1. Área Científica:
Ciências da Conservação (Outras subáreas no Domínio das Ciências Exactas / Chemical Sciences)
2. Requisitos de admissão:
A bolsa destina-se a licenciados (pré-Bolonha) ou Mestres em Ciências da Conservação, Conservação ou formação afim, com os conhecimentos necessários para desenvolver as tarefas 4 a 6 (em anexo) e com perfil para integrar uma equipa interdisciplinar. Sendo um dos objectivos principais a caracterização molecular da cor em códices medievas, será dada preferência a candidatos possuindo conhecimentos em técnicas de microespectrocopia bem como experiência em técnicas de produção artística.
3. Plano de trabalhos:
O investigador irá participar nas tarefas/actividades 4 a 6 do projecto STEMMA:
Actividade 4: "Medieval colours in the making: lapis lazuli and brazilwood paint formulations in the 12th c. -early 14th c."
Actividade 5: "Colour chronology of brazilwood and mosaic gold paints in medieval manuscripts"
Actividade 6: "Medieval writing inks in the making: polyphenols meet chemometrics".
Em particular, nas tarefas 4 e 5 que se descrevem em Anexo
4. Legislação e regulamentação aplicável: Lei Nº. 40/2004, de 18 de Agosto, alterado e republicado pelo Decreto-lei Nº 202/2012 de 27 de Agosto (Estatuto do Bolseiro de Investigação Científica) e alterado pelo Decreto-Lei nº 233/2012 de 29 de Outubro, pela Lei nº12/2013 de 29 de Janeiro e pelo Decreto-Lei nº 89/2013, de 9 de Julho; Regulamento de Bolsas de Investigação da Fundação Para a Ciência e a Tecnologia, I.P. em vigor (https://www.fct.pt/apoios/bolsas/docs/RegulamentoBolsasFCT2018.pdf).
5. Local de trabalho: O trabalho será desenvolvido no Departamento de Conservação e Restauro da Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa, sob a orientação científica do Professora Doutora Maria João Melo.
6. Duração da(s) bolsa(s): A bolsa terá à duração de 9 meses, com início previsto em Fevereiro de 2019. O contrato de bolsa poderá ser eventualmente renovado dentro da vigência do projecto.
7. Valor do subsídio de manutenção mensal: Conforme tabela de valores das bolsas atribuídas directamente pela FCT, I.P. no País (https://www.fct.pt/apoios/bolsas/valores.phtml.pt), sendo o pagamento efectuado mensalmente por transferência bancária.
8. Métodos de selecção: Os métodos de selecção a utilizar serão os seguintes: Avaliação curricular e entrevista (opcional), de 1 a 20; caso haja entrevista esta terá um peso de 50% na classificação final.
9. Composição do Júri de Selecção:
Presidente: Maria João Melo
Vogais: António Jorge Parola; Maria da Graça Videira Lopes
Suplentes: João Carlos Lima; Isabel Pombo Cardoso
10. Forma de publicitação/notificação dos resultados: Os resultados finais da avaliação serão publicitados, através de lista ordenada por nota final obtida afixada em local visível e público FCT/UNL, sendo o candidato(a) aprovado(a) notificado através de email, ofício ou outro.
11. Prazo de candidatura e forma de apresentação das candidaturas: O concurso encontra-se aberto no período de 28 Janeiro a 8 de Fevereiro de 2019.
As candidaturas devem ser formalizadas, obrigatoriamente, através do envio de carta de candidatura acompanhada dos seguintes documentos: Curriculum Vitae, certificado de habilitações e outros documentos comprovativos considerados relevantes.
Caso se revele necessário, poderá ser solicitada a entrega de comprovativos, pessoalmente, durante o horário de expediente na morada a seguir indicada, ou remetidas por correio para Maria João Melo: Departamento de Conservação e Restauro, FCT NOVA Campus da Caparica, 2829-516 Caparica Portugal.
ANEXO AO PLANO DE TRABALHOS
Actividade 4 - Medieval colours in the making: lapis lazuli and brazilwood paint formulations in the 12th c. - early 14th c.
In this task the relevant aspects about the lapis lazuli and brazilwood paint formulations found in our pioneering study of the molecular palette of the Ajuda songbook, will be addressed .
The lapis lazuli paint was found in the songbook in a highly exceptional conservation state. Part of this task will be dedicated to investigating why this blue color is so well-preserved. References of lapis lazuli paints will be prepared with as much historical accuracy as possible based on a methodology developed by our team and applied in our critical edition of "The book on how to make all the colour paints for illuminating book" as well as for the creation of database of references for colorants, binders and colored paints . Representative recipes for producing lapis lazuli will be searched for in medieval treatises. Lapis lazuli paints will be prepared through the reconstruction of selected recipes using ingredients and methods as close to the medieval practice as possible. Various production methods, including different stone qualities and formulations of the binding agent (e.g. casein glue), will be searched for and addressed, exploring different possibilities such as the preparation of the support or the pigment/binder ratio. The references obtained will be characterized with microFTIR, microRaman and UV-Vis-NIR FORS, and compared with the blue colours found in the songbook.
The pink paint is one of the main colors found in the Songbook. In this task specificities of these brazilwood paints will be looked for and related with information present in historic recipes, which might contribute to date the songbook. Previous investigations have lead us to believe that organic colorants are one of the most important materials for establishing a chronology . Following a research work on brazilwood lake pigments , where a database of recipes has been compiled, further representative medieval recipes will be explored and reconstructed. The prepared references will be characterized through microspectrofluorimetry and UV-Vis-NIR FORS, supporting the on-going development of an extensive and strong database which will allow us to characterize the specificities of brazilwood lakes, and hopefully identify the recipe used in the songbook.
We will also address the use of a protein varnish on top of brazilwood paints applied in architectural details. The yellowish tone of this layer has led us to believe that a yellow dye was mixed, but due to degradation it is nowadays almost impossible to detect. Another project, Polyphenols in Art, will allow us to explore this issue, where several plants that could have been used as sources of yellow dyes, will be studied.
Actividade 5 - Colour chronology of brazilwood and mosaic gold paints in medieval manuscripts
This task intends to establish a chronology for the use of some of the most relevant pigments found in the Ajuda songbook in manuscripts illumination. This will be achieved through research in recipes used for their production. Brazilwood will be studied, following the work developed in the first task, together with the synthetic pigment known as mosaic gold which chronology of use might be, among the inorganic pigments, the most revealing. The latter pigment may have been introduced in the thirteenth century and variations in its production methods can provide important clues as to when and where a color paint was prepared.
Selected 15th century brazilwood recipes have already been explored and characterized with respect to the ingredients and methods used . Following this research work, a comprehensive and systematic study of recipes present in medieval treatises and identification of different production methods will be made. Technical treatises such as the Liber diversarum arcium, The book on how to make all the colour paints for illuminating book, the Gottingen Model Book, and De arte illuminandi will be part of the written sources consulted. Attention will be paid to the use of different complexing metal ions, such as aluminium, calcium and tin, different extraction pHs, and various additives, which can be characteristic of a specific recipe/period. The use of specific binders, such as gum-arabic and egg white, applied individually or together will also be studied. These characteristics of the recipes will be explored through a multi-analytical approach: microspectrofluorimetry and UV-Vis-NIR FORS will support the identification of different dye-metal ion complexes, while microFTIR, and microRaman will be applied for the identification of the different additives and binders. With the collaboration of expert João Lopes, chemometrics will support the identification of clusters and variables which can be further explored, and the development of a search algorithm which may allow to establish a chronology for the use of the respective recipes. The results obtained will be compared with national and international manuscript case studies.
Actividade 6 - Medieval writing inks in the making: polyphenols meet chemometrics
Sourcing and in synergy with research project PolyphenolsInArt, we will undertake, for the first time a full characterization of the writing inks used in Ajuda Songbook (both in the 13th c. block and in the later 15th c. additions). The molecular analysis will embrace the quantification of the metal ions present in the ink (by micro X-ray fluorescence) and the identification of the polyphenol matrix present, commonly referred to as "tannins". This will be carried out by combining all our available in situ techniques, microRaman, microFTIR, microspectrofluorimetry, and FORS in the UV-visible-NIR, with analysis in microsamples carefully selected to be more in-depth studied by the same techniques and possibly by synchrotron radiation. Through micro XRF, at least 70% of the folios will be analyzed and for each a relevant number of areas will be considered to guarantee that enough data is acquired for further chemometric analysis. This will allow us to check the existence of ink groups and will inform us on the folios / inks that will be selected for the identification pf polyphenol based chromophore. João Lopes, expert in chemometrics will be our consultant.
The identification of the "tannins" present in the inks may allow us to differentiate between "tannin" sources and inks recipes. This will be accomplished by comparison of standards prepared and fully characterized in the project PolyphenolsInArt.
This task will be intrinsically exploratory, and if meeting success one of the most rewarding as we could start a two-ways dialogue with team members expert in paleography (Maria Ana Ramos).