific to each colour. This illustrates medieval glassmakers’ mastering of glass colouring and modern glassmakers’ management to reproduce medieval glasses colours. Full UV-visible-NIR energy range is necessary for determining the contribution of colouring elements as Fe2+ and Cu2+. Systematic thickness measurements reveal an average glass thickness of 3 mm and demonstrate the major control of chromophore concentration on glass colour. Yellow, red and purple colours arise from a single chromophore each, suggesting the use of well-defined glassmaking techniques leading to robust colour reproducibility. By contrast, blue and green glasses show different chromophore combinations depending on production time, which suggests more diversity in glassmaking techniques.
机译:兰斯大教堂的大玫瑰(法国),是13世纪的联合国教科文组织文化遗产纪念碑,在20世纪进行了几次修复工作。它的颜色源于几个世纪以来几乎没有任何信息的颜色管理。在此纪念性窗户的大规模研究中,我们使用了非破坏性和便携式光学吸收光谱法来量化玻璃颜色并确定色种。我们发现了六个不同的颜色组,每个组都包含中世纪和现代眼镜,每种颜色都有特定的着色过程。这说明了中世纪玻璃制造商对玻璃颜色的掌握以及现代玻璃制造商对复制中世纪玻璃颜色的管理。要确定着色元素Fe 2 + 和Cu 2 + 的贡献,必须具有完整的UV-NIR能量范围。系统厚度测量表明,平均玻璃厚度为3mm,并证明了发色团浓度对玻璃颜色的主要控制。黄色,红色和紫色分别来自一种发色团,这表明使用定义明确的玻璃制造技术可实现稳定的颜色再现性。相比之下,蓝色和绿色玻璃根据生产时间显示出不同的发色团组合,这表明玻璃制造技术具有更多多样性。

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