Upload new images. The image library for this site will open in a new window.
Upload new documents. The document library for this site will open in a new window.
Show web part zones on the page. Web parts can be added to display dynamic content such as calendars or photo galleries.
Choose between different arrangements of page sections. Page layouts can be changed even after content has been added.
Open the Navigation Management window, which can be used to view the full current branch of the menu tree, and edit it.
Move this whole section down, swapping places with the section below it.
Check for and fix problems in the body text. Text pasted in from other sources may contain malformed HTML which the code cleaner will remove.
Accordion feature turned off, click to turn on.
Accordion featurd turned on, click to turn off.
Change the way the image is cropped for this page layout.
Cycle through size options for this image or video.
Align the media panel to the right/left in this section.
Open the image pane in this body section. Click in the image pane to select an image from the image library.
Open the video pane in this body section. Click in the video pane to embed a video. Click ? for step-by-step instructions.
Remove the image from the media panel. This does not delete the image from the library.
Remove the video from the media panel.
Last week there was an Egg Tempera Conference in Munich ("Tempera Painting Betwen 1800 and 1950"). Did any of you attend and, if so, can you report on any interesting findings or revelations?
Move this whole section up, swapping places with the section above it.
Wow....well there were loads of excellent talks. Know that there will be a forthcoming publication released by Archetype Publishing probably in the next year or two...I can really only comment on the things that I learned:a) Apparently the use of "flax seed mucilage" was a bit more common during the turn of the century than we previously thought. We have identified this material in Henry O. Tanner's "tempera" paints and a group of Italian researchers have also identified this material being used by several painters working in Venice.b) There are and continue to be massive issues regarding terminology with the word "tempera." This is due to the liberal use of the word (as it actually means "to mix") but also the term can change its meaning from one generation to the next depending on all sorts of things. Sorry to bring up Tanner again but as an example his "tempera" recipe basically contains everything EXCEPT egg.c) There are all sorts of theories now about how egg-oil emulsions (oil in water or water in oil) form and stabilize. More research needs to be done here.d) Basically the most optimal methods of analysis combine some sort of imaging technique that one can use on cross-sectional samples coupled with some sort of chromatography method. Without a doubt, modern tempera paints pose some of the most CHALLENGING analytical obstacles for the science community.e) There are many interesting and fruitful collaborations happening in Europe between paint manufacturers/archival paint collections and conservation scientists: Talens and RCE in the Netherlands, the Ca'Foscari University of Venice and Fortuny's archives, and the University of Pisa and Maimeri. But honestly I would simply recommend purchasing the book....as well as "Tempera, c. 1900."
Kristin is being a bit modest about our involvement here.
She gave a keynote presentation at the conference and I gave both a paper and a
I figured you two were involved :-) Thanks for the update, wish I could have been there, and I look forward to the book. Koo