Les caves de Reims/Durocortorum à travers les exemples de la fouille du tramway by Magalie Cavé

“…The decorative elements observed on the walls remain limited and are based, a priori, on the alternation of materials used (terracotta, chalk or limestone) in order to create a contrast of color, as well as on a particular treatment of the mortar joints (joints drawn with iron, sometimes enhanced with the addition of a red color). …”
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Geological, alteration, mineralogy and geochemical studies of the Copper deposit in the Kalatehno prospect area, northwest of Gonabad (Khorasan Razavi province) by Sedigheh Zirjanizadeh, Roohollah Miri Bydokhti

“…Malachite, chrysocolla, chalcocite and secondary iron oxides (hematite, goethite) constitute the mineralization of oxidation and supergene zone. …”
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Le sanctuaire romain du Vigneau à Pussigny (Indre-et-Loire) : un lieu de mémoire, de vie et d’accueil by Arnaud Coutelas, Sébastien Lepetz

“…A second, nested within the first, can be dated to the Final Bronze Age, and there are also two enclosures dating to the Iron Age. Due to the low sedimentary cover, these complexes have had a lasting impact on the landscape and, by extension, on the collective memory: megaliths, levees or mounds of earth, enclosures with ditches, are all signs of the presence of these ancestors. …”
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Mineralogy, alteration, fluid inclusions microthermometry and genesis of the Cu-Au Kalateh Dasht deposit, south of Shahrood, NE Iran by Mohadeseh Eskandari, Fardin Mousivand, Maryam Sheibi, Bernd Lehmann

“…The presence of light-colored sphalerite, which indicates a low iron content, serves as an additional indicator of epithermal systems with moderate sulfidation. …”
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Pierre et carrières dans la Saintonge antique : identification, usages et diffusion by Jacques Gaillard, Egle Conforto

“…Scanning electron microscope analysis reveals a mass of grains composed mainly of pure silica, with a minority of other more remarkable grains, wherein silica has combined with elements such as aluminium, potassium and iron. Other grains containing elements such as titanium or zirconium also occasionally appear independently. …”
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Andreybulakhite, Ni(C₂O₄)  ⋅  2H₂O, the first natural nickel oxalate by O. S. Vereshchagin, S. N. Britvin, S. N. Britvin, D. V. Pankin, M. S. Zelenskaya, M. G. Krzhizhanovskaya, M. A. Kuz'mina, N. S. Vlasenko, O. V. Frank-Kamenetskaya

“…The empirical formula calculated on the basis of (Ni <span class="inline-formula">+</span> Cu <span class="inline-formula">+</span> Mg <span class="inline-formula">+</span> Co) <span class="inline-formula">=1</span> atom per formula unit is (Ni<span class="inline-formula">_0.63</span>Cu<span class="inline-formula">_0.27</span>Mg<span class="inline-formula">_0.08</span>Co<span class="inline-formula">_0.02)_Σ1.00</span>(C<span class="inline-formula">₂</span>O<span class="inline-formula">₄</span>) <span class="inline-formula">⋅</span> 2H<span class="inline-formula">₂</span>O. The absence of iron in the mineral is a result of oxidative <span class="inline-formula"><math xmlns="http://www.w3.org/1998/Math/MathML" id="M41" display="inline" overflow="scroll" dspmath="mathml"><mrow class="chem"><msup><mi mathvariant="normal">Ni</mi><mrow><mn mathvariant="normal">2</mn><mo>+</mo></mrow></msup><mo>/</mo><msup><mi mathvariant="normal">Fe</mi><mrow><mn mathvariant="normal">3</mn><mo>+</mo></mrow></msup></mrow></math><span><svg:svg xmlns:svg="http://www.w3.org/2000/svg" width="52pt" height="15pt" class="svg-formula" dspmath="mathimg" md5hash="9efcbcd76274bb6c3a635d566edf6dce"><svg:image xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="ejm-37-63-2025-ie00002.svg" width="52pt" height="15pt" src="ejm-37-63-2025-ie00002.png"/></svg:svg></span></span> fractionation during the secondary aqueous alteration of Ni- and Cu-rich sulfides. …”
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Èdè Àyàn: The Language of Àyàn in Yorùbá Art and Ritual of Egúngún by Oláwọlé Fámúlẹ̀

“…This has continued to make it become virtually impossible for a deeper understanding of Yorùbá art in particular and African art as a whole. Ironically, the same scholars prefer to invest their energy, searching outside of the art’s cultural origin to fulfil their primary goal of “appreciating” the African art, rather than searching within African culture, language and values, the very driving forces that gave rise to this art, and thus a catalyst to understanding it.2 It is on that note that I believe the question that scholars of African art should begin to ask themselves is: when will African art scholarship––unlike Western art studies that often demand intellectual rigor and professional thoroughness––rise above its present art “appreciating” status vis-à-vis African art? …”
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Étude de trois grands tonneaux mis au jour à Reims/Durocortorum (Marne) : le savoir-faire des tonneliers antiques by Pierre Mille, Philippe Rollet

“…Once the barrel was assembled, the cooper branded his mark on it with a hot iron. These large branded cartouches appear as a highlight on the bottom of the barrels, often positioned transversely and encompassing two staves, as well as directly above the bung hole. …”
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