C T Ll H I a T & a H L Crystallography in Art & Archaeology

Warwick Physics Colloquium Wed. App,ril 29, 2009

CtllhCrystallography iAt&in Art & AhArchaeo logy

Eric Dooryhée Institut Néel - CNRS Grenoble (FR) acknowledgment: P. Martinetto, J-L. Hodeau, M. Anne. Néel Institute (formerly Laboratory of Crystallography)

PWltP. Walter, J . CtiCastaing, G. TiTsoucaris, LLLe Louvre

www.neel.cnrs.fr Past Employment

June 2009 NSLS II powder diffraction (US) 2001-2008 senior scientist fellowship (Néel Institute, FR) 1996-2000 powder diffraction (ESRF, FR) 1990-1995 high energy ion research center (GANIL, FR) 1988-1989 post-doc powder diffraction (SRS Daresbury, UK) ≤1987 graduated in Paris

Research

• powder diffraction (SRS, ESRF, SOLEIL, neutrons ILL) • epitaxial thin films/multilayers of oxides (ferroelectric, relaxor, magnetic) •cultural her itage (“SR/crys ta llograp hy in Ar t an d Arc haeo logy ”) • colour fixing in analogues of Maya Blue and lacquer hybrid pigments

www.neel.cnrs.fr SR2A : Synchrotron in Art and Archaeology

Diamond Light Source is pleased to announce their involvement in Artweeks, the Oxfordshire visual arts festival… Diamond continues to be involved in arts projects to demonstrate the links between science and art …

SOLEIL : the Heritage and Archaeology Liaison Office (HALO) pppprovides support to access all the s ynchrotron beamlines of the facility.

• Art/Science interface : a long story where crystallography should play a central/leading role (societal impact)

“The lack of communication between the sciences and the humanities — the "two cultures" of modern society — is a major obstacle for solving the world's problems”.

D. P. Barash, C.P. Snow: Bridging the Two-Cultures Divide, The Chronicle of Higher Educ. 52, B10 (2005) C.P. Snow, ‘The Two Cultures and the Scientific Revolution’ (Cambridge University Press Cambridge 1962) •Name Crystallography in Art and Cultural Heritage • Acronym CrysAC • Chair [email protected] approved by the 21st IUCr General Assembly on 08/2008 (()Osaka) www.crystallography.fr/crysac/ IUCr NewsLetter Vol. 16, No. 3 (2008) •Name Crystallography in Art and Cultural Heritage • Acronym CrysAC • Chair [email protected] approved by the 21st IUCr General Assembly on 08/2008 (()Osaka) www.crystallography.fr/crysac/ IUCr NewsLetter Vol. 16, No. 3 (2008)

- To organize/coordinate a network of crystallographers and art specialists - To promote the crystallographic concepts and techniques (not just as a tool) in this frontier field (cross-disciplinarity)

• art designers, artists, craftsmen, architects, art historians • museum curators, conservators • archaeologists • Terms of reference : part 1

Maayny con cepts (e.g. symm etr y, patternin g) aaere recurr en tl y used in aatrt and artefacts (paintings, sculptures, mosaics, textiles,…)

 To analyze the fundamental cryygpstallographic content in a work of art

 To show how crystallography can be the basis for the creation of art (source of inspiration) : patterns, sculptures, design in manufacturing based on atomic and molecular models (to help produce crystal structure-inspired art)

 How does art provide some advanced support to crystallography, or graphically (2D, 3D) illustrate crystallographic ideas/models • Terms of reference : part 1 (cont’d)

 Safeguarding of crystal models, crystallographic displays : some crystallographic productions (2D or 3D patterns, structures) are inherently artistic and hence, have an enduring value as historical records in structural sciences (biology, chemistry, solid-state,…). To ensure care and maintenance of this “crystallographic cultural heritage“.

 Educational purposes : promotion and teaching of Crystallography; elaboration of didactic material  an opportunity to illustrate and pppopularise the main cryygpstallographic concepts to graduates and public • Terms of reference : part 2

To implement advanced crystallographic methods (experimental and theory) to the analysis of artefacts

 Toconsider crystlltallograp hy as a powerflful approach toall those (l(rarely trained in diffraction, symmetry and group theory) who are involved in the interpretation of artworks

 To develop diffraction-based microanalysis and imaging, for diagnosis and identification of cultural and art objects (authentification, know-how of past societies, conservation) Membership Dooryhée Eric (FR) [email protected] Abad-Zapatero Celerino (US) [email protected] Desiraju Gautam (IN) [email protected] Makovicky Emil (DK) [email protected] Quartieri Simona (IT) [email protected] Rafalska-Lasocha Alicja (PL) [email protected] Thalal Abdelmalek ()(MA) [email protected] Zürn Anke (CH) [email protected]

Consultants Artioli Gilberto (IT) [email protected] Castera Jean-Marc (FR) jm@castera. net Depmeier Wulf (DE) [email protected] Hargittaï István (HU) [email protected] Kemp Martin (UK) martin.kemp@history -of-art. oxford. ac. uk Meyer Edgar (US) [email protected] Nespolo Massimo (FR) [email protected] Tsoucaris Georges (FR) georges. tsoucaris@culture. gouv. fr The XXV E uropean C ryst all ographi c M eeti ng 16 -21 August 2009, Istanbul, Turkey.

Workshop : Symmetry and Crystallography in Turkish Art and Culture Satellite workshop of ECM-25, Istanbul, 14-16 August 2009 jointly organized by MathCryst and CrysAC

Microsymposium : Crystallography in Art and Archaeology Chairs : E. Dooryhée (FR) and P. Bezdika (CZ)

Programme : www.ecm25.org/ I Analyses of symmetry patterns in art II Cry stallographic studies of archaeological artefacts III Analogies between crystal structures and art works IV Crystallographic “frustrations”

www.neel.cnrs.fr A.V. Shubnikov, V.A. Kopstik. ‘Symmetry in Science and Art’, 1974.

I. Hargittai,M. Hargittai ‘Symmetry: a Unifying Concept’, 1996

C. Dézarnaud Dandine, A. Sevin. ‘Histoires de Symétries’, 2007. Andy Warhol, Rorschach paintings, 1984 Center : Andy Warhol, Rorschach paintings, 1984

“Crushing one droplet of ink in the paper fold, there comes a symmetrical spot. Thus the repetition of anything is no longer anything. Going from the fortuitous to the rule.” Paul Valéry, Cahiers, 1894-1914. Part I : PLANE SYMMETRY PATTERNS

“Symmetry is the concept by which man endeavours to grasp the order and beauty of phenomena. The basis of beauty and order derives from the fact that congruent repetitive elements build up the system in an orderly way.... “

H. Weyl. ‘Symmetry’, Princeton Univ. Press 1952. Alhambra, Granada: court of the Lions

This famous palace, residence of the Moorish Emirs (1231-1492), is one of the masterpieces of Islamic Art: ornaments, friezes and columns.

13 out of the 17 possible 2D periodic symmetry groups are realized in the Alhambra. Mural mosaic in the Alhambra, 16th centuryy( (Granada).

- Workshop ‘Geometric Patterns in Islamic Art’, Lorentz Center Leiden 2006.

- J-M. Castéra, E. Makovicky, TMatsumotoJT. Matsumoto, J. Benatia. MathCryst Satellite Meeting ‘The Enchanting Crystallography of Moroccan ornaments’, ECM 2007. Image courtesy of J-M. Castéra. www.castera.net MathCryst Satellite Meeting ‘The Enchanting Crystallography of Moroccan ornaments’, ECM 2007. (محا ريب .pl ألمحراب) Mihrab - - Decorations inside the Blue Mosque of Istanbul - A Moorish zillij (tile pattern) from the Alhambra, 16th century - AbiArabiccalligrap hy - Zillij patterns, including a taqshir calligraphic border, 1325.

J. Bourgoin. ‘Arabic Geometrical Pattern and Design’, 1973. J-M. Castéra. ‘Arabesques: Art décoratif au Maroc’, 1996. Kharraqan tomb towers, Iran, 1093 A.D.

WKW.K. Chor bac hi‘Ihi. ‘In the Tower o fBf Ba be l: beyon d symme try in Is lam ic design’. Computers Math. Applic., 1989.

E. Makovicky. ‘Islamic Ornaments : Fundamental language of Symmetry’, MathCryst Satellite Workshop of ECM 2007. Kharraqan tomb towers, Iran, 1093 A.D.

WKW.K. Chor bac hi‘Ihi. ‘In the Tower o fBf Ba be l: beyon d symme try in Is lam ic design’. Computers Math. Applic., 1989.

E. Makovicky. ‘Islamic Ornaments : Fundamental language of Symmetry’, MathCryst Satellite Workshop of ECM 2007. J. Piaget: “A whole is not the same as a simple juxtaposition of previously availa ble e lemen ts ”. Struc turali sm, Par is 1968. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. p4g : square lattice, and 1/8 of a square fundamental region of the tltitranslation group ifdtlifthis a fundamental region for the symme try group. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. W.K. Chorbachi. Computers Math. Applic., 1989. The requirement of a complete covering of the plane/space without gaps and overlaps leads to the magic numbers: 1, 2, 3, 4 and 6.

Due to this restriction, the number of different point groups is reduced : - 2D: from ∞ to 10 - 3D: from ∞ to 32

There exist: - 32 poitint groups - 230 space groups - ca. 600,000 determined crystal structures - 85% are described by 6 space groups in 3D (3 in 2D) - ca. 8,000,000 chemical compounds

 the number of possible symmetries is small, the number of atomic motifs is nearly unlimited. “The geometric rules simultaneously restrict and liberate the maker of tessellations. The (crystallographic rules) restrictions bring order and comprehension to a subject which defied and yet tantalised the artist; with comprehension comes the liberation of the imagination and the artistic skills to create tilings which appear impossibly complex”.

D. Schattschneider. ‘Visions of Symmetry, Note Books, Periodic Draw ings an d re la te d Wor ks o f M. C. Esc her ’, 1990.

S. J. Abbas, A.S. Salman. ‘Symmetries of Islamic Geometrical Patterns’, 1995. B. Grunbaum, Z. Grunbaum, G. C. Shephard. ‘Symmetry in Moorish and Other Ornaments’. Comp. and Maths. with Appli. 1986 “Our pleasure in pattern, in symmetry, in order and its judicious breaking, provides gratification and reward, in relation with our system of perception, (re)cognition and creation”.

M. Kemp. ‘Visualizations: the nature book of Art and Science’, 2000. Geometric patterns (abstract ornamentations) The f(f)fundamental region (the motif) is a geometric shape such as a polygon, displayed over an inactive background.

Figurative patterns (“zoomorphic”) The fundamental region is a living form (plant, animal)

Crystallographic patterns (crystal isomorphism) constructed according to the principles of crystal formation, i. e. by close packing. The inner organisation recalls that of a crystal: space group, commensurable translations, motif. Figurative crystallographic patterns “To fit together congruent shapes I attempted to give forms of anima ls.... It rema ins an ex treme ly a bsor bing ac tiv ity, a rea l man ia to which I have become addicted.... The silhouettes of birds and fish are the most gratifying shapes of all for use in the game of dividing the plane”.

JLJ.L. LhLocher et al . ‘M . C. Esc her: his life an d comp le te grap hic wor k’, 1982. D. Schattschneider. ‘Visions of Symmetry, Note Books, Periodic Drawings and related Works of M.C. Escher’, 1990. M.C. Escher IUCr Cambridge 1960. M. Emmer. Frames from the movie « M.C. Escher : Symmetry and Space ». © Film 7, Roma.

Coxeter, H.M.S., Emmer, M., Penrose, R., and Teuber, M.L., M.C. Escher: Art and Science , North Holland 1986.

H.S.M. Coxeter. Int. Congress on M.C. Escher, Rome, 1985. H.S.M. Coxeter. ‘Introduction to geometry’, 1969. C. Klein. Mineral Science 2002. pmm cmm pmg p2 p4g pgg

© David A Reid, Acadia University, Canada http://plato.acadiau.ca/courses/educ/reid/Geometry/brick/ “and the reason that makes proportion please the Mind, is, that it saves it trouble, that it gives it ease, and that, so to speak, it cuts the work into halves. ... every where that symmetry is useful to the soul, and can assist its functions, it is agreeable to it; but wherever it is useless to it, it is insipid because it takes awayyy variety”.

Montesquieu ‘Of the Pleasures of Symmetry’ from an Essay upon Taste, in subjects of Nature and of Art, 1728. Part II : CRYSTALLOGRAPHY and ARCHAEOLOGY

Ornaments from Mezin (23000 B.C., Ukraine) S.V. Jablan. ‘Theory of Symmetry and Ornament’, Belgrade, 1996.

See also http://members.tripod.com/~modularity/ 1 2

1. Palaeolithic Oldowan (Homo Abilis 2.5 M-yrs) 2. Acheulean times (Homo Erectus, 1.5M-yrs) 3. Middle Palaeolithic (Levallois technique, 200k-yrs) 4. Upper Palaeolithic (Homo Sapiens Sapiens, 35k-yrs)

 the earliest evidence of hominid technology ( in the form of stone artifacts) with inherent symmetrical patterning

N. Toth. Symmetry: Culture and Science, The prehistoric roots of a human concept of symmetry. 1990. Statistical symmetry analysis in Anthropology & Archaeology : the frequency of occurrence (or extinction) of different basic symmetry patterns may be characteristic of a cultural community (CP = distinctive sign)

Crystallographic pattern analysis = a cross-cultural classification tool of artifacts in very diverse contexts (styles and cultures), and on very different media : textiles , pottery, basketry, wall decoration,...

 identify cultural groups, know-how and drawing techniques, expertise in abstract design  examine relations between different sites/periods/groups.

- D.K. Washburn. ‘Perceptual Anthropology: the Cultural Salience of Symmetry’. American Anthropologist, 1977. - B. Zaslov et al. ‘Pattern mathematics and archaeology’, Anthropolog. Res. 1977 - E. Makovicky, P. Fenoll Hach-Ali. ‘Syyymmetry, structural anal ysis and classification of 1-2D ornaments’. Boletín Soc. Española de Mineralogía,1997. PJP.J. C amp be ll‘Thll. ‘The geometry of dtidecoration on prehis tor ic PblPueblo pottery from Starkweather ruin’. Computers Math. Applic., 1989. © Collections of the Logan Museum of Anthropology, Wisconsin, USA. Traditionally patterned Javanese Batik cloths A. Haake, H. Winotosastro Comp. Math. Applic. 1989 Imaggye courtesy of A. Haake. Sch ema tic represen ta tions o f th e sevent een t wo-dimensi onal patt erns. G. Pólya, Z. Krist. 1924 D. Schattschneider. The ppylane symmetr ygpy group: their reco gnition and notation. Am. Math. Monthly 1978. S. Jablan. Theory of Symmetry and Ornament. Belgrade, 1996.

D. W. Crowe. Symmetries of Culture www.mi.sanu.ac.yu/vismath/crowe1/ Flow ch art f or d et ermi ni ng th e t ype of any of th e 17 2 -dimensi onal patt erns

D. K. Washburn and D. W. Crowe. ‘Syyymmetries of Culture: Theory and Practice of Plane Pattern Analysis’, 1988. 1 : cmm (diamond cell) 3 : pgg (un-stretched  square)

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2 : p2(2 (o blique ) 4 : p4(4g (compu tdithted with no over-und)der)

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D. W. Crowe and D . K. Washburn. ‘Geometrical, Perceptual, and Cultural Perspectives on Figure/Ground Differences in Bakuba Pattern’. D.W. Crowe, ‘The geometry of African art. Part 1. Bakuba art’, Journal of Geometry, 1971. #4 is a computed simulation by S.V. Jablan. Left : The 7 1D space groups with Hungarian folk patterns (I. Hargittai, G. Lengyel, J. Chem. Educ., 1984) TihtTop right : analogy w ith the po lye thy lene mo lecu le 1DtD struc ture Bottom right : analogy with the carbon nanotube 1D structure

Sz. Bérczi . Computers Math . Applic. 1989 M. Hargittai. ’Symmetry, Crystallography, and Art’. International School of Molecular and Structural Archaeology, 2006. PART III Crystallography : to analyse the structure and mittficrostructure of ancitbjtient objects

Crystallographic data (phase and chemical identification, disorder and defects, grain size, texture,...) are viewed as a fingerprint of the history ofthf the mat eri al s (provenance, manu fac turi ng, age ing,... ) Lustres (9th c. Irak) Courtesy of M. Vendrell (Barcelona)

XVIth c. fresco St Fiacre Courtesy of S. Aze ©LRMH

Théorbe (16th c. Venitia) Courtesy of J-P. Echard © Cité de la Musique

Courtesy of G. Artioli (Padova) 111 200 220 311 222 400 331 420 422 111 200 220 311 222 400 331 420 422 1,0 1,0 de ty uu

0,5 0,5 ormalised intensi ormalised rmalised amplit

oo 0,0 000,0 NN N

200 [ nm ] K=0.4 [ 1/nm ]

PWalterPP. Walter, P. Martinetto, E. Dooryhee et al. Nature 1999 T. Ungár, P. Martinetto, G. Ribárik, E. Dooryhee, Ph. Walter. JAP 2002

The microstructure (size/strain: hand crushing, heating, sieving …. ) of the powder governs the diffraction peak profile = internal record of the history of the material  modeling the diffraction line profiles of galena (PbS) in old Egyptian make-ups The lead white PbCO3 + 2PbCO3·Pb(OH)2 Coll. Ph. Walter, E. Welcomme, Applied Physics 2006

• cosmetics ( 500 yrs B.C.) • make up, face cream (Renaissance) • cream, unguent, plaster • easel painting (< XIXth c.) • industrial painting (> XIXth c.)

Venetian cerussa cerussa from Antwerp (Rubens , Vermeer… ) cerussa from Spain

fine, bright , immaculate, smooth coating , fast drying, opaque, resistant, no browning…

Mathias Grünewald Isenheim Altarpiece (1512- 1515-16) © Colmar Museum Patterson map Fourier-difference syntheses

1.0 0.571 0.527 [001] 0.483 0.440 0.396 0.352 0.309 0.265 0.221 y / 0.178 0.134 b 0.090 0.047 0.0 0.003 0.0 -0.041 -0.084 -0.128 -0.172 -0.216 [1-10] -0.259 1.0 x/a

lamellar structure …BAABAA…

AA = rigid framework : PbCO3-PbCO3 bilayer as in macphersonite, plumbonacrite, leadhillite, susannite…

B=B = statistically disordered Pb(OH)2 layer (Pb2 1/6 occupancy)

Ab initio powder structure solution of "lead white" 2PbCO3·Pb(OH)2 P. Martinetto, M. Anne, E. Dooryhee et al. Acta Cryst. 2002 E. Welcomme, Ph. Walter, M. Menu C2RMF, Paris

XRF XRD Detector Detector

Sample

ESRF-ID22 : experimental set-up coupling XRD-XRD-XANES - X-ray micro-beam E. Welcomme, Ph. Walter, E. Dooryhee et al. Micro-XRF and micro-XRD 3.8x1.4m top

Micro-XRD 3.8x1.4m 4 3 top 1 2

bottom

top bottom

Layer 1 : calcium carbonate preparation layer; Layer 2 : priming layer made of lead carbonates (hydrocerussite and cerussite); Layers 3, 4, 5 :

green copper pigments in mixture with lead tin yellow 2PbO-SnO2 and lead carbonates; Layer 6 : organic layer, varnish. E. Welcomme, Hydrocerussite Ph. Walter et al. C2RMF Paris Le Louvre

2D diffraction pattern Quantitative Rietveld analysis (average composition : calcite, lead white) E. Welcomme, Hydrocerussite Ph. Walter et al. C2RMF Paris Le Louvre a few crystallites of cerussite in hdhydroceruss ite

 results depend on beam size (sampling, averaging)

2D diffraction pattern Quantitative Rietveld analysis (average composition : calcite, lead white) 270 260 250 240 230 220 210 30µm 200 A 190 B 180 170 160 A 150 140

Lin (Cps) Lin B 130 120 110 100 90 80 70 60 50 B 40 30 20 A 10 0

6.3 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 2-Theta - Scale A B

Hydrocerussite : 73 % Hydrocerussite : 52 % Cerussite : 12 % Cerussite : 48 % Stibnite : 15 % Phase diffraction mapping of a Roman fresco E. Dooryhée et al. Appl. Phys. A 2005  pigment recognition  reconstruction of the image

grazing incidence diffraction

y D = 400-1000 mm x

= 1Å, 0.1x1mm2, 40sec/image ( « single bunch » mode) , 4000 images, 10 Gb ID11 ESRF semi-quantitative Rietveld analysis of every diagram = f(x,y) Scanning μ-XRD E. Dooryhée et al. Appl. Phys. A 2005

a - Cupid’s face b - coarse Ca (plaster) + Q c - Calcite white pigment d - Fe Haematite e - Fe Goethite (shading) f - CECu Egyp tiBltian Blue g - Pb(Mg)CO3 (+ PbO) h - fluorescence PIXE map i - diffraction map j - reconstruction

www.neel.cnrs.fr Part III : Analogies between crystal structures and art works. Left : details of Irving Geis’ model of the myoglobin, from J. Kendrew in Scientific American, 1961. from M. Kemp. ‘Visualizations: the nature book of Art and Science’, 2000. e.g. see also ACA annual contest (2005) on ‘visual art depicting crystallography topics’ L. Bragg in “The souvenir book of crystal designs”, Festival of Britain, 1951.

“When in 1922 I worked out the first crystal of any complexity that had been analysed, aragonite, I remember well how excited my wife was with the pattern I showed her as a motif for a piece of embroidery.... ”

P.H. McClure. © Crystalline structure. Pastel, 1993. www.peterhugomcclure.com/htms/main.htm Left : Azerbaijan/Turkish common ornament of 18th century A.D. Right : structure of Quartz from K.S. Marmedov. ‘Crystallographic patterns’. Comp. Maths with Appli. 1986. LftLeft : BkitFll’Buckminster Fuller’s geo diddesic dome, the USU.S. pavilion a t the World's Fair, Montreal 1967 Right : C60 buckminsterfullerine or bucky ball, truncated icosahedron. One of the five Platonic solids ! R. F. Curl, Jr., R. E. Smally, and H. W. Kroto, 1985. from M. K. Kemp IUCr 2005 and ‘Visualisations. The Nature Book of Art and Science’, 2000. - P. H. McClure. © Penrose's Conundrum Tempera b oar d, 1988.

- An archwayyg in the Sultan's Lodge in the Green Mosque, Bursa, Turkey 1424 A.D. - Girih pattern from the Seljuk Mama Hatun Mausoleum in Tercan, Turkey 1200 A.D.

P. Lu, P. Steinhardt. ‘Decagonal and quasi-crystalline tilings in medieval Islamic architecture ’. Science 2007. E. Makovicky. ‘800 year-old pentagonal tiling from Maragha, Iran’ in 5-fold Symmetry. Ed. I. Hargittaï 1992. Escher’s discovery of polychromatic symmetry years before this notion appeared in the literature.

AVA.V. Shubnikov, NVN.V. Belov et al. ‘Coloured Symmetry’, 1964. MacGillavry C.H. ‘Symmetry Aspects of M.C. Escher's Periodic Drawings’. IUCr Utrecht 1965. See reviews byRLEby R.L.E. Schwarzenberger, 1984 and M. Senechal, 1988.

“The scaffolding represents a crystallographic group. It is like a dead body without a soul... Only after putting back the atoms does the fascination of a crystal reappear.” P. Engel in M.C. Escher, Art and Science, 1986. orthorhombic Pmm2 monoclinic Pm

Left : POVRAY reproduction of "cubic space division" by M.C.Escher, 1952. © Friedrich A. Lohmueller, 2000 Right : DthDepth, woodcu t, 1952 . © MCM.C. Esc her Co. BVB.V

Maor, Eli. To Infinityyy and Beyond: A Cultural Histor y of the Infinite, 1987. M.C. Escher "Oneindigheidsbenaderingen" ("Approaches to Infinity"), 1959. Stars, wood engraving, 1948. © M.C. Escher Company B.V

“ 2 universes in coexistence : the Platonic Universe of the regular solids and the biological Universe of living forms and activity, the one coldly beautiful, perfect, rigid, static and eternal; the other messy, opportunistic , flexible , dynamic and evolving”. E.P. Whitehead in ‘M.C. Escher, Art and Science’, 1986. Left : Stars, wood engraving, 1948. © M.C. Escher Company B.V Right :C: C. Dejoie, E. Dooryhee, P. Martinetto. ‘Hybrid analogues of Maya Blue’ ESRF Newsletter “Art and Science”, 2006 picture from E. Fois et al., J. Phys. Chem. B, 2002.

“ 2 universes in coexistence : the Platonic Universe of the regular solids and the biological Universe of living forms and activity, the one coldly beautiful, perfect, rigid, static and eternal; the other messy, opportunistic , flexible , dynamic and evolving”. E.P. Whitehead in ‘M.C. Escher, Art and Science’, 1986. Left : Development 1, woodcut, 1937. © M.C. Escher Co. B.V Right : HRTEM image of a crystal grain of hematite grown in olivineM. Gemmi, Università di Milano

L. Glasser. “Teaching Symmetry: the use of decorations”. J. Of Chem. Education, 1967. Part IV : CRYSTALLOGRAPHY

SYMMETRY BREAKING

Van Gogh, Still Life of Shoes, Oil on canvas 1886, © Van Gogh Museum, Amsterdam “A horror of the words law, order, symmetry, geometry; artists prefer harmony, beauty , style , rhythm, unity, although the true meaning of these words differs very little.

The essence of th e h ostilit y of art t oward s sci ence li es i n th e conv ic tion that a fully discovered law will introduce triviality into poetry”.

A.V. Shubnikov, V.A. Kopstik. Symmetry in Science and Art, 1972. © Istvan Orosz. The Swan, etching 1996. from MHM. Harg itta i. ’Symmetry, Crysta llograp hy, an d Art ’. Internat iona l School of Molecular and Structural Archaeology, 2006. René MAGRITTE, Forbidden Reproduction, 1937, © Boymans-van Beuningen Museum, Rotterdam. © P. Picasso. Maya with doll , oil painting 1938.

N. Bohr : ”The strength of Art lies in its ability to remind us of the harmonies unattainable by systematic analysis”. P. Picasso, Bernal's Picasso, mural 1950. © the Wellcome Trust Medical Photographic Library.

A. Brown in ‘J.D. Bernal: The Sage of Science’, 2005. "Both in his science and his eye for art, [Bernal] had an amazing appreciation for symmetry and the underlying mathematics" Crystallography and visual arts

• DiDrawing • Garden art • Interior art • Photoggpyraphy • Computer art • Plastic arts • Architecture

Villandry castle, France, 1536 Crystallography and performing arts

•Music • Theatre • Cinema • Dance Crystallography and... education diffusion legacy

• Literature • Callig lliraphy h •Poetry • Weaving • Culinary art

Image courtesy of E. Angelini, Politecnico di Torino, Italy

L. Glasser. “Teaching Symmetry: the use of decorations”. J. Of Chem. Education, 1967. E. Meyer. ‘Art in Crystallography’, IUCr Florence 2005. Crystallography

Art Senses