Il segmento curricolare qui descritto è rivolto ad una classe quarta.

1. CLIL @RT. DALL’ALCHIMIA ALLA CHIMICA NELL’ARTEI.I.S.S. “ROSINA SALVO” –TrapaniProf. Elena CarusoProf. Gianfranco NasoProf. M.FrancescaScalisiCLASSE 4 E ind. Liceo LinguisticoCLASSE 4 C ind. Liceo Artistico

2. Il segmento curricolare qui descritto è rivolto ad una classe quarta. • La lingua utilizzata è quella inglese; il livello di competenza linguistica QCER della classe è di tipo A2/B1 • Il tema scelto è stato ritenuto proficuo in quanto per la sua ricchezza si presta alla vocazione multiculturale che i docenti si sono prefissi di attivare attraverso il CLIL; inoltre esso consente espansioni, approfondimenti e collegamenti multidisciplinari grazie alla sua densa problematica. • Il Modulo avrà una durata di 4 ore da svilupparsi nel corso del 1° Quadrimestre

7. Picture 1 Whatisit? Whois the author? Whenwasitmade? Whereisitlocated? Whatdoesitrepresent? Isit a mural painting? How iscalledthistechnique of mural painting?

8. Picture 2 Whatisit? Whois the author? Whenwasitmade? Whereisitlocated? Whatdoesitrepresent? Isit a mural painting? How iscalledthistechnique of mural painting?

9. Picture 3 • Whatisit? • Whois the author? • Whenwasitmade? • Whereisitlocated? • Whatdoesitrepresent? • How wasit made? • Isit a mural painting? • How iscalledthistechnique of mural painting?

10. Picture 4 • Whatisit? • Whois the author? • Whenwasitmade? • Whereisitlocated? • Whatdoesitrepresent? • How wasit made? • Isit a mural painting? • How iscalledthistechnique of mural painting?

11. Picture 5 Whatisit? Whois the author? Whenwasitmade? Whereisitlocated? Whatdoesitrepresent? How wasit made? Isit a mural painting? How iscalledthistechnique of mural painting?

13. Picture 1 Cloze test Read the text below and fill in the missing words given below in scrambled order The Cave of Genovese is on the 1)……………….. of Levanzo.The cave 2)……............a very important documentation of 3)………………………..in Sicily and date around the 4)……………… 9230 BC.Engravings, 5)……………………………….and painted male and female human 6)……………… along with mammals and 7)……………………including tuna.It remains obscure whether it is a 8)…………… dance or a prayer before 9)…………

14. Picture 2Match the twohalves to make complete sentences • 1. The Cave of Altamira islocated • 2.The numerousparietal cave paintings • 3.These drawings and paintingswerecreated • 4.The earliestpaintings in the cave • 1/……. • 2/…….. • 3/…….. • 4/……… • A)representcharcoaldrawings and polychromepaintings of contemporarylocal fauna • B)wereexecutedaround 35,600years ago • C)during the UpperPaleolithic by human settlers • D)near the historicaltownSantillana del Mar, Spain

15. Picture 3 • Rearrange the followingsentences to make a complete text • A) The scene takesplace in front of tworockyhills, on whosepeakstwodifferenttypes of architecture rise up:thewalls of the city of Assisi and a cloister. • B)This fresco waspaintedbetween 1297-1300. • C) St. Francis Giving His Mantle to a Poor Man is the second of the twenty-eightscenes of the Legend of Saint Francis in the Upper Church of the Basilica di San Francesco in Assisi. • D) Francis handshisvaluablegoldencloak to an impoverishedcitizen. • The sequenceis:…………………../………………………/………………………/………………………/

16. Picture 4Match the twohalves to make complete sentences • 1. In 1508 Michelangelo wasasked by the Pope Julius II a)creatingone of the greatest world heritage of all the time • 2. The work should be enormous: a surface of 800 b)to paint the vault of Sistine Chapel in Rome • 3. He workedonlyfouryears, completely alone, c)squaremetres to fresco with history from the Old Testament,Sibyls and Prophets • 1/……. • 2/…….. • 3/……..

17. Picture 5Cloze testRead the text below and fill in the missing words given below in scrambled order

18. KEYS • Picture 1 Cloze test. Read the text below and fill in the missing words given below in scrambled order • 1)island -2)preserves- 3)prehistory- 4)year- 5)graffiti- 6) figures- 7) fish – 8)ritual – 9)hunting • Picture 2. Match the twohalves to make complete sentences • 1/E; 2/A; 3/D; 4/B • Picture 3. Rearrange the followingsentences to make a complete text • The sequenceis:C/B/D/A/ • Picture 4. Match the twohalves to make complete sentences • 1/B; 2/C; 3/A • Picture 5. Cloze test. Read the text below and fill in the missing words given below in scrambled order • 1)mural; 2)created; 3)social; 4)responded; 5)street; 6)expressing; 7)death; 8)vivid; 9)figures; 10)messages

20. FILL IN THE GRID

21. Procedure First Lesson

22. Name………………………….Group…………………………. Date……………………………….

23. Procedure First Lesson

24. While the art of fresco painting reached its peak during the Italian Renaissance, examples of painting on wet plaster date back to 1500 B.C., and fresco paintings in caves were done more than 15,000 years ago. • Frescoes were used for many large-scale works during the Renaissance, such as the ceiling of the Sistine Chapel. • To achieve a buon or "true" fresco, artists use pure pigments and water to paint on wet plaster. Through this technique, the painting becomes part of the plaster wall or ceiling. An artist needs to work quickly and carefully while painting a true fresco because it cannot be changed once it dries. Several layers of plaster are applied to the wall or ceiling before the final painting layer is done. • Since plaster dries quickly, it was important for artists to work on a buon fresco in small sections. To make it easier, artists planned drawings of their work, called cartoons. After poking holes along the outline of a cartoon, an artist would hold it up to the wet plaster and apply a colored dust, such as charcoal, through the holes. This transferred the outline of the drawing on to the wet plaster. This technique is called Pouncing. • Alternately, artists could use a metal point to lightly indent the outline of the cartoon into the wet plaster.

25. ANSWER THE FOLLOWING QUESTIONS • 1.When can be found the first examples of fresco painting? • 2. How couldartistsmake a buon fresco? • 3. Why an artisthadto work quicklywhenmaking a fresco? • 4. Whatwere the cartoons? • 5. How could the drawing in the cartoon be transferred on the wetplaster? • 6. Whichothermethodcould be used to transfer the drawing in the cartoon on the wetplaster?

26. MATCH THE FOLLOWING ANSWERS TO THE APPROPRIATE QUESTIONS • 1. Theyweredrawings of the artist’s work • 2. First the artistpokedholesalong the outline of the drawing in the cartoon,afterthis cartoon was put on the wetplasterand,through the holes,charcoalwasapplied. Thismethodtransferred the outline of the drawing on the wetplaster. • 3. A metal pointcould be used to indent the outline of the cartoon into the wetplaster • 4. Theyused pure pigments and water to paint on wetplaster • 5. He had to be quickbecause he couldn’tchange the fresco ifitdried • 6. They can be found more than 15,000 years ago

27. /www.youtube.com/watch?v=Cej4Ggq5nQI

29. How to make a fresco On the wall are laid in succession by using a trowel:– Rinzaffo (rawmortar made of roughsand, water and lime)– Arriccio (mortar made of fine sand, water and lime)–Tonachino or intonachino (mortar made of fine sand, marblepowder, lime and water)– Painting (pigmentsdissolved with water).

30. Tickwhichanswer A,B,C best fitseachsentence 1. The rinzaffo is made of: • Rawmortar made of lime, plaster and water • Rawmortar made of water,limeand roughsand • Rawmortar made of water, lime and marblepowder 2. A layer of rawmortarisgenerally put • At the beginning • At the end • None of the above 3. Arriccio isapplied • After the rinzaffo • At the end • Before the rinzaffo 4. What are the stages in making a fresco? • Pigments,intonacoplaster,arriccio, rinzaffo • Rinzaffo, arriccio, intonaco plaster,pigments • Intonaco plaster, arriccio, pigments, rinzaffo

32. PIGMENTS AND BINDERS

33. Pigments are very fine powderthathavetheirowncolour, and they are colourmaterial for paint. • Paints are mainly made of pigments and binders. • The binders hold the pigments. • Tempera (from Latin=temperare=to mix) istraditionallycreated by hand-grinding dry powderedpigmentsinto a binding agent suchas: eggwhite, eggyolk, milk (in the form of caseine) and a variety of plantgums.

34. PIGMENTS • Yellow Ochre RedOchre (or Red Earth) Burnt Siena VandykeBrown

35. Bremer Blue Cobalt Green Titanium White

36. EGG YOLK • EGG WHITE • MILK IN THE FORM OF CASEINE BINDERS • PLANT GUMS

37. MATCH THE NAMES WITH THE DEFINITION

38. KEYS

42. Rearrange the following text:The paintings of the cave of Saint Margaret at Castellammare del Golfo. A) On the original marine creature, whichextendshorizontallyalong the wall, therewereprobablysuperimposed, atdifferentmoments, some figures made on a white background squared off in red and framed inside in yellow. B) On the opposite wallthereis a Crucifixion and traces of otherfigures C) Salts, mosses, humidity, aswellas the general poor state of conservation, have so corrupted the pictorialsurfacethat, in manyplaces, ithasfallencompletely and the iconographicrecognitionof thesefiguresisnotpossible. D) Oneof thesefiguresis the supposedSt.Margaret of Antioch, the otherfigures are probably: a Virgin Eleusa, a bearded Saint with a book and anotherunidentifiedcharacter. E) A fewkilometersaway from Castellammare in a rockycliffoverlooking the seathereis a cave, whichwasprobablyusedas a place of worship. There are some frescoes inside the cave. F) Enteringthe cave, the visitor'sattentionisimmediatelycaptured by a large pictorialgroup on the right. Itlies in a privileged and well-lit position and consists of a wide, elongated figure of a seamonster of whichonly the disturbing head remains; itisdatablewithin the time spanranging from XIII to XV century. G) Itispossible to suppose thatthisrepresentationhadhad the apotropaicfunction to protect the fishermenagainst the sharks. The right sequenceis: …../…./…./…./…./…./

43. The paintings of the cave of Saint Margaret at Castellammare del Golfo. A fewkilometersaway from Castellammare in a rockycliffoverlooking the seathereis a cave, whichwasprobablyusedas a place of worship. There are some frescoes inside the cave. Entering the cave, the visitor'sattentionisimmediatelycaptured by a large pictorialgroup on the right. Itlies in a privileged and well-lit position and consists of a wide, elongated figure of a seamonster of whichonly the disturbing head remains; itisdatablewithin the time spanranging from XIII to XV century. Itispossible to suppose thatthisrepresentationhadhad the apotropaicfunction to protect the fishermenagainst the sharks. On the original marine creature, whichextendshorizontallyalong the wall, therewereprobablysuperimposed, atdifferentmoments, some figures made on a white background squared off in red and framed inside in yellow. One of thesefiguresis the supposedSt.Margaret of Antioch, the otherfigures are probably: a Virgin Eleusa, a bearded Saint with a book and anotherunidentifiedcharacter. On the opposite wallthereis a Crucifixion and traces of otherfigures. Salts, mosses, humidity, aswellas the general poor state of conservation, have so corrupted the pictorialsurfacethat, in manyplaces, ithasfallencompletely and the iconographicrecognitionof thesefiguresisnotpossible.

45. ANSWER THE FOLLOWING QUESTIONS Look carefullyat the pictures. Whyisitdifficult to read the picture? In youropinion,whatthisdegradationis due to? • Isit easy to understandthatthisis Santa Margherita? • Whatcoloursare stillvisible? Where? • Whatwould be the procedure for retrieving the image?

46. Cloze testRead the text below and fill in the missing words given below in scrambled order A) The conservation The conservationisdesigned to 1)…………………… asmuchoriginalfinish and 2)……………………… aspossible. Itisespeciallyimportant to 3)…………………………….anycolour gaps in 4)……………………………, whetherpainted or sculpted. 5)………………………… with protectiveproducts or on the 6)………………………………and homogeneitybetweendifferentparts of the artwork.

47. B)The preservation • If the environment in which a work of art is 1)……………………isconsideredtoo aggressive and 2)…………………….. to its state of conservation, it can be 3)……………………into a more 4)…………………. environmentwhereit can be 5)…………………………in the best way for 6)……………………………generations.

48. C) The aestheticrestoration The aestheticrestorationis the pictorial1)…………………….of the missing2)…………………….. both in the design and the 3)…………………………. Itis more extremethansimple4)………………………

49. KEYS • A) 1.PRESERVE; 2.MATERIALS;3.PREVENT; 4.ARTWORK; 5. INTERVENTIONS; 6.ADHESION • B) 1.LOCATED; 2.DETRIMENTAL; 3.MOVED; 4.HEALTHY; 5)PRESERVED;6. FUTURE • C) 1.REINTEGRATION; 2. PARTS; 3.COLOUR; 4.CONSERVATION.