[
    {
        "id": 207025,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1974",
        "page_number": 96,
        "title": "RAS-1974",
        "content_text": "90 \n\nG. J. BELL \n\nInfluential contacts in London and Washington—usually naval officers whom he had first met as young men and who had subsequently attained high rank—would be called upon to ensure that the gifts were promptly regularised and confirmed. By these means he succeeded in getting radars, radios and associated equipment for all three Observatories—Zikawei, Hong Kong and Macau. It is remarkable that although cut off from the mainstream of meteorological research during World War II, yet he taught himself to understand and service new and complex radar sets. \n\nIn 1954, at the age of 68, Fr Gherzi moved to the United States of America, staying briefly in Saint-Louis and New Orleans before moving in 1955 to the Observatory of Geophysics in the College Jean-de-Brébeuf, Montreal. He occupied the post of Director of Research in the Observatory and maintained his interest in the measurement of solar radiation, ionospheric soundings and atmospheric electricity. Although no longer engaged in routine weather forecasting he still went out of his way to communicate with ships' officers and in his last letter to me, in 1969, he enclosed a photograph of himself on the bridge of the Leonardo da Vinci (See plate 51 to this Journal). \n\nFr Gherzi contributed an article to Weather on the 'Derivation of the word \"Typhoon\"' (1953) and he would be delighted to notice that 13 years after his long letter to the Editor on 'Unrealistic Weather Maps over Continents' (1954) the same point should again be made in a paper in Weather (Walker 1967). Fr Gherzi received international recognition for his work in so far as he was honoured by membership of the Pontifical Academy of Science and the Academies of Science in both Lisbon and New York and, of course, he was made welcome in observatories in the Far East and North America. However, nothing gave him more pleasure than to be in contact with, and of help to, mariners and aviators whom he served so well and so long.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077",
        "rank": 0
    },
    {
        "id": 207232,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1974",
        "page_number": 303,
        "title": "RAS-1974",
        "content_text": "7\n\nالله\n\nPlate 51. Father Gherzi at the age of 81 years is here shown together with an officer on the bridge of the Leonardo da Vinci at Genoa on 17th October, 1967.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077",
        "rank": 0
    },
    {
        "id": 211611,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 26,
        "title": "RAS-1989",
        "content_text": "IN THE STEPS OF LU PAN:\n\nREMINISCENCES OF BUILDING IN HONG KONG\n\nDAN WATERS\n\nLu's architectural precepts hold good forever;\n\nHis methods of computation will endure a thousand years.\n\nTranslation of inscription at Lu Pan Temple, above Kennedy Town, Hong Kong Island.\n\nParts of Hong Kong give the impression of being one gigantic building site, and a visiting schoolboy, on being asked what he thought of the Territory, replied, \"It will be nice when it's finished!\"\n\nThere have, of course, been recessions, and those brought about by the 1967 Disturbances in the Colony, and the world shortage of oil in the mid-1970s, spring to mind. Yet all employed in the construction industry in Hong Kong, with its unrivalled prosperity which provides a barometer of the economy, have a great deal to thank Lu Pan, master builder and patron saint of the industry, for.\n\nHe was born in 606 BC, and was a leading technical innovator in the era of Confucius (551-479 BC). Besides being credited with creating the handtools that revolutionised carpentry, such as the saw, the plane and the chisel, he also invented, among other things, a kite which took him up to the sky. Homage is paid to this early \"Leonardo Da Vinci\" on the 13th day of the Sixth Moon, his birthday, when banquets are held.\n\nThe author first attended a Lu Pan dinner, hosted by the Hong Kong Building Contractors' Association, in 1955. This was held at the old Kwong Chow restaurant in Western. It was the close of the period when Western was the entertainment district of the Territory. Large gatherings could be hosted at the Kwong Chow and the Kam Ling, each of which were capable of providing 100 tables (a circular Chinese table normally seats 12 or so persons). In the late 1950s a few Sing Song girls, the Chinese equivalent of the Japanese Geisha, were still active.\n\nThe writer attended the Lu Pan dinners from 1955 to 1975 (except",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 216156,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-2002",
        "page_number": 455,
        "title": "RAS-2002",
        "content_text": "389\n\nthe controversy is called The Ravished Image: or How to Ruin Masterpieces by Restoration (Walden 1985). Recent well-known examples are Leonardo da Vinci's Last Supper (Barcilan, 2001) and the Sistine Chapel (Pietrangeli, 1994). The conservators removed all the previous repairs to reveal the artist's work with the result that a lot less pigment is on display now.\n\nThere are several things conservators can do to restore colour, two being:\n\n* Conservators can leave the repair unpainted; this can often stand out too strongly, detracting from the artefact. Conservators can paint the infill a constant bland colour, usually similar but slightly lighter than the artefact's colour, and\n\n* We can try to recreate the patterns, shadings and textures of the original, making the gap fill almost invisible. The profession does not like to restore an artefact, i.e. making it brand new\n\nThe latter is very time-consuming and it is often the case that the time spent making an artefact look good is better spent saving another artefact.\n\nMany artefacts come to the laboratory suffering from an irreversible chemical reaction that we have to stabilise. Examples of this sort of treatment include the following.\n\nArchaeological iron usually contains a large amount of chloride salts. If these are not removed by prolonged soaking in chemicals, the object falls apart. Very deleterious rust forms (chemically: beta iron oxy-hydroxide) as an artefact changes its environment from burial to museum. Untreated iron only has a half life of eight to eleven years (Keene and Orton 1985).\n\nIf archaeological bronzes or as we prefer to say copper alloy (as bronze is a specific alloy of copper and tin) contain too many chloride salts, a corrosion product forms known as bronze disease that can turn the artefact, ultimately, to a light green powder. This corrosion product can be stabilised by removing as much as possible of the offending corrosion product and stabilising the damaged areas with silver oxide.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278",
        "rank": 0
    }
]