A Mosaic Floor from a Roman Villa at Anaploga
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Lighting and Byzantine Glass Tesserae
EVA London Conference ~ 11–13 July 2007 Eva Zányi, Carla Schroer, Mark Mudge, and Alan Chalmers _____________________________________________________________________ LIGHTING AND BYZANTINE GLASS TESSERAE Eva Zányi†, Carla Schroer‡, Mark Mudge‡, Alan Chalmers† † Warwick Digital Laboratory University of Warwick Coventry CV4 7AL United Kingdom [email protected], [email protected] http://www.warwickdigital.org ‡ Cultural Heritage Imaging San Francisco USA [email protected], [email protected] http://www.c-h-i.org Abstract – A key component of many Byzantine churches was the mosaics on the curved walls and ceilings, which included gold and silver glass tesserae. As the viewer or the light moved within the church, these tesserae sparkled. In this paper we describe how we captured a Polynomial Texture Map of the apse mosaic at the Angeloktisti Church at Kiti, Cyprus and used it to investigate how the position of the lighting may have affected the appearance of the mosaic. Our study showed that the appearance of the mosaics is indeed significantly different when lit from various directions. INTRODUCTION From the outside Byzantine churches look unimposing; without much decoration, no paint or precious materials. This is very different to the interior, which provided those inside the space with dramatic visual affects aiming at alleviating and engaging the viewer to approach God [14]. The architecture used light and shadow to symbolically represent different sacral hierarchies and direct the attention of the viewer. Therefore the upper parts of the churches, which represented heaven, were better lit than the lower parts. In early Byzantium this was achieved with the help of daylight through small xxxx Figure 1. -
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 -
CULTURAL RESOURCES INVENTORY MORRIS COUNTY, NEW JERSEY PHASE III: Chatham Borough, Chatham Township, Dover, Madison, Montville, Mount Arlington
CULTURAL RESOURCES INVENTORY MORRIS COUNTY, NEW JERSEY PHASE III: Chatham Borough, Chatham Township, Dover, Madison, Montville, Mount Arlington Principal Investigators: Jennifer B. Leynes Kelly E. Wiles Prepared by: RGA, Inc. 259 Prospect Plains Road, Building D Cranbury, New Jersey 08512 Prepared for: Morris County Department of Planning and Public Works, Division of Planning and Preservation Date: October 15, 2015 BOROUGH OF MADISON MUNICIPAL OVERVIEW: THE BOROUGH OF MADISON “THE ROSE CITY” TOTAL SQUARE MILES: 4.2 POPULATION: 15,845 (2010 CENSUS) TOTAL SURVEYED HISTORIC RESOURCES: 136 SITES LOST SINCE 19861: 21 • 83 Pomeroy Road: demolished between 2002-2007 • 2 Garfield Avenue: demolished between 1987-1991 • Garfield Avenue: demolished c. 1987 • Madison Golf Club Clubhouse: demolished 2007 • George Wilder House: demolished 2001 • Barlow House: demolished between 1987-1991 • Bottle Hill Tavern: demolished 1991 • 13 Cross Street: demolished between 1987-1991 • 198 Kings Road: demolished between 1987-1991 • 92 Greenwood Avenue: demolished c. 2013 • Wisteria Lodge: demolished 1988 • 196 Greenwood Avenue: demolished between 2002-2007 • 194 Rosedale Avenue: demolished c. 2013 • C.A. Bruen House: demolished between 2002-2006 • 85 Green Avenue: demolished 2015 • 21, 23, 25 and 63 Ridgedale Avenue in the Ridgedale Avenue Streetscape/Bottle Hill Historic District: demolished c. 2013 • 21 and 23 Cook Avenue in the Ridgedale Avenue Streetscape: demolished between 1995-2002 RESOURCES DOCUMENTED BY HABS/HAER/HALS: • Bottle Hill Tavern (117 Main -
Lot Description LOW Estimate HIGH Estimate 2000 German Rococo Style Silvered Wall Mirror, of Oval Form with a Wide Repoussé F
LOW HIGH Lot Description Estimate Estimate German Rococo style silvered wall mirror, of oval form with a wide repoussé frame having 2000 'C' scroll cartouches, with floral accents and putti, 27"h x 20.5"w $ 300 - 500 Polychrome Murano style art glass vase, of tear drop form with a stick neck, bulbous body, and resting on a circular foot, executed in cobalt, red, orange, white, and yellow 2001 wtih pulled lines on the neck and large mille fleur designs on the body, the whole cased in clear glass, 16"h x 6.75"w $ 200 - 400 Bird's nest bubble bowl by Cristy Aloysi and Scott Graham, executed in aubergine glass 2002 with slate blue veining, of circular form, blown with a double wall and resting on a circular foot, signed Aloysi & Graham, 6"h x 12"dia $ 300 - 500 Monumental Murano centerpiece vase by Seguso Viro, executed in gold flecked clear 2003 glass, having an inverted bell form with a flared rim and twisting ribbed body, resting on a ribbed knop rising on a circular foot, signed Seguso Viro, 20"h x 11"w $ 600 - 900 2004 No Lot (lot of 2) Art glass group, consisting of a low bowl, having an orange rim surmounting the 2005 blue to green swirl decorated body 3"h x 11"w, together with a French art glass bowl, having a pulled design, 2.5"h x 6"w $ 300 - 500 Archimede Seguso (Italian, 1909-1999) art glass sculpture, depicting the head of a lady, 2006 gazing at a stylized geometric arch in blue, and rising on an oval glass base, edition 7 of 7, signed and numbered to underside, 7"h x 19"w $ 1,500 - 2,500 Rene Lalique "Tortues" amber glass vase, introduced 1926, having a globular form with a 2007 flared mouth, the surface covered with tortoises, underside with molded "R. -
Caf Ar 419 Glassblowing
Calle Renier, Dorsoduro 3655 – 30125 Venezia tel. 041.296 0599 CAF AR 419 GLASSBLOWING INSTRUCTOR: Davide Penso [email protected] CLASS: every Tuesday from 3.00 pm to 7.00 pm (56 hours) SITE: Murano Isle COURSE DESCRIPTION The CFA AR 419 Glassblowing is a course that takes place on the Murano Isle, and it is an introduction to the real professional way to approach the torch and how to melt glass. During this course students learn about tools used for creating glass beads. Each student learns how to create his/her own bead and right out of his/her first jewelry, through the assistance and monitoring of the instructor. Each student is assigned a workstation equipped with its own workspace and torch. Each workspace has all the tools she/he needs, including: steel spindles or needles, safety glasses, pan pot of graphite, flat pliers to shape the glass, vermiculite to cool beads, etc. In addition, many glass rods of many different colors. The number of students per class is limited to 8. This allows the instructor a personalized evaluation, constant feedback and instructions. During the course, students will learn about tools for beads design and creation, most of glass fusion techniques, from the project to the professional production of the beads, designing jewelry, and strategy of sales. On the 3rd of December, students will visit the Glass Museum in Murano. In addition, the optional visit to the furnace where students can see Giancarlo Signoretto’s glass sculptures, on the 3rd or on the 10th of December. REQUIREMENTS For this course no requirements are asked. -
Authentication
AUTHENTICATION 1. LOGO Authentication starts with a logo. No logo, no Montici. True, Blow issued a limited number of mosaic pieces with no logo between the start of his mosaic career circa 1947 and the creation of the first Montici logo in 1951. But the odds are against finding such early pieces on the market. Pyramids and Dots On May 25, 1951, Blow registered with the U.S. Patent and Trademark office his famous, classic black- and-white “two-triangle” logo, Blow had impeccable style and taste, right down to his choice of material for his tiny, signature logo. These original logos were made out of legendary Murano glass from Venice, called murino in Italian. Per Lastrucci, the glass came out of the fire in the form of aa tube; the tube was then sliced into individual logos. According to scholars, Venetians have been making glass for over 1,500 years, and on the Venetian island of Murano since the 13th century. In addition to the original 1951 Logo, Blow also created and used a second logo, a stylized letter “M” with a white dot on top. This dot logo was registered in Italy on Feb. 23, 1956. Why he created a second logo is an interesting story, shared with our sister Rosemary by maestro Bruno Lastrucci. At some point in the 1950s, the workshop ran out of logos, due to the exploding demand for Blow’s art pieces. While impatiently waiting for the reorder from Venice, Blow created the second logo to fill the gap. The simple dot ended up as a “cap” when translated into material. -
Corinth, 1987: South of Temple E and East of the Theater
CORINTH, 1987: SOUTH OF TEMPLE E AND EAST OF THE THEATER (PLATES 33-44) ARCHAEOLOGICAL INVESTIGATIONS by the American School of Classical Studies at Athens were conductedin 1987 at Ancient Corinth south of Temple E and east of the Theater (Fig. 1). In both areas work was a continuationof the activitiesof 1986.1 AREA OF THE DECUMANUS SOUTH OF TEMPLE E ROMAN LEVELS (Fig. 1; Pls. 33-37:a) The area that now lies excavated south of Temple E is, at a maximum, 25 m. north-south by 13.25 m. east-west. The earliest architecturalfeature exposed in this set of trenches is a paved east-west road, identified in the 1986 excavation report as the Roman decumanus south of Temple E (P1. 33). This year more of that street has been uncovered, with a length of 13.25 m. of paving now cleared, along with a sidewalk on either side. The street is badly damaged in two areas, the result of Late Roman activity conducted in I The Greek Government,especially the Greek ArchaeologicalService, has again in 1987 made it possible for the American School to continue its work at Corinth. Without the cooperationof I. Tzedakis, the Director of the Greek ArchaeologicalService, Mrs. P. Pachyianni, Ephor of Antiquities of the Argolid and Corinthia, and Mrs. Z. Aslamantzidou, epimeletria for the Corinthia, the 1987 season would have been impossible. Thanks are also due to the Director of the American School of Classical Studies, ProfessorS. G. Miller. The field staff of the regular excavationseason includedMisses A. A. Ajootian,G. L. Hoffman, and J. -
TILE HERITAGE FOUNDATION U.S. Catalog Collection Catalog Order Form
TILE HERITAGE FOUNDATION U.S. Catalog Collection Catalog Order Form To order one or more, first check the desired catalogs on the list below. Note the price of the catalog(s), then THF members may deduct 10% from the total (use code THF2014 online). Note that you may join Tile Heritage with a $45 tax-deductible donation. Add your local sales tax if or- dered from California and then add the appropriate shipping charge. Order online, fax your order with your credit card info, or make your check payable to Tile Heritage Foundation and mail with your list to Tile Heritage, P. O. Box 1850, Healdsburg, CA 95448. American Express, Discover, Visa and Mastercard are accepted. Simply supply us with the card number, expiration date and the name on the card. Do not email your credit card number. Order Form: U.S. Tile Catalog Reproductions Qty Catalog Price Total ____ Alhambra Tile Co: “Faience Arch Mantels.” $25 b&w ____ ____ Alhambra Tile Co: “Artistic Designs of Mantels.” $40 w/color ____ ____ American Encaustic: “Artistic Tiles” $40 w/color ____ ____ American Encaustic: “Ceramic Mosaic” (Cat. A) $75 color ____ ____ American Encaustic: “Lombardic Mosaic” $60 color ____ ____ American Encaustic: “Tile Design” $20 w/color ____ ____ American Encaustic: Aetcotype Accessories $75 color ____ ____ ATM: Arch. Monograph, No. 1. $15 w/color ____ ____ ATM: Arch. Monograph, No. 2. $15 w/color ____ ____ ATM: Arch. Monograph, No. 3. $15 w/color ____ ____ ATM: Arch. Monograph, No. 4. $15 w/color ____ ____ ATM: Arch. Monograph, No. -
Fietra Dura, Also' Called Florentine Mosaic, Consists In
MOSAIC AND PIETRA DURA. 429 qui site shading of the colors, the brilliant though softened effeot of the group of views, the atmosphere a~d sky of each mingling into the same ethereal tint, which relieved the eye and allowed it to rest with pleasure on the separate views: it was certainly a masterpiece. The author never left the Crystal Palace without passing by the table, which always excited fresh admiration. There. were two other mosaics, much laTger than the former, and different in style, that were remarkably fine specimens of workmam;hip: one was a copy of a celebrated picture, . by Guercino,-a St. John the Baptist; and the other a portrait of Pope Boniface the Second. A circular table, a square slab, and a picture represent ing a view of P:;estum, were likewise 'among the Roman mosaics in the London Exhibition. Dr. Chilton, of New York, has a beautiful Roman mosaic of the Pantheon, about three inches long. In the New York Exhibition, in 1853, the large pic ture of Pope Pia IX., in medallion size, was much ad mired. In the Paris Exhibition, in 1855, many large wOTksof Roman mosaics were exhibited; one in particular, belong ing to the Duke of Tuscany, required the constant work of fourteen years, and cost 700,000 francs. A large table in the rotU11da of the panorama, of rich and elegant Roman mosaic, cost 400.,000 ii'anes. The famous picture of the' Campo-vacino, in Rome, by Galand, cost the artist ten years' labor. Fietra dura, also' called Florentine mosaic, consists in the manufacture of hard stone inlaid in a slab of marble; they are, for the most part, of the quartz species, such as agates, jasper, chalcedony, carnelian, &c.; also, lapis lazuli, malachite, and aHsuch hard and colored minerals which, by their depth of color and brilliancy of lustre largely con· . -
CERAMIC ART and EXPRESSION: EXPERIMENTING with MOSAIC ART by Paul Owusu Attakorah BA (Integrated Rural Art and Industry) a Thesi
CERAMIC ART AND EXPRESSION: EXPERIMENTING WITH MOSAIC ART By Paul Owusu Attakorah BA (Integrated Rural Art and Industry) A Thesis submitted to the Department of Industrial Art, Kwame Nkrumah University of Science and Technology in partial fulfillment of the requirements for the degree of MASTER OF FINE ART (CERAMICS) College of Art and Built Environment © Department of Industrial Art June, 2015 i CERTIFICATION I hereby declare that this submission is my own work towards the MFA and that, to the best of my knowledge; it contains neither material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. PAUL OWUSU ATTAKORAH ………………… …………… (PG 7278212) (STUDENT) SIGNATURE DATE Certified by: MR.ALBERT ASSUMAN ………………… …………. (SUPERVISOR) SIGNATURE DATE Certified by: DR. EBENEZER KOFI HOWARD ……………… ………… (HEAD OF DEPARTMENT) SIGNATURE DATE ii ABSTRACT Mosaic art has been practiced all over the world and generally in two dimensional forms. The main objective of this project is to depict Clay beads mosaic in a three dimensional form for better appreciation and artistic grandeur in clay medium. Inspired by the wisdom of the Egret bird, a design was developed to produce a thought- provoking piece titled “Wisdom Bead Mosaic”. This work was achieved through design thinking, systematic procedure and a tandem of artistic skills and studio practice. The materials used were clay, iron rods and binding wire. The nine (9) feet work provided stimuli among both artist and non-artist. It became evidently clear that mosaic art can be expressively executed in three dimensional and be a resource for beautifying the environment. -
Application for Mosaic Leadership Scholarship a Mosaic Is Anything Made up of Various and Unique Elements That Together Forms a Single Composite Whole
Application for Mosaic Leadership Scholarship A mosaic is anything made up of various and unique elements that together forms a single composite whole. A mosaic consists of different textures, colors, shapes, and sizes–each one beautiful, valuable, and representing something that is an irreplaceable and essential part of the whole. Through the Mosaic Leadership Scholarship, North Park Theological Seminary (NPTS) supports the vision of the Evangelical Covenant Church (ECC) which values becoming a church that is anchored in the multi- cultural, multi-ethnic diversity of the kingdom of God. Mosaic Leadership Scholarships are designed to support leaders, with multi-cultural or multi-ethnic backgrounds, who desire to become further equipped through theological education, in order to strengthen the mosaic tapestry of the Church. Mosaic Leadership Scholarships recognize men and women who have demonstrated, through previous leadership (in ministry, community, career, civic, or pastoral contexts) the potential for significantly expanded and more effective work and ministry in the church and/or society. Mosaic Leadership Scholarships are offered to degree-seeking students as part of a financial aid award package. Financial aid awards assume a personal financial investment and the opportunity for the student to benefit from the Church Matching Grant program. Evangelical Covenant students applying for the Mosaic Leadership Scholarship may also be eligible to apply for a Presidential Scholarship. Mosaic Leadership Scholarships are offered to a limited -
TROVE at ICFF 2014 Release FINAL
TROVE BRINGS STUNNING NEW SPRING COLLECTION TO ICFF New York, NY, May 17-20 Booth #2006 (May, 2014 – New York, NY) Returning to ICFF this year, Trove celebrates spring with an alluring new collection of images and patterns that once again push the dimension of wallpaper design in beautiful and unexpected ways. Jee Levin and Randall Buck, co- founders of Trove, are innovative multimedia designers who approach each new collection as artists to a blank canvas. Drawing influences from myriad media and experiences—from architecture, film and art history to travel and nature—this new collection exhibits the distinctive qualities of Trove designs: surprising scale, unconventional color palette, and a poetry and grace that transforms walls into works of art, inviting interpretation. At ICFF in the Javits Center (Booth #2006), Trove will present five arresting new designs: Allee, Rinceau, Grotte, Suichuka, and Macondo along with Trace, a recently released design that makes its ICFF debut this year. All of the patterns are available in 6 colorways and in Trove’s signature scale, which repeats at 12-foot high and 6-foot wide and can be customized to height. Allee Allee presents an expansive dreamscape inspired by Alain Resnais’ 1961 film, “Last Year at Marienbad.” Set in an unspecified formal garden, the film plays with spatial and temporal shifts in scenes to create an ambiguous narrative. The designers translate the cinematic repetition to photographic repetition, composing a landscape organized around a central pathway thereby inviting the passerby to wander into this mise en scene. Rinceau French for foliage, “rinceau” describes a style of filigree that is characterized by leafy stems, florid swirls and sinuous natural elements.