DOCSLIB.ORG

Deterioration and Conservation Rome November 1977

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deterioration and Conservation Rome November 1977 noi 4,4 A11111 Ilk*** 3 A 10 . a I lab IP iisis sew isite .4 • 041441411. 14 41A wws - Iv 4111.810 Al 1164avo0w 1 1111. deterioration and conservation rome november 1977 ICCROM mosoce nol deterioration anc conservation rome november 1977 This report was published by the International Centre for the Study of the Preservation and the Restoration of Cultural Property, (lCCROM), 13 Via di San Michele, Rome. The layout was done by Veronigue Demaret. Forrest Selvig edited this English edition. ACKNOWLEDGMENTS This volume contains the proceedings of the First International Sym- posium on the Conservation of Mosaics which was held in Rome from 2 to 5 November 1977. It was produced by the collaboration of the following persons: Patricia Bonicatti Veronique Demaret Gael de Guichen Susan Inman Patricia Johnson Cynthia Rockwell Forrest Selvig The Symposium was made possible by grants generously given by UNESCO, the Direction des Musees de France and the Goethe-Institut. On behalf of all the participants, we would like to express our sincere gratitude to all those who made this symposium possible. ICCROM FOREWORD As an inter-governmental organization entrusted with the conservation and restoration of cultural property, ICCROM is happy to have conceived and organized this First International Symposium on the Conservation of Mosaics. Indeed, in almost every country that was formerly part of the ancient Roman world, wall or pavement mosaics are often poorly main- tained after their discovery. This leads to the rapid disappearance of unique parts of our patrimony. Awareness of this problem iš necessary at all leve!s: on the technical level so that conservators share their experiences and criticize and improve, if necessary, older methods and techniques; among archaeologists so that they recognize• that a newly discovered mosaic is a mosaic in danger and that their duty toward it does not end with scholarly study and publication. Conservation is surely one of the archaeologist's duties. Though it may be difficult, it is no less imperative; among administrators who must understand the importance of this patrimony, be interested in it, and budget adequately for its conservation; on the public level so that specialists responsible for conservation receive support from both groups and individuals. It is the public, 'after all, that benefits and is served by the world-wide conservation movement. We dare hope that each participant, upon returning to his own country, will work to spread the ideas that have been exchanged at this meeting, and that, in this way,the mosaics discovered will be transmitted intact to future generations. • Bernard M. Feilden, Director, ICCROM 1 September 1978 Sources of illustrations All photographs were furnished by the authors of the plate, E. Ritter, 12, Dietz-Demus, Byzantine Mosaics, fig 67, respective papers except for the following: paper by 13 and 16, plates, M. Skiadaresis, 14 and 15, Ecole Pratique Irina Andreescu, 1, plate, Archivio di Stato, Venice, 2 and des Hautes Etudes, Paris, from Dietz-Demus, op. cit.. 11, plates, Dietmar Saretz, 3 - 8, plates, Soprintendenza figs. 89 - 90; paper by Paul Phjlippot. photographs furnished ai Monumenti, Trieste, 9, plate, Collection Chretienne et by Gael de Guichen; paper by Ciro Robotti, and cover, Byzantine, Ecole Pratique des Hautes Etudes, Paris, 10, Archivio, Soprintendenza Archeologica di Ostia. LIST OF PARTICIPANTS Maria Luisa Abreu Nunes Conservation technician, Museu Nacional de Arqueologia e Etnologia, R. Tenente Ferreira Durao, 55 - 3 Esq., Lisbon, Portugal Margaret Alexander Professor and Co-Director, Corpus of the Mosaics of Tunis, Department of Classics, University of Iowa, Iowa City, Iowa 52242, U.S.A. lrina Andreescu Assistant Professor of Byzantine Archaeology, Center for Byzantine Studies, Dumbarton Oaks, 1703 Thirty-second Street N.W., Washington, D.C. 20007, U.S.A. Elisabetta Anselmi Restorer, Istituto Centrale del Restauro, Piazza San Francesco di Paola 9, 00186 Rome, Italy Vincenzo Antonelli Soprintendenza Beni Ambientali ed Architettonici di Venezia, Palazzo Ducale, Venice, Italy Claude Bassier Restorer, Sauvetage Archéologique, SOCRA, Quartier des Usines du Toulon, 24000 Perigueux, France Luisa Bertacchi Director, Museo Archeologico Nazionale, Via Roma 1, Aquileia (Udine), Italy Malika Boutira Direction des Beaux Arts, 119 rue Didouche Mourane, Algiers, Algeria Gianfranco Bustacchini Restorer, Accademia di Belle Arti, Ravenna, Italy Paolo Cozzi Restorer, Opificio delle Pietre Dure, Via degli Alfani 78, 50121 Florence, Italy 7 Anne Destrooper Archaeologist, Universite Catholique de Louvain, C/o Anna Kabanopoulou, Voulgaroktonou - Franzi, 14, Athens 708, Greece Edith Dietze Anthropology Conservation Laboratory, NHB Room 361, Smithsonian Institution, Washington, D.C. 20560, U.S.A. Mongi Ennaifer Curator, Musee du Bardo, and Director, Corpus des Mosaiques de Tunisie, Musee du Bardo, Le Bardo, Tunisia Jeronimo Escalera Urena Restorer, Chief of the Mosaics Department, Istituto de Conservacion y Restauracion de Obras de Arte, Palacio de America, Avenida Reyes Catolicos, Madrid 3, Spain Andreas Farmakas Restorer, Department of Antiquities, Nicosia, Cyprus Elizabeth Figu. eiredo Cabral Restorer, Museu Nacional de Arqueologia e Ethnologia, Rua Sousa Pinto n. 12, 1 Dto, Monte Abraao, Oueluz, Portugal Piero Frizzi Restorer, Opificio delle Pietre Dure, Via degli Alfani 78, 50121 Florence, Italy Francisco Gago Blanco Restorer, Museo Arqueologico Nacional Vinaroz 36, 1 D, Madrid 2, Spain Michal Gamzou Hamarganit Street, 22, Ramat-Gan, Israel Andreas Georgiades Chief Conservator, Numismatic Collection, National Archaeological Museum, Tositsa 1, Athens 147, Greece Mohammed Ghouj Restorer, Department of Antiquities, Amman, Jordan Rene Guilly Conservateur Chargé du Service de Restauration des Musees Classes et Controles, Palais du Louvre, Paris, France 75041 Bogdan Kovacevic Painter - Curator, Institute for the Protection of Cultural Monuments, 21000 Novi Sad, Strosmajerova 22, Yugoslavia 8 Jean-Louis Laffont 2ter rue Alsace Lorraine, 31000 Toulouse, France Henri Lavagne 12, rue de l'Universite, 75007 Paris, France Eliane Lenoir Co-Director, Chantier d'Ad Mercuri (Morocco), Ecole Franpaise, Palazzo Farnese, Piazza Farnese, 00186 Rome, Italy Maurice Lenoir Ecole Franpaise, Palazzo Farnese, Piazza Farnese, 00186 Rome, Italy Lawrence Majewski Professor, Conservation Center of The Institute of Fine Arts, New York University, 1 East 78th Street, New York, New York 10021, U.S.A. Fabrizio Mancinelli Curator, Department of Medieval and Modern Art, Direction General of the Vatican Museums, Vatican City Giuseppe Marinelli CIBA-Geigy S.p.A., Casella Postale 88, 21047 Saronno (Va.), Italy Jagoda Meder Art Historian, Curator of Monuments, Republicki Zavod za Zastitu Spomenika Kulture, 41000 Zagreb, Livadiceva 1, Yugoslavia Johanan Mintzker Director, Sub-Department of Conservation, Department of Antiquities, P.O. Box 586, Jerusalem, Israel Laura Sbordoni Mora Chief Restorer, Paolo Mora Istituto Centrale del Restauro, Piazza San Francesco di Paola 9, 00186 Rome, Italy Mara Nimmo Restorer, Istituto, Centrale del Restauro, Piazza San Francesco di Paola 9, 00186 Rome, Italy William Edward Novis Private Consultant, Batchelors, Barrs Green Horsham, England RH 13 7013 Elio Paparatti Restorer, Soprintendenza Archeologica Roma Foro Romano, Via Arco de' Cenci 1, 00186 Rome,ltaly Giro Piccioli Soprintendenza Archeologica, Piazza Museo 18, Naples, Italy 9 Peter Popov Artist-Painter, Department of Conservation and Restoration of Cultural Property, National Institute for Historical Monuments, 44, boulevard Dondoukov, Sofia, Bulgaria Ciro Robotti Architect, University of Naples, Via A. Diaz 7, 80055 Portici (Napoli), Italy H. Roosens Director, Service National des Fouilles, Ministere de ('Education Nationale et de la Culture, Parc du Cinquantenaire 1, B - 1040 Brussels, Belgium Amy Rosenberg Assistant Curator in Conservation, Kelsey Museum, The University of Michigan, 434 South State Street, Ann Arbor, Michigan 48104, U.S.A. Raffaella Rossi Manaresi Scientific Officer, Centro per la Conservazione delle Sculture all'Aperto, Via de' Pignattani 1, 40124 Bologna, Italy Abdallah Sail Direction des Beaux Arts, 119 rue Didouche Mourane, Algiers, Algeria Romano Serena Soprintendenza Beni Ambientali ed Architettonici di Venezia, Palazzo Ducale, Venice, Italy Marcel Stefanaggi Chief of Laboratory, Laboratoire de Recherche des Monuments Historiques, 77420 Château de Champs-sur-Marne, France Giovanni Urbani Director, Istituto Centrale del Restauro, Piazza San Francesco di Paola 9, 00186 Rome, Italy Maria Luisa Veloccia Superintendent, Soprintendenza alle Antichita del Lazio, Piazza delle Finanze 1, 00185 Rome, Italy Rosalia Varoli Art Historian, Istituto Centrale del Restauro, Piazza San Francesco di Paola 9, 00186 Rome, Italy Catherine Vernooj Gabriel Metsustraat 16, Amsterdam, Holland Bianca Vicentini Opificio delle Pietre Dure, Via degli Alfani 78, 50121 Florence, Italy 10 Alberto Villa CIBA-Geigy S.p.A., Casella Postale 88, 21047 Saronno (Va.), Italy Jan Voskuil Editor of Publications/Restorer, Central Research Laboratory, Gabriel Metsustraat 8, Amsterdam, Holland Rolf Wihr Restorer, Bayer. Landesamt für Denkmalpflege Aussenstelle Bamberg -.Schloss Seehof, 8602 Memmelsdorf b. Bamberg, Federal Republic of Germany M. Yankelovich. Archaeologist, Via Maria Cristina 2, 00196 Rome, Italy 1CCROM Staff Participants' Organization Bernard Feilden Patricia Bonicatti Paul Schwartzbaum Gaöl de Guichen
Load more

Recommended publications
  • About Russian Beginnings
    CK_5_TH_HG_P104_230.QXD 2/14/06 2:23 PM Page 209 At a Glance continued ◗ Ivan III (the Great) and Ivan IV (the Terrible) expanded Russian terri- tory and the authority of the czars. ◗ Peter the Great sought to modernize and westernize Russia in order to enable it to compete with European nations for trade, territory, and prestige. ◗ The desire to find a warm-water port was one factor that encouraged Russian expansion. ◗ Catherine the Great, while once interested in reforming certain abuses of Russian government, became as autocratic as her predecessors after a peasant revolt and the French Revolution. ◗ The lives of peasants worsened under Peter and Catherine. Teaching Idea What Teachers Need to Know You may want to teach section B, A. History and Culture “Geography,” before “History and Culture.” Byzantine Influence in Russia The rise of Russia is closely related to the history of the Byzantine Empire, which students in Core Knowledge schools should have encountered in Grades 3 and 4. For a thousand years after the fall of the Roman Empire in the west, the Eastern or Byzantine Empire continued to build on ancient Greek and Roman tra- ditions and culture. For example, Byzantine architects used the Roman dome to build magnificent churches, such as Hagia Sophia in the Byzantine capital of Constantinople (now called Istanbul). Byzantine artists also created beautiful mosaics and icons. Students in Core Knowledge schools should have studied Hagia Sophia and Byzantine mosaics as part of the art curriculum for Grade 3. However, they may not be acquainted with icons, which are special pictures of Jesus, Mary, and the saints.
    [Show full text]
  • Mary's Shrine Directly Support the Mission and Ministry of the Basilica
    ’ MVolume 80, No.A 2 RY S SHRINFall/WinterE 2019 Our Mother of Africa » RECTOR’S MESSAGE Mary’s Shrine By Reverend Monsignor Walter R. Rossi, J.C.L. Bachrach ince June of 2018, the Catholic and makes intercession” for each of us (Homily, Church in the United States has been June 1, 2019). experiencing a great deal of unrest When confronted by a medical crisis, we seek because of the abuse crises. help at a hospital. So too, when confronted SThe Church has been deeply wounded. Her by a spiritual crisis or when tragedy strikes, we parishioners, and especially the victims of abuse seek help at a church. In prayer we find our have been traumatized. The investigations of strength and our solace, confident in God’s the Attorneys General across the country, the help. One need only recall the terrorist attacks Pennsylvania Grand Jury report, new revelations on September 11, 2001, or the senseless acts of of abuse, and the personal and professional violence in churches, synagogues, mosques, and failures on the part of some in leadership, have schools. In these incomprehensible moments caused some people to stop going to church. of grief and tragedy, prayer is our constant, our Others have discontinued their financial buckler and shield, our sure foundation. support. We, the Church, must acknowledge On September 23, 2020, we will mark the and address the suffering of the victims as well centenary of the placing of the foundation as our own pain with the care and comfort stone of the National Shrine. Located in the found only in Jesus.
    [Show full text]
  • BYZANTINE CAMEOS and the AESTHETICS of the ICON By
    BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production.
    [Show full text]
  • Nomination Form Answering All Eight Questions, the Nominee’S Résumé, and a High-Resolution Headshot of the Nominee to [email protected]
    NOMINATION 20FORM 16 The ONE MKE Mission Our mission is to transform leadership and relationships in order to foster and retain a diverse pipeline of talent and improve cultural competence within the city PRESENTED BY of Milwaukee. The Diversity Leadership Society is a United Way donor network composed of diverse individuals working to ensure every family in the United Way four-county footprint has the opportunity to flourish; no matter their diversity of thought, gender, age, ethnicity, and geography. Through giving, advocating, and volunteering, members help position diversity and inclusion as the blueprint for a strong, successful community. POWERED BY The Driver Of Diversity Awards reception is an opportunity to highlight those individuals and corporations that embrace and understand the benefit of Driving diversity by fostering and retaining a diverse pipeline of talent and improving cultural competence in order to positively impact our city and work towards a ONE MKE. 1 Awards will be presented in the following categories: ONE MKE Driver of Diversity Professional of the Year ONE MKE Driver of Diversity Executive of the Year ONE MKE Driver of Diversity Entrepreneur of the Year ONE MKE Driver of Diversity Corporation of the Year ONE MKE Driver of Diversity Board Diversity Award POWERED BY ONE MKE Driver of Diversity Professional of the Year As this award is intended to showcase both the contribution by and the standing of the professional’s effort to drive diversity among professionals in Milwaukee’s economic and social well-being. The nominee should demonstrate eminent achievement and distinguished service through professional endeavors, particularly in the following areas: • The nominee’s outstanding service/activity should have culminated in the previous year and be the result of an outstanding cumulative effort over many years.
    [Show full text]
  • Jeremy Botts 614 South Hale Street • Wheaton Il 60187 • | | @Jeremybotts
    Jeremy Botts 614 South Hale Street • Wheaton IL 60187 • www.behance.net/JeremyBotts | www.fiammascura.com |@ jeremybotts Personal Work working appropriately and imaginatively in relation to nature and with the nature and history of things and images visual polyphony occurring in the textures of written and printed text, including historical exemplars | palimpsests collaborative exploration of traditional hand media, printmaking, and digital and time-based media (video and sound) site specific structures | sculptural and collaborative, educational projects | liturgical spaces and installations Exhibitions, Performances, Publications & Works 2021 DICTUM EST | a collaborative, limited edition, CMYK color separated silkscreen print, May Each student in my class contributed a color separated image; I arranged them into the composite design; and we printed it together. 2021 ART AT WHEATON POSTCARDS | hand collaged Risograph prints made for prospective art majors, March As a way to welcome incoming art majors I collaged makeready Risograph prints to create forty unique postcards.. 2021 OUTSTANDING IN HIS FIELD | a limited edition silkscreen printed portrait of my grandfather, March Color separated into CMYK and with halftone linescreens, I made this print as a demonstration for my silkscreen class. 2021 DEEP CALLS TO DEEP | a series of Lenten videos created for Lombard Mennonite Church, February I created layered piano and accordion soundtracks to the abstract video with fragments of Palestrina, Sofia Gubaidulina, and traditional spirituals. 2021 POCHOIR SELF PORTRAIT | a hand cut pochoir printed illustration, January I created this two color stencil print as a demonstration for my silkscreen class. The composition was influenced by a Lucien Freud self portrait. 2021 THE WORLD’S LARGEST COUNTRY BAND | live, international online performance art piece, voice and pump organ, January I was invited and participated in a live, simultaneous performance of Hank Williams’ classic I’m So Lonesome I Could Cry.
    [Show full text]
  • Il Restauro in Italia Ebook.Pdf [PDF 12992
    IL RESTAURO IN ITALIA ARTE E TECNOLOGIA NELL’ATTIVITÀ DELL’ISTITUTO SUPERIORE PER LA CONSERVAZIONE ED IL RESTAURO RESTORING IN ITALY ART AND TECHNOLOGY IN THE ACTIVITIES OF THE ISTITUTO SUPERIORE PER LA CONSERVAZIONE ED IL RESTAURO © Proprietà letteraria riservata Istituto Superiore per la Conservazione ed il Restauro Gangemi Editore spa Piazza San Pantaleo 4, Roma www.gangemieditore.it Nessuna parte di questa pubblicazione può essere memorizzata, fotocopiata o comunque riprodotta senza le dovute autorizzazioni. Le nostre edizioni sono disponibili in Italia e all’estero anche in versione ebook. Our publications, both as books and ebooks, are available in Italy and abroad. ISBN 978-88-492-578- IL RESTAURO IN ITALIA ARTE E TECNOLOGIA NELL’ATTIVITÀ DELL’ISTITUTO SUPERIORE PER LA CONSERVAZIONE ED IL RESTAURO RESTORING IN ITALY ART AND TECHNOLOGY IN THE ACTIVITIES OF THE ISTITUTO SUPERIORE PER LA CONSERVAZIONE ED IL RESTAURO Vincenza Lomonaco Vice Direttore Generale per la Promozione del Sistema Paese / Direttore Centrale per la Promozione della Cultura e della Lingua Italiana Deputy Director General for the Country Promotion (Economy, Culture, Science) / Director for the Promotion of Italian Culture and Language Massimo Riccardo Vicario del Direttore Centrale per la Promozione della Cultura e della Lingua Italiana Deputy Director for the Promotion of Italian Culture and Language Maria Romana Destro Bisol Direzione Generale per la Promozione del Sistema Paese Directorate General for the Country Promotion (Economy, Culture, Science) Raffaella
    [Show full text]
  • Incunaboli E Cinquecentine Della Fondazione Biblioteca Di S
    Incunaboli e cinquecentine della Fondazione Biblioteca S. Bernardino di Trento Catalogo a cura di Claudio Fedele e Anna Gonzo Vol. III Indici Provincia Autonoma di Trento Soprintendenza per i beni librari e archivistici 2004 INDICE DELLE PROVENIENZE Abbondanzio da Sacco vedi Pros, Abbondanzio Abel, Joachim Gottwalt . 2860 Nacque nel1723 . Pastore evangelico, ispettore religioso e scolastico. Abitante ad Helmstedt . (Germania) nel1746 e possessore di una biblioteca come attesta l'assegnazione del nume­ ro 21 all'esemplare che riporta la sua nota di appartenenza. Morì nel 1806 . Deutscher biographischerIndex, l, p. 5; Deutsches biographisches Archiv, I l, 430-457. Accademia roveretana degli Agiati 21 06 Fondata nel dicembre del 175 0 a Rovereto da Giuseppe Valeriano Vannetti, sua moglie Laura Bianca Saibanti, Gottardo Antonio Pesti e Giuseppe Felice Givanni e approvata con diploma imperiale da Maria Teresa nel1753 . Ha annoveratotra i propri soci illustri personaggi delle artie delle scienze. L'Accademia possiede una ricca biblioteca depositata attualmente pressola Biblio­ teca civica di Rovereto, un archivio di memorie e documenti storici e una galleria d'arte. Ubri appartenutiall'Accademia si trovano anche presso la Biblioteca provinciale Cappuccini di Trento. BALDI G., L'A ccademia ...; BALDIG., La biblioteca ...; BRAGAGUA E., Gli ex libris ..., n. 689; EMER D., L'A cca­ de mia .. ; GARBARI M., Libertà . .. ; MANFRoNI M., L'A ccademia .... Achilles 94 6 Laureato, vivente nel15 72 quando il teologo gesuita Alfonso Pisano, curatore dell'opera, gli regalò copia del libro. A.C.M. 2781 Acquanegra sul Chiese (Mantova): Cappuccini, convento Acquistapace, Francesco Antonio 446 Nato a Borgo Valsugana nel 1710 , appartenne all'ordine dei frati minori della provincia tridentina di s.
    [Show full text]
  • Fra Sabba Da Castiglione: the Self-Fashioning of a Renaissance Knight Hospitaller”
    “Fra Sabba da Castiglione: The Self-Fashioning of a Renaissance Knight Hospitaller” by Ranieri Moore Cavaceppi B.A., University of Pennsylvania 1988 M.A., University of North Carolina 1996 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University May 2011 © Copyright 2011 by Ranieri Moore Cavaceppi This dissertation by Ranieri Moore Cavaceppi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date Ronald L. Martinez, Advisor Recommended to the Graduate Council Date Evelyn Lincoln, Reader Date Ennio Rao, Reader Approved by the Graduate Council Date Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Ranieri Moore Cavaceppi was born in Rome, Italy on October 11, 1965, and moved to Washington, DC at the age of ten. A Fulbright Fellow and a graduate of the University of Pennsylvania, Ranieri received an M.A. in Italian literature from the University of North Carolina at Chapel Hill in 1996, whereupon he began his doctoral studies at Brown University with an emphasis on medieval and Renaissance Italian literature. Returning home to Washington in the fall of 2000, Ranieri became the father of three children, commenced his dissertation research on Knights Hospitaller, and was appointed the primary full-time instructor at American University, acting as language coordinator for the Italian program. iv PREFACE AND ACKNOWLEDGMENTS I deeply appreciate the generous help that I received from each member of my dissertation committee: my advisor Ronald Martinez took a keen interest in this project since its inception in 2004 and suggested many of its leading insights; my readers Evelyn Lincoln and Ennio Rao contributed numerous observations and suggestions.
    [Show full text]
  • October 17, 2012 Vol.C 50, No
    THE CATHOLIC October 17, 2012 Vol.C 50, No. 18 ommentator SERVING THE DIOCESE OF BATON ROUGE SINCE 1963 thecatholiccommentator.org The Catholic Commentator to be distributed in several ways By Laura Deavers Editor In February, The Catholic Commentator, your diocesan newspaper, will be 50 years old. To keep up with current methods of dis- seminating news, The Catholic Commentator will offer its readers various means of deliv- ery in the coming year. More people are choosing to get their news from the Internet. And, The Catholic Commentator staff wants to make that as easy as possible. But many people still want to get their news delivered to their homes because they like to hold a newspaper when they read it. As of January 2013, The Catholic Com- mentator will be available through four dif- ferent venues: The painting of Jesus in the dome of Sacred Heart Church in Baton Rouge that is above the sanctuary provides • Delivered by your postal carrier. many aspects of the savior for a person to consider while learning more about the Catholic faith. Photo by Laura Deavers • At your church after weekend Masses. | The Catholic Commentator • Emailed to the email addresses that you provide. • Going to the website: thecatholiccom mentator.org. Sacred Heart students learn more To receive The Catholic Commentator in the mail box at your home, you will have to about their Catholic faith on church tour let The Catholic Commentator office know that this is how you want to receive your By Laura Deavers that they will also be able to use in other academic newspaper.
    [Show full text]
  • Gold-Ground Panel Painting Author Tie Jojima
    Gold-ground Panel Painting Author Tie Jojima Video documenting gold-ground panel painting produced by the Getty Museum: https://www.youtube.com/watch?v=WVyusmjiTXI&t=9s This video produced by the Getty museum, provides the steps involved in the creation th of 16 ​ century altarpiece panels made with gold leaves and tempera painting. ​ The video narrates each of the steps, focusing on the craftsmanship and different materials. This is a good teaching resource to complement a lecture on the Early Renaissance because it helps the students to appreciate craftsmanship and skills involved in the creation of altarpieces, and it generates discussions on the value and cultural significance of those works. At the end of this class and after showing the video, if there is enough time, I like to show contemporary examples of artists utilizing gold leaf, such as Barkley Hendricks’ Lawdy Mama (1969) and ​ Chris Ofili’s The Holy Virgin Mary (1996), and open for discussion on the different ​ meanings of gold, past and present. Learning Goals: After completion of this assignment, students will be able to: - Explain the technical and material aspects of gold-ground panel painting. - Analyze how the technique influences the resulting artwork. Activity - During a class on the Early Renaissance, while looking at altarpieces by Cimabue or Giotto, I explain tempera painting and the process of gold leaf application in general terms. - After the lecture, students watch the Gerry Museum video on gold-ground panel painting, while working on a series of guiding questions that direct them during the video (sample attached) - After the video, we discuss as a class about what surprised them in the process, and how technique might influence the resulting artwork.
    [Show full text]
  • Vol. Xii. 2014. Full Text
    SERIES BYZANTINA Virgin Mary; glassware decoration, from catacombs in Rome, 4th c. AD; N. P. Kondakov, Ikonografi a Bogomateri, St. Petersburg 1914, p. 77 SERIES BYZANTINA Studies on Byzantine and Post -Byzantine Art VOLUME XII POLISH INSTITUTE OF WORLD ART STUDIES CARDINAL STEFAN WYSZYŃSKI UNIVERSITY Warsaw 2014 EDITOR: Waldemar Deluga EDITORIAL BOARD: Anca Bratuleanu, Bucharest Viktoria Bulgakova, Berlin Ana Dumitran, Alba Iulia Mat Immerzeel, Amsterdam Michał Janocha (chairman), Warsaw Catherine Jolivet-Levy, Paris Alina Kondratjuk, Kiev Magdalena Łaptaś, Warsaw Jerzy Malinowski, Warsaw Márta Nagy, Debrecen Daniela Rywikova, Ostrava Athanassios Semoglou, Thessaloniki Tania Tribe, London Natasha Tryfanava, Minsk ADMINISTRATOR: Dominika Macios WEBMASTER: Rafał Zapłata EDITORIAL ADDRESS: Institut of History of Art Cardinal Stefan Wyszyński University ul. Wóycickiego 1/3 PL 01-938 Warszawa [email protected] Revised by Nicholas Barber, Anette and Denis Morin Cover design, typhographic project, illustrations editing and typesetting by Paweł Wróblewski Continuation of the series published by the NERITON Publishing House The issue subsidized by the Ministry of Science and Higher Education (Program „Index Plus”) © Copyright by Waldemar Deluga ISSN 1733–5787 Printed by Sowa - Druk na Życzenie www.sowadruk.pl tel. (48 22) 431 81 40 Edition of 400 copies Contents Introduction (Waldemar Deluga).................................................................................................7 Agnieszka Gronek, Eschatological elements in the schemes of
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]