View allAll Photos Tagged TESTAMENT
It was nice to see Dave Lombardo on drums with Testament.
Fue muy agradable ver a Dave Lombardo en la batería con Testament.
pictionid68639663 - title--bible with metal cover the new testament of the bible in brown leather with front metal cover-- - catalog091011 - filename--bible with metal cover the new testament of the bible in brown leather with front metal cover---Image from the SDASM Curatorial Collection.Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
Standing proudly amid a neat cottage garden this smart Reformist (Arts and Crafts) style villa may be found in the Victorian provincial city of Ballarat.
Built in the first decade of the Twentieth Century, this villa features a more unusual hipped roof, not overly typical of houses of this era in Ballarat. The villa is built of red brick, which is typical building material of the Arts and Crafts Movement as are the terracotta tiles used to roof the villa. This villa features large windows that flood its rooms with plenty of natural light. Each one features panels of latticed leadlight glass that give the villa a cosy, cottage like feel. Perhaps its finest feature is the brickwork around the chimney nook, which is a testament to the artisan who built the villa.
Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans.
This sizable house would have appealed to the moneyed middle-classes of Ballarat whose money came from the many businesses that boomed in the burgeoning city as a result of the Nineteenth Century gold rush. Comfortable and very English, it would have shown respectability and not inconsiderable wealth.
Detail: Musical Angel.
Believed by many to be Frederick Preedy’s greatest work the window was designed c1867 to commemorate the death of Preedy’s cousin, Henry Styleman le Strange of Hunstanton Hall. Following a restoration in 2005 the glass was replaced in pristine condition allowing Preedy’s work to be admired in all of its glory.
The apex of window contains the ‘Crown of Glory’ below which the tracery lights depict a heavenly host of angels holding banners and playing instruments.
In the main lights Preedy has used a device called typology, which was very popular in medieval times, whereby Old Testament events are seen as anticipating those of the New Testament. Thus for example he produces a scene from the Old Testament story of Abraham being ordered by God to sacrifice his only son Isaac which is clearly linked to New Testament scene of Christ’s crucifixion. Similarly both Elijah and Christ are depicted ascending to Heaven. The following scenes are represented:
First column. Top to bottom:
1. The soldiers arrest Jesus in the Garden of Gethsemene
2. Peter, James & John sleep as Jesus prays in the Garden of Gethsemene
3.Jesus offers the cup of wine to his disciples during the Last Supper.
Second column. Top to bottom:
1. Jacob’s dream at Bethel where he sees a stairway to Heaven
2. Joseph is taken from the well to be sold to the Ishmaelites
3. Moses makes a bronze serpent. Anyone bitten by a snake who looked at it was cured.
Third column. Top to bottom:
1.The Ascencion
2.The Resurrection
3.The Crucifixion.
Fourth Column. Top to bottom:
1. Elijah, watched by Elisha, ascends to Heaven in a whirlwind
2. Jonah emerges from the whale (large fish)
3. Abraham and the sacrifice of Isaac.
Fifth Column
1. The meal at Emmaus on Easter Day
2. Jesus appears to Mary Magdalene in the garden outside the tomb
3. Joseph of Arimathea and Nicodemus lay Jesus’ body in a new tomb.
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
or Old Testament Trinity. Icon study of Andrei Rublev's 15th Century model at the Tretyakov State Gallery, Moscow. Painted to actual size of the original : 143 x 114cm. Egg Tempera, Raw Umber and Verona Green on Gesso with 23.5ct gold. June 2010
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
The Church of St George (Romansh: Sogn Gieri), dating back to the High Middle Ages, belongs to the church parishes of Bonaduz and Rhäzüns. It is decorated throughout with Gothic frescoes by the Waltensburger and Rhäzüns masters. The visitor experiences the Middle Ages here in the truest sense of the word. The depictions on the choir and nave walls of the Romanesque church are a ”biblia paupera”. The pictures recount events from the Old and, above all, from the New Testament. The Waltensburger frescoes testify to a courtly culture, which is also documented by the knightly epics and Minnesang. Representations of torture in the legend of St George stand in contrast to elegant saints and courageous knights. There is no other interior throughout the Canton of Graubünden whose walls tell us so much about what was important in the Middle Ages.
It is considered the richest example of a completely decorated church interior of the Middle Ages in Switzerland.__Located at a remote location on a wooded hill above the anterior Rhine. The patronage festival goes back to the local legend, which tells how St. George did missionary work in the Grisons in the middle of the 4th century. At this place he leapt over the Rhine on his horse to escape pagan persecutors. Old parish, mentioned 960; evidence of a Carolingian hall church with stilted apse and walled, open (?) entrance courtyard found during excavations when restoration took place in 1961-1963. The present-day complex consists of a Romanesque nave with a flat ceiling and a transverse rectangular Gothic choir (the choir lies perpendicular to the nave) from the early 14th century with a cross rib vault. High Gothic wall-paintings by two artists. The earlier ones in the choir and choir arch by the Waltensburg Master ca. 1350, the newer ones on the walls of the nave by a Rhäzuns master from the 2nd half of the 14th century.__Choir: the ribs painted colourfully to simulate rich profiles. Intertwined leaves between four large medallions with angels as evangelists in the sectroids. Christ’s countenance on the apex stone; Annunciation in the tree vault shields, (flanked by the fox and stork from Aesop’s Fables), Crucifixion and the Coronation of Mary; a badly damaged Adoration of the Magi, row of apostles and benefactor couple under a bold meandering frieze with the coat of arms of Rhäzüns; St. Oswald and St. Nicholas in the window embrasure; pedestal drapery._ Three image bands with iconographically interesting, intertwined scenes of the miracle and passion of St. George on the wall under the merlon frieze: on the upper right King Dadianus shows the wheel and cauldron instruments of torture to the Saint, next to it the miracle of St. George, who causes branches to grow out of the house of a poor widow; below this the widow’s crippled child is presented to St. George, on the left the capture of St. George; on the upper left Queen Alexandria is hung by her hair, whipped and then beheaded after her confession to Christianity, while St. George is put into a cauldron of boiling lead as he prays for her; in the middle band of pictures the magician Anthanasios causes a demon to rise up out of a bursting steer; in the lower band the Saint is tortured, hung and desecrated, to the right of the choir arch he is decapitated; under the legend of St. George to the left is a Virgin of Mercy with kneeling benefactor and two women under the coat of arms of Rhäzüns: John the Baptist on the right above the masonry altar block; representation of the battle with the dragon on the north wall of the nave.__Nave: three bands of single images from the 2nd half of the 14th century by the so-called Rhäzüns Master along the longer walls and on the west wall. These distinguish themselves from the true form and carefully composed art of the Waltensburg Master by their linear and improvised representation of a type of pauper's Bible. Scenes in loose order from the Old and New Testaments that are kept strictly disconnected. Further devotional images on the north wall: St. Nicholas with the three virgins above; the so-called Holiday Christ, Gregory Mass, local legend of the St. George leaping over the Rhine, Archangel Michael as weigher of the souls, the death and burial of the Mother of God below. (Kunstführer durch die Schweiz, Hg. Gesellschaft für Schweizerische Kunstgeschichte, Band 2, Bern 2005) (Art Guide Throughout Switzerland, ed. Swiss Society for Art History, Volume 2, Berne 2005)
The hoodoos, or slim spires of eroded limestone, at Zion National Park are a bit different than those found at Bryce and elsewhere. The cap on top is volcanic rock.
BEMA. A bema is a raised area for a public official and was used for speeches and for hearing legal cases and rendering judgements. Most literally, bema means "step," and can even be used as a unit of measure (cf. Acts 7:5, set "foot" on it; the Hebrew word it translates has the same literal meaning, as in the Septuagent, or ancient Greek translation of the Old Testament).
Jesus, for example, was brought before Pilate's bema.
Luke records an incident that took place between some local Jewish people and the Apostle Paul when he was in Corinth "a year and six months" (Acts 18:11). Acts 18:12-17:
"But while Gallio was prconsul of Achaia, the Jews with one accord rose up against Paul and brought him before the judgment seat [bema], saying, 'This man persuades men to worhip God contrary to the law.' But when Paul was about to open his mouth, Gallio said to the Jews, 'If it were a matter of wrong or of vicious crime, O Jews, it would be reasonable for me to put up with you; but it there are questions about words and names and your own law, look after it yourselves; I am unwillingto be a judge of these matters.' And he drove them away from the judgement seat. And they all took hold of Sosthenes, the leader of the synagogue, and began beating him in front of the judgment seat. But Gallio was not concerned about any of these things."
Some think the case was heard not here at the bema but in a building very close by (Fant and Reddish, A Guide to Biblical Sites in Turkey and Greece, p. 64).
Paul uses the concept of the bema in Romans 14:10, as "the judgment seat of God." Second Corinthians 5:10 speaks of the "judgment seat of Christ." Paul taught that every person's life will one day be reviewed by God, both those who have not accepted God's free and loving forgiveness--and thus are objects of divine justice--and those who have accepted grace and become God's children (which is much more than His mere creation). Those who have accepted forgiveness have their lives reviewed (2 Corinthians 5:10 ff.) and their works tested (1 Corinthians 3:12-15), but receive divine love and rewards for service, not wrath.
See T. Mc Comiskey, "Bema," Dictionary of New Testament Theology, vol. 2, p. 370.]
ACROCORINTH.. Many ancient cities were built on or near a steep hill that could be used for defense in time of war. Visible in the backgroud of this picture is that defensive area of Corinth, one of the finest natural defenses in Europe (578 meters high). In Paul's day the road from the city to the defensive site featured temples to Greek gods and mystery cult sanctuaries. Atop was the famous temple to Aphrodite, goddess of love, who was said to be served by a thousand temple prostitutes.
Byzantines, Franks, Venetians, and Turks all built fortifications on top, but little remains today. The site has seen many conquorers, including de Villehardouin in the 4th Crusdade, Mehmet II (1458), the Knights of Malta (1612), the Venetians (1687), Turks (1715) ; and Kolokontronis (1822), who opened it up for its current control by Greece.
See the (outstanding) Blue Guide: Greece, the Mainland, 178-180.
A preview image from the new batch of nine new illustrated Bible stories from the King Solomon section of The Brick Testament website.
The Old Testament Children's Doors, also known as the Hooker Doors after their benefactor, Mr. Osgood Hooker, are located at the entrance to the South Tower of Grace Cathedral. The doors were designed and sculpted by Bruce Moore and cast by the Modern Art Foundry in 1964. The frames were fabricated by Michel & Pfeffer. The two massive 12-foot doors are each adorned with four cast bronze panels and fish-shaped handles. Nine miniature abstract reliefs surround the larger reliefs of each door.
The panels in the left door portray four scenes involving children from the Old Testament. From top to bottom the panels depict: 1) Joseph being sold into slavery, 2) the child Moses being found by Pharaoh's daughter, 3) Samuel serving the Lord in the Temple with Eli, and 4) David and Goliath.
The panels in the right door portray contemporary social concepts. From top to bottom the panels depict: 1) the Judeo-Christian ethical demand to eliminate child labor, 2) the emergence programs of adoption for orphans and foundlings, 3) youth serving in the church as acolytes, and choristers, 4) the valor of children as they face the lessons of life and make their own contributions to society symbolized by the figure of Joan of Arc.
Grace cathedral, at 1100 California Street, was designed in French Gothic style by Lewis Parsons Hobart in 1964. The cathedral church of the Episcopal Diocese of California is descendant from the historic Grace Church, founded in 1848 during the Gold Rush, whose imposing structure on the corner of California and Stockton that was destroyed in the fire following the 1906 earthquake. Construction began on the cathedral, which would take the name of the old church, on a ruined block donated by the San Francisco's Crocker family in 1928, but Depression halted work in 1933 with a half-finished nave. Construction briefly resumed and the Signing (North) Tower, was largely finished by 1941. The end of World War II brought about a renewed interest in completing Grace Cathedral and construction resumed under architects Weihe, Frick & Krause, in time for a November 20, 1964 consecration--36 years after groundbreaking.
Today the cathedral has become a pilgrimage center, famed for its replica of Ghiberti's Gates of Paradise, two labyrinths, varied stained glass windows, Keith Haring's AIDS Chapel altarpiece, and medieval and contemporary furnishings, as well as its 44 bell carillon, three organs, and choirs.
San Francisco Landmark No. 170 (8/5/1984)
This large-format copy of the New Testament was created at, and for, Rochester Cathedral in Rochester, England in the first half of the twelfth century. The manuscript is an important survival, for it is one part of what is believed to be the the earliest decorated Bible produced at the priory scriptorium at Rochester. Originally a five volume work, only one other volume, British Library, Royal I.C.VII., has survived. The book's large size indicates it was designed to be read aloud, either during services or at meals. Large, fanciful initials filled with foliage, dragons, and human faces begin each section of the text, and their vibrant color and intricate designs capture the essence of Romanesque manuscript illumination.
Initial "P" opening the Epistle of St. Paul the Apostle to the Romans.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
A few people have told me that my style is "close ups". So I went for something abit different this time round.
The Church of St George (Romansh: Sogn Gieri), dating back to the High Middle Ages, belongs to the church parishes of Bonaduz and Rhäzüns. It is decorated throughout with Gothic frescoes by the Waltensburger and Rhäzüns masters. The visitor experiences the Middle Ages here in the truest sense of the word. The depictions on the choir and nave walls of the Romanesque church are a ”biblia paupera”. The pictures recount events from the Old and, above all, from the New Testament. The Waltensburger frescoes testify to a courtly culture, which is also documented by the knightly epics and Minnesang. Representations of torture in the legend of St George stand in contrast to elegant saints and courageous knights. There is no other interior throughout the Canton of Graubünden whose walls tell us so much about what was important in the Middle Ages.
It is considered the richest example of a completely decorated church interior of the Middle Ages in Switzerland.__Located at a remote location on a wooded hill above the anterior Rhine. The patronage festival goes back to the local legend, which tells how St. George did missionary work in the Grisons in the middle of the 4th century. At this place he leapt over the Rhine on his horse to escape pagan persecutors. Old parish, mentioned 960; evidence of a Carolingian hall church with stilted apse and walled, open (?) entrance courtyard found during excavations when restoration took place in 1961-1963. The present-day complex consists of a Romanesque nave with a flat ceiling and a transverse rectangular Gothic choir (the choir lies perpendicular to the nave) from the early 14th century with a cross rib vault. High Gothic wall-paintings by two artists. The earlier ones in the choir and choir arch by the Waltensburg Master ca. 1350, the newer ones on the walls of the nave by a Rhäzuns master from the 2nd half of the 14th century.__Choir: the ribs painted colourfully to simulate rich profiles. Intertwined leaves between four large medallions with angels as evangelists in the sectroids. Christ’s countenance on the apex stone; Annunciation in the tree vault shields, (flanked by the fox and stork from Aesop’s Fables), Crucifixion and the Coronation of Mary; a badly damaged Adoration of the Magi, row of apostles and benefactor couple under a bold meandering frieze with the coat of arms of Rhäzüns; St. Oswald and St. Nicholas in the window embrasure; pedestal drapery._ Three image bands with iconographically interesting, intertwined scenes of the miracle and passion of St. George on the wall under the merlon frieze: on the upper right King Dadianus shows the wheel and cauldron instruments of torture to the Saint, next to it the miracle of St. George, who causes branches to grow out of the house of a poor widow; below this the widow’s crippled child is presented to St. George, on the left the capture of St. George; on the upper left Queen Alexandria is hung by her hair, whipped and then beheaded after her confession to Christianity, while St. George is put into a cauldron of boiling lead as he prays for her; in the middle band of pictures the magician Anthanasios causes a demon to rise up out of a bursting steer; in the lower band the Saint is tortured, hung and desecrated, to the right of the choir arch he is decapitated; under the legend of St. George to the left is a Virgin of Mercy with kneeling benefactor and two women under the coat of arms of Rhäzüns: John the Baptist on the right above the masonry altar block; representation of the battle with the dragon on the north wall of the nave.__Nave: three bands of single images from the 2nd half of the 14th century by the so-called Rhäzüns Master along the longer walls and on the west wall. These distinguish themselves from the true form and carefully composed art of the Waltensburg Master by their linear and improvised representation of a type of pauper's Bible. Scenes in loose order from the Old and New Testaments that are kept strictly disconnected. Further devotional images on the north wall: St. Nicholas with the three virgins above; the so-called Holiday Christ, Gregory Mass, local legend of the St. George leaping over the Rhine, Archangel Michael as weigher of the souls, the death and burial of the Mother of God below. (Kunstführer durch die Schweiz, Hg. Gesellschaft für Schweizerische Kunstgeschichte, Band 2, Bern 2005) (Art Guide Throughout Switzerland, ed. Swiss Society for Art History, Volume 2, Berne 2005)
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Photographer: Jimmy Warsham
Texas Jack / Heft-Reihe
Das Testament des Einsiedlers
Wildwestroman
Verlagshaus für Volksliteratur
(Berlin / Deutschland; 1906-1911)
ex libris MTP
Testament | São Paulo | 2015, 21 Novembro
Foto: #PriSecco - www.facebook.com/PriSeccoFoto
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The Church of St George (Romansh: Sogn Gieri), dating back to the High Middle Ages, belongs to the church parishes of Bonaduz and Rhäzüns. It is decorated throughout with Gothic frescoes by the Waltensburger and Rhäzüns masters. The visitor experiences the Middle Ages here in the truest sense of the word. The depictions on the choir and nave walls of the Romanesque church are a ”biblia paupera”. The pictures recount events from the Old and, above all, from the New Testament. The Waltensburger frescoes testify to a courtly culture, which is also documented by the knightly epics and Minnesang. Representations of torture in the legend of St George stand in contrast to elegant saints and courageous knights. There is no other interior throughout the Canton of Graubünden whose walls tell us so much about what was important in the Middle Ages.
It is considered the richest example of a completely decorated church interior of the Middle Ages in Switzerland.__Located at a remote location on a wooded hill above the anterior Rhine. The patronage festival goes back to the local legend, which tells how St. George did missionary work in the Grisons in the middle of the 4th century. At this place he leapt over the Rhine on his horse to escape pagan persecutors. Old parish, mentioned 960; evidence of a Carolingian hall church with stilted apse and walled, open (?) entrance courtyard found during excavations when restoration took place in 1961-1963. The present-day complex consists of a Romanesque nave with a flat ceiling and a transverse rectangular Gothic choir (the choir lies perpendicular to the nave) from the early 14th century with a cross rib vault. High Gothic wall-paintings by two artists. The earlier ones in the choir and choir arch by the Waltensburg Master ca. 1350, the newer ones on the walls of the nave by a Rhäzuns master from the 2nd half of the 14th century.__Choir: the ribs painted colourfully to simulate rich profiles. Intertwined leaves between four large medallions with angels as evangelists in the sectroids. Christ’s countenance on the apex stone; Annunciation in the tree vault shields, (flanked by the fox and stork from Aesop’s Fables), Crucifixion and the Coronation of Mary; a badly damaged Adoration of the Magi, row of apostles and benefactor couple under a bold meandering frieze with the coat of arms of Rhäzüns; St. Oswald and St. Nicholas in the window embrasure; pedestal drapery._ Three image bands with iconographically interesting, intertwined scenes of the miracle and passion of St. George on the wall under the merlon frieze: on the upper right King Dadianus shows the wheel and cauldron instruments of torture to the Saint, next to it the miracle of St. George, who causes branches to grow out of the house of a poor widow; below this the widow’s crippled child is presented to St. George, on the left the capture of St. George; on the upper left Queen Alexandria is hung by her hair, whipped and then beheaded after her confession to Christianity, while St. George is put into a cauldron of boiling lead as he prays for her; in the middle band of pictures the magician Anthanasios causes a demon to rise up out of a bursting steer; in the lower band the Saint is tortured, hung and desecrated, to the right of the choir arch he is decapitated; under the legend of St. George to the left is a Virgin of Mercy with kneeling benefactor and two women under the coat of arms of Rhäzüns: John the Baptist on the right above the masonry altar block; representation of the battle with the dragon on the north wall of the nave.__Nave: three bands of single images from the 2nd half of the 14th century by the so-called Rhäzüns Master along the longer walls and on the west wall. These distinguish themselves from the true form and carefully composed art of the Waltensburg Master by their linear and improvised representation of a type of pauper's Bible. Scenes in loose order from the Old and New Testaments that are kept strictly disconnected. Further devotional images on the north wall: St. Nicholas with the three virgins above; the so-called Holiday Christ, Gregory Mass, local legend of the St. George leaping over the Rhine, Archangel Michael as weigher of the souls, the death and burial of the Mother of God below. (Kunstführer durch die Schweiz, Hg. Gesellschaft für Schweizerische Kunstgeschichte, Band 2, Bern 2005) (Art Guide Throughout Switzerland, ed. Swiss Society for Art History, Volume 2, Berne 2005)
Founded in 1793, the Louvre’s 8.5 million annual visitors are testament to its dedication to showcasing the most admired pieces in the world. On first opening, the museum aimed to educate aspiring artists in 'grand style'. Today, its collections are open to all and hold nearly 35,000 objects. Pieces span from Ancient Egyptian pots and prints, to the most respected modern-day sculptures. Exhibited over an area of 60,600 square metres, you’ll need more than one trip to fully appreciate its diversity and quality.
This image shows the famous glass ceiling of the Louvre Pyramid in the Cour Napoléon of the Louvre Palace.
Looking for apartments and hotels for your vacation in Paris? Be sure to take a look at All-Paris-Apartments, with its excellent selection of hotels and apartments in Paris to suit all budgets, as well as area guides and expert tips.