COSCH e-Bulletin No. 2 (2015) COSCH e-Bulletin No. 2 (2015)

ISSN 2409-9503

Edited by Anna Bentkowska-Kafel and Orla Murphy


About COST and COSCH

Colour and Space in Cultural Heritage (COSCH) is an interdisciplinary network of experts in the applications of the latest optical measuring techniques and imaging to documentation of artefacts. Users of such applications are also involved. COSCH aims to enhance the existing practice and standards in 3D documentation, by promoting a better understanding of science, and widening the use of specialist technologies. COSCH networking activities are funded by COST, an intergovernmental framework for European Cooperation in Science and Technology, allowing the coordination of nationally-funded research on a European level. COSCH is a COST Transdomain Action in the area of Materials, Physics and Nanosciences. Funding has been made available for four years, from November 2012 to October 2016.



Anna Bentkowska-Kafel, Taylor Bennett, Andrea Casini, Costanza Cucci, Christian Degrigny, Julio M. del Hoyo-Meléndez, Haida Laing, Christine McCarthy, Susanna Pesko, Marcello Picollo, Jule Rubi, Robert Shaw, Lorenzo Stefani, Alain Trémeau, Despoina Tsiafaki, Tatiana Vitorino  >>>



Colour and Space in Cultural Heritage (COSCH) fosters international collaboration in the area of documentation of material cultural heritage. The main objective is to enhance methods of recording objects – for conservation and study – through applications of digital, optical, spatial and spectral technologies. Researchers participating in COSCH seek to develop solutions to questions that have not been fully resolved, such as simultaneous measurement of colour and shape or the wider use of specialist technologies. This issue is primarily devoted to techniques that support examination, documentation and display of historic paintings. A number of non-invasive, electronic imaging methods are covered, including open-source solutions and portable technologies that can be brought to the object, thus minimising transportation of works of art. >>>


COSCH Profile: Haida Liang

An interview with Haida Liang, a Reader in Physics and Head of the Imaging Science for Archaeology and Art Conservation group at Nottingham Trent University in the UK >>>   


COSCH Papers

  • Photogrammetry and Transmitted Infrared Imaging to Document the Support of a 19th C. British Landscape Painting by Taylor Bennett  PDF [11MB]  PDF [1.7MB]
  • Creation of a Hyper-Spectral Imaging Spectroscopy Reference Database of Red Lake Pigments by Andrea Casini, Costanza Cucci, Marcello Picollo, Lorenzo Stefani and Tatiana Vitorino PDF
  • "Walk Around", from Belgium to the V&A via the Prado: Using Digital Data to Create Experience from Cultural Heritage Objects by Jule Rubi PDF



  • Presentation of the COSCH Germolles Case Study to the Ferrara Salone del Restauro

Situated in Burgundy, France, the Château de Germolles is the best preserved residence of the Dukes of Burgundy. It was built between 1380 and 1400 for Margaret of Flanders, wife of Philip the Bold, Duke of Burgundy and brother of Charles V, King of France. Wall paintings were rediscovered under the 19th-century plasters during World War II. Christian Degrigny reports >>>

  • COSCH Session at the Computational Color Imaging Workshop 2015

A specialist session, Color in Digital Cultural Heritage, was held during the 5th Computational Color Imaging Workshop (CCIW'2015) at the Jean Monnet University in St Etienne, France, on 26 March 2015. Alain Trémeau reports. >>>

  • COSCH wins a Werner Weber Best Paper Award

A paper co-authored by several COSCH participants won a best paper award at the EuroMed Digital Heritage Conference 2014 held at Limassol, Cyprus between 3–8 November 2014. >>>


News from the Field

  • A new paper on an X-ray fluorescence (XRF) analysis of medieval coins
  • A two-days course in multispectral imaging of works of art using flashes, SUPSI, Lugano, 16–17 April 2015
  • 2+3D Photography: Practice and Prophecies, First International Conference, Amsterdam, 1516 April 2015. Review by Taylor Bennett
  • ConservationSpace 2.0
  • Publication of 3D ICONS Guidelines and Case Studies
  • >>> 



The support of the European Cooperation in Science and Technology, the COST Action TD1201 "Colour and Space in Cultural Heritage" ( is gratefully acknowledged by the contributors who participate in this COST Action.

The Editors should like to thank the Authors and Reviewers of papers, and everyone who offered advice and helped with the preparation of this issue, including Antonino Cosentino of Cultural Heritage Science Open Source (CHSOS); Eva Haustein-Bartsch of the Ikonen-Museum Recklinghausen, Germany; Alexander J. Kossolapov, of the State Hermitage Museum, Saint Petersburg, Russian Federation; Christine McCarthy, Yale University Library; Haida Laing, Nottingham Trent University, UK; Julio del Hoyo Melendez of the National Museum in Kraków, Poland; Nuria Rodríguez Ortega of the University of Málaga, Spain; Robert Sablatnig of the Vienna University of Technology, Austria; Robert Shaw of the Discovery Programme, Dublin; Despoina Tsiafaki of the Athena Research and Innovation Center at the University Kimmeria, Xanthi; Alain Trémeau of the Université Jean Monnet in Saint Etienne, France; Giovanni Verri of the Courtauld Institute of Art, University of London, UK; and Stefanie Wefers of the University of Applied Sciences in Mainz, Germany.



The articles in this issue express the views of the authors and not necessarily those of the COSCH Editorial Board and reviewers.

© Colour and Space in Cultural Heritage. Text © individual author(s) and reproduction is with their permission. Illustrations © individual authors/photographers; Athena Research and Innovation Center at the University Kimmeria, Xanthi; National Museum in Kraków; 2+3D Photography, Rijksmuseum, Amsterdam; National Gallery of Art, Washington D.C., reproduced with kind permission.


Next issue deadlines:

1 October 2015 for scientific papers; 2 November 2015 for news items.


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Since publication of “Photogrammetry and Transmitted Infrared Imaging to Document the Support of a 19th C. British Landscape Painting”, additional information about the canvas stamps has come to light that could constrain the date when the canvas was supplied to before ca. 1852-55.

Jacob Simon, Research Fellow at the National Portrait Gallery, has suggested that the partly illegible fourth line of the canvas stamps might read “Opposite the New River” (e-mail, 18 August 2015). This interpretation seems to fit well with the stitched image of Stamp B (Figure 13 and Discussion, pp. 7-8) and with the location of 80 Goswell Road near the alignment of the New River aqueduct.

Beginning in 1849 through 1858, the London physician John Snow published several articles and letters attributing a series of epidemics of cholera to contaminated water supplies (, 7 Sept. 2015). Such an epidemic was the cause of over 14,000 deaths in 1849 (, 7 Sept. 2015). In response to these outbreaks, the Metropolis Water Act of 1852 was passed, placing the New River aqueduct underground (Peter Stone, 2011, The New River, 5 Sept. 2015). The Act stipulated that "The new works must be completed within five years after the passing of the Act, i.e., by 30th June 1857" (, 7 Sept. 2015).

It seems reasonable to suppose that the canvas supplier, John Holt, would have changed the description of his business location around the time the Metropolis Water Act 1852 was passed or when the New River was placed underground, since the aqueduct would no longer be a visible landmark to guide potential customers and it was adversely associated with the outbreaks of cholera and other diseases. This interpretation is supported by a 13 January 1855 advertisement for Holt’s colourman’s business in the London Ladys Newspaper and Pictorial Times that describes the location of 80 Goswell Road as “near the Angel” , which is situated near the intersection of City Road and Goswell Road, rather than "Opposite the New River."

If this interpretation is correct, then the latest date when the canvas was supplied would be before ca. 1852-55. This information could help to date other canvases supplied by Holt if there were different versions of the canvas stamps before and after ca. 1852-55.

Taylor Bennett
10 September 2015
Posted on 14/09/15 08:29.

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