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New Fragmenti's of the Parthenon Acroteria
NEW FRAGMENTI'SOF THE PARTHENON ACROTERIA (PLATE 56) WOULD like to call attention to two new fragments of the floral acroteria of the Parthenon found recently in the storerooms of the Athens Acropolis Museum.' They are both palmette petals and join break-on-break to Acropolis Museum inv. no. 3442, a fragment from the right crowning half-palmette of Acroterion A (P1. 56: a, b, with new fragments in place).2 The new fragments are from the outermost petals of the crowning palmette and represent parts of these petals not preserved in the fragment of the corresponding left half-palmette of A, Acropolis Museum inv. no. 3446.3 The position of the outer petals is now known for the greater part of their length and their tips can be restored with increased surety. The larger of the new fragments shows clearly that the petal of which it is a part lies in a double curve, the lower part of the petal bending away from, the upper part toward the median line. This double curve, a characteristic of the so-called flame palmette, has been assumed in reconstructions of the Parthenon acroteria on the basis of later parallels; it is attested by the new fragments for the first time. 1 I am grateful to Dr. George Dontas, Ephor of the Acropolis, for permission to publish these fragments, and to Mrs. Maria Brouskari for generously facilitating my work in the museum. I am grateful also to Eugene Vanderpool, Jr. for the accompanying photographs, and to William B. Dinsmoor, Jr. for the new reconstruction of the crowning palmette. -
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
The Rinceau Design, the Minor Arts and the St. Louis Psalter
The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1 -
Australian Official Journal Of
Vol: 20 , No. 4 2 February 2006 AUSTRALIAN OFFICIAL JOURNAL OF TRADE MARKS Did you know a searchable version of this journal is now available online? It's FREE and EASY to SEARCH. Find it at http://pericles.ipaustralia.gov.au/ols/epublish/content/olsEpublications.jsp or using the "Online Journals" link on the IP Australia home page. The Australian Official Journal of Designs is part of the Official Journal issued by the Commissioner of Patents for the purposes of the Patents Act 1990, the Trade Marks Act 1995 and Designs Act 2003. This Page Left Intentionally Blank (ISSN 0819-1808) AUSTRALIAN OFFICIAL JOURNAL OF TRADE MARKS 2 February 2006 Contents General Information & Notices IR means "International Registration" Amendments and Changes Application/IRs Amended and Changes ...................... 1175 Registrations/Protected IRs Amended and Changed ................ 1178 Applications for Extension of Time ...................... 1175 Applications/IRs Accepted for Registartion/Protection .......... 877 Applications/IRs Filed Nos 1092349 to 1093924 ............................. 841 Applications/IRs Lapsed, Withdrawn and Refused Lapsed ...................................... 1179 Withdrawn..................................... 1179 Refused ...................................... 1179 Assignments, Trasnmittals and Transfers .................. 1179 Cancellations of Entries in Register ...................... 1181 Corrigenda ...................................... 1183 Notices ........................................ 1175 Opposition Proceedings ............................ -
THE PASSAGE of LOTUS ORNAMENT from EGYPTIAN to THAI a Study of Origin, Metamorphosis, and Influence on Traditional Thai Decorative Ornament
The Bulletin of JSSD Vol.1 No.2 pp.1-2(2000) Original papers Received November 13, 2013; Accepted April 8, 2014 Original paper THE PASSAGE OF LOTUS ORNAMENT FROM EGYPTIAN TO THAI A study of origin, metamorphosis, and influence on traditional Thai decorative ornament Suppata WANVIRATIKUL Kyoto Institute of Technology, 1 Hashigami-cho, Matsugasaki, Sakyo-ku, Kyoto 606-8585, Japan Abstract: Lotus is believed to be the origin of Thai ornament. The first documented drawing of Thai ornament came with Buddhist missionary from India in 800 AD. Ancient Indian ornament received some of its influence from Greek since 200 BC. Ancient Greek ornament received its influence from Egypt, which is the first civilization to create lotus ornament. Hence, it is valid to assume that Thai ornament should have origin or some of its influence from Egypt. In order to prove this assumption, this research will divine into many parts. This paper is the first part and serves as a foundation part for the entire research, showing the passage, metamorphosis and connotation of Thai ornament from the lotus ornament in Egypt. Before arriving in Thailand, Egyptian lotus had travelled around the world by mean of trade, war, religious, colonization, and politic. Its concept, arrangement and application are largely intact, however, its shape largely altered due to different culture and belief of the land that the ornament has travelled through. Keywords: Lotus; Ornament; Metamorphosis; Influence; Thailand 1. Introduction changing of culture and art. Traditional decorative Through the long history of mankind, the traditional ornament has also changed, nowadays it can be assumed decorative ornament has originally been the symbol of that the derivation has been neglected, the correct meaning identifying and representing the nation. -
The Grottesche Part 1. Fragment to Field
CHAPTER 11 The Grottesche Part 1. Fragment to Field We touched on the grottesche as a mode of aggregating decorative fragments into structures which could display the artist’s mastery of design and imagi- native invention.1 The grottesche show the far-reaching transformation which had occurred in the conception and handling of ornament, with the exaltation of antiquity and the growth of ideas of artistic style, fed by a confluence of rhe- torical and Aristotelian thought.2 They exhibit a decorative style which spreads through painted façades, church and palace decoration, frames, furnishings, intermediary spaces and areas of ‘licence’ such as gardens.3 Such proliferation shows the flexibility of candelabra, peopled acanthus or arabesque ornament, which can be readily adapted to various shapes and registers; the grottesche also illustrate the kind of ornament which flourished under printing. With their lack of narrative, end or occasion, they can be used throughout a context, and so achieve a unifying decorative mode. In this ease of application lies a reason for their prolific success as the characteristic form of Renaissance ornament, and their centrality to later historicist readings of ornament as period style. This appears in their success in Neo-Renaissance style and nineteenth century 1 The extant drawings of antique ornament by Giuliano da Sangallo, Amico Aspertini, Jacopo Ripanda, Bambaia and the artists of the Codex Escurialensis are contemporary with—or reflect—the exploration of the Domus Aurea. On the influence of the Domus Aurea in the formation of the grottesche, see Nicole Dacos, La Découverte de la Domus Aurea et la Formation des grotesques à la Renaissance (London: Warburg Institute, Leiden: Brill, 1969); idem, “Ghirlandaio et l’antique”, Bulletin de l’Institut Historique Belge de Rome 39 (1962), 419– 55; idem, Le Logge di Raffaello: Maestro e bottega di fronte all’antica (Rome: Istituto Poligrafico e Zecca dello Stato, 1977, 2nd ed. -
Acanthus a Stylized Leaf Pattern Used to Decorate Corinthian Or
Historical and Architectural Elements Represented in the Weld County Court House The Weld County Court House blends a wide variety of historical and architectural elements. Words such as metope, dentil or frieze might only be familiar to those in the architectural field; however, this glossary will assist the rest of us to more fully comprehend the design components used throughout the building and where examples can be found. Without Mr. Bowman’s records, we can only guess at the interpretations of the more interesting symbols used at the entrances of the courtrooms and surrounding each of the clocks in Divisions 3 and 1. A stylized leaf pattern used to decorate Acanthus Corinthian or Composite capitals. They also are used in friezes and modillions and can be found in classical Greek and Roman architecture. Amphora A form of Greek pottery that appears on pediments above doorways. Examples of the use of amphora in the Court House are in Division 1 on the fourth floor. Atrium Inner court of a Roman-style building. A top-lit covered opening rising through all stories of a building. Arcade A series of arches on pillars. In the Middle Ages, the arches were ornamentally applied to walls. Arcades would have housed statues in Roman or Greek buildings. A row of small posts that support the upper Balustrade railing, joined by a handrail, serving as an enclosure for balconies, terraces, etc. Examples in the Court House include the area over the staircase leading to the second floor and surrounding the atria on the third and fourth floors. -
Preserving Historic Ornamental Plaster David Flaharty
PRESERVATION BRIEFS Preserving Historic Ornamental Plaster David Flaharty U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services From the time America struggled for a new identity as the 1930s. During this two hundred year period, as the a constitutional republic-and well into the 20th Georgian and Federal styles yielded to the revivals century-its architecture and its decorative detailing Greek, Rococo, Gothic, Renaissance, and Spanish remained firmly rooted in the European classicism of decorative plaster reflected each style, resulting in the Palladio, Wren, and Mansart. wide variety of ornamentation that survives. The tradi tional methods of producing and installing interior Together with skilled masons and carpenters, orna decorative plaster were brought from Europe to this mental plasterers saw their inherited trade flourish country intact and its practice remains virtually un from the mid-18th century until the Depression years of changed to this day. Fig. 1. Ornamental plaster studios employed the following personnel: Draftsmen to interpret architectural details in shop drawings; sculptors who modelled in clay; model makers who assembled sculpted, plain-run and pre-cast elements into an ornamental unit; moldmakers who made rigid or flexible negative tooling; casters who made production units; finishers (often the caster's wives) who cleaned the casts; and laborers who assisted skilled personnel in operating efficiently. This studio was in Philadelphia, c. 1915. Photo: Courtesy, M. Earle Felber. Styles of Decorative Plaster in America, 18th-20th Centuries d e (a) Kenmore, Fredericksburg, Virginia. c. 1752. Georgian in style with orna mental ceilings based on Batty Langley's 1739 English style book, the plaster work was executed by a Frenchman in the mid-1770s. -
Designing Style: a Guide
DESIGNING STYLE A Guide to Designing with Today’s Vinyl Siding CONTENTS Architectural Styles Cape Cod Italianate French Colonial Queen Anne Georgian Folk Victorian Federal/Adam Craftsman Greek Revival Product Overview Traditional Profiles Color and Texture Specialty Profiles The Vinyl Siding Institute developed Designing Style: A Guide to Designing with Today’s Architectural Trim and Other Accessories Vinyl Siding as a resource for designing with and/or specifying vinyl and other polymeric Soffit siding, architectural trim, and accessories. We believe the most effective way to communicate the breadth and depth of products available today — and the creative, limitless possibilities Photo Gallery for design – is by example. Throughout this guide, we’ve included many photographs and illustrations plus information to help create each specific architectural style. Appendix Contents Architectural Styles Product Overview Photo Gallery Architectural Styles This guide showcases nine house designs, each featuring a different architectural style used as precedent. The specific design examples are not intended to represent strict architectural principles, but rather demonstrate design variations inspired by each style. Styles used as precedent were selected from the Colonial, Romantic, Victorian, and Eclectic periods of architecture. They include: Cape Cod Federal/Adam Queen Anne French Colonial Greek Revival Folk Victorian Georgian Italianate Craftsman Each featured style offers an explanation of its distinguishing characteristics and an overview of suggested vinyl siding profiles, colors, architectural trim, and accessories available to help achieve its look, with all of its rich detail. A variety of photographs are included to demonstrate how each style has been interpreted through designs using vinyl siding. The possibilities for residential design are as limitless as your imagination. -
Study of the Ornamentation of Bhong Mosque for the Survival of Decorative Patterns in Islamic Architecture
Frontiers of Architectural Research (2018) 7, 122–134 Available online at www.sciencedirect.com Frontiers of Architectural Research www.keaipublishing.com/foar RESEARCH ARTICLE Study of the ornamentation of Bhong Mosque for the survival of decorative patterns in Islamic architecture Madiha Ahmada,b, Khuram Rashidb,n, Neelum Nazc aDepartment of Architecture, University of Lahore, Pakistan bDepartment of Architectural Engineering and Design, University of Engineering and Technology, Lahore, Pakistan cDepartment of Architecture, University of Engineering and Technology, Lahore, Pakistan Received 15 November 2017; received in revised form 15 March 2018; accepted 16 March 2018 KEYWORDS Abstract Bhong Mosque; Islamic architecture is rich in decorative patterns. Mosques were constructed in the past as Decorative patterns; simple buildings for offering prayers five times a day. However, in subsequent periods, Categorization; various features of ornamentation in the form of geometry and arabesque were applied to Geometry; the surfaces of mosques to portray paradise symbolically. This research applied descriptive Arabesque approaches to examine the surviving patterns of the Aga-Khan-awarded Bhong Mosque and categorized these patterns as geometric and arabesque. This categorization was achieved by photography, use of software for patterns, and conducting interviews with local elderly persons in the region. The geometric patterns were simple 6- and 8-point star patterns. Several of the earliest examples of rosette petals exhibited 8- and 10-point star patterns and were categorized by incorporating the geometric style and location of mosques. This research investigated different arabesque categories and inscription types and determined the aesthetic and cultural reasons for their placement on various surfaces. Frescoes had different types of flowers, fruits, and leaves, and a few of them belonged to the local region. -
The Pomegranate Pattern in Italian Renaissance Textiles
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 1994 The omegP ranate Pattern in Italian Renaissance Textiles: Origins and Influence Rosalia Bonito Fanelli Museo del Tessuto, Firenze, Italy Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Fanelli, Rosalia Bonito, "The omeP granate Pattern in Italian Renaissance Textiles: Origins and Influence" (1994). Textile Society of America Symposium Proceedings. 1042. https://digitalcommons.unl.edu/tsaconf/1042 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Fanelli, Rosalia Bonito. “The Pomegranate Pattern in Italian Renaissance Textiles: Origins and Influence.” Contact, Crossover, Continuity: Proceedings of the Fourth Biennial Symposium of the Textile Society of America, September 22–24, 1994 (Los Angeles, CA: Textile Society of America, Inc., 1995). THE POMEGRANATE PATTERN IN ITALIAN RENAISSANCE TEXTILES: ORIGINS AND INFLUENCE 1 ROSALIA BONITO FANELLI Museo del Tessuto. Prato: Via Puccinotti 105. 50129 Firenze. Italy THE NINETEENTH CENTURY TRADITION The term 11 pomegranate mot-if 11 includes a series of vegetal patterns - the pine cone. the artichoke. the thistle. variants of the tree-of-life motif. and. in particular. the lotus and the palmette. These last two patterns were closely studied by Alois Riegl in his 1893 work. -
P4vor 6-44S Ana' P4por Cuase
P4vor 6-44s Ana' P4por Cuase Ashley Machum With information constantly shifting to online water. "The fibers from trees were discovered to formats it seems that a paperless society is quite be an ideal and cheap source" and are *hat the possible. However, the online format can never majority of today's papers are made froin (Garner, deliver the tactile experience that holding a piece 2006, p. 7). There are specialty papers made to of paper can. Those who seek the solace of paper satisfy any individual's needs. should consider paper crafts as a means to reconnect with the real thing. Making paper crafts involves using any type of paper, they "mix any form of paper or card stock The human connection with paper has existed for to create interesting and innovative craft projects" thousands of years. It began in Egypt when, "the (Garner, 2006, p. 8). It is not necessary to exceed first form of paper was invented over 5,000 years the budget when offering a craft progrgn. Paper ago." This type of paper is known as papyrus. for programs can be sourced "in fine art supply The name is derived from the "plant called and craft stores, as well as in home improvement Cyperus papyrus" of which the paper is made of stores, party and office supply stores, and from its thin slices layered (Garber, 2006, p. 6). Today's online suppliers. Recycled magazines and catalogs method for making paper is "attributed to the are another excellent source of paper" (Le Van, Chinese inventor T'sai Lun in the years around 2006, p.8).