Bronze Reliefs Research Articles

Bronze Sculpture of Mara Vijaya of National Museum, Nepal: A Study of Iconographic Perspective

In Buddhism the images display the story and event of temptation of Mara to disturb and misguide devotion during the process of enlightenment of Siddhartha Gautam. The art which reflects this is called the icon of Mara Vijaya. The legend regarding the story of temptation of evil Mara over the good Sidhhartha Gautam can be found in several Buddhist texts. Due to the iconographic features and themes of the Buddha Jataka stories of temptation of Mara, the bronze sculpture of national museum is considered as an important specimen. The figures of Lord Buddha, demon Mara, his daughters, army troops, Ganesh and other animal’s figures have been sculptured in very attractive ways in this bronze relief. This paper explores the major iconographic features and to examine its importance as the bronze art heritage of Nepal. It employs qualitative approach and primary data and secondary information have been used. Required secondary information has been generated from journals, books and electronic versions of different sources while primary data have been collected by doing field study in national museum with in-depth observation of such relief.

Experiencing the Untouchable: A Method for Scientific Exploration and Haptic Fruition of Artworks Microsurface Based on Optical Scanning Profilometry

The experience of an object derives not only from the sight but also from the touch: a tactile exploration can reveal the smallest information trapped within the surface up to our tactile detective threshold. Starting from the importance of this observation in the case of works of art, this research demonstrates the use of conoscopic holography sensors for high-quality acquisition of the surface of artworks (up to the micro-scale) suitable also to 3D printing. The purpose is twofold, allowing for the tactile use of the artwork, which is otherwise impossible, for visually impaired people and for new use in regard to scientific information purposes. In detail, the workflow to obtain a 3D printed replica of multiscale and polychrome artworks suitable for the haptic fruition is validated, but the potential of the tool as an innovative resource for scientific visualization of the microsurface of the artwork for conservation issues is also demonstrated. The validation was performed on notable Italian masterpieces, such as Donatello’s “Death Cristh” bronze relief in Padua and the Tintoretto painting “St. Martial in Glory with the Saints Peter and Paul” in Venice.

Adatok II. Lajos magyar király páncélos ábrázolásaihoz

Most of the posthumous portraits of Louis II, who died in the battle of Mohács in 1526, show him in armour. In some pictures he is wearing fictitious armour, but in other portraits he is clad in the armour which until 1939 was believed to had once been his, but actually had been made in 1533 for the Polish king Sigismund II Augustus and is currently kept in the Hungarian National Museum. The author of the study has examined the latter group of artworks. She describes the armours of Louis II, some only mentioned in archival sources or historical works. Some items that can certainly or presumably be attributed to him are kept in museums abroad. The first paintings in which Louis II is wearing the gilded ornamental armour were painted by István Dorffmeister in the mid-1780s. Since at that time the armour was on display in one of the gala rooms fitted out in Vienna’s Kaiserliches Zeughaus in the 1760s, the study discusses the history of the imperial armour and weapon collections and the conception of the arms exhibition in the Zeughaus at that time. After the demolition of the Zeughaus in 1856, the armour was transferred, together with the rest of the imperial collection of armours and weapons, to the war museum wing of the newly built Arsenal. The armour was presented by the Austrian catalogues of the museum as belonging to Louis II, and some items had illustrations added to them. The armour was introduced in Pest in 1876 at a historical exhibition for charitable purposes, and later in 1896 at the Millennial Exhibition. The Hungarian press also devoted articles to it, and several scholarly papers were written about the armour.The prototypes for some of the 19th century artworks depicting Louis II in the Viennese armour – most of them local monuments preserving the memory of the battle – were István Dorffmeister’s paintings. His battle scene showing the death of Louis II appears in a sketch of an unrealized monument, dated 1846; in the picture painted on metal that adorned the monument in Mohács in the 1860s and on the bronze relief replacing it in the late 1890s. The antecedents to another group of representations must have been the 19th century Austrian and Hungarian descriptions and illustrations of the armour attributed to Louis II. The ruler wears this armour in several book illustrations and on the statue by Ferenc Vasadi on the Danubian facade of the Hungarian Parliament building.Although these artworks presenting Louis II in Sigismund II Augustus’ armour do not satisfy the iconographic criteria of historical authenticity, they were up-to-date for their time, for instead of depicting the fictitious, often waywardly fantastic armours of earlier centuries, they presented the portrayed person in an existing armour made in his own era, that is, with a historically authentic appearance.

El incaísmo apolíneo de Benjamín Mendizábal en el arte peruano del siglo XX

This paper analyzes the production of sculptures by Benjamin Mendizabal Vizcarra (1875-1957). In Lima, the critical assessment of his sculptures followed positivist ideologies that were opposed to his creative freedom. Originating from this controversy the research is divided into three topics: the critique of his Apollonian Incas, the vicissitudes of both his monumental project Manco Capac (1917), his bronze reliefs made in 1926, and the nominal difficulty of his incaists art works. Based on historical ethnographic studies with the idea of accomplishing verisimilitude in the arts, Mendizabal adapted his Apollonian interpretation of his Incaist sculptures towards a scientifical purification, the product of the influence of artistic critiques and the establishment response in Lima.

The study of reliefs upon Luristan’s bronze Maces and Axes according to the best found examples in the Falak-Ol-Aflak museum in Khoram Abad

In this research was investigated Luristan's bronze weapons by the description-analytical method and considered only decorative aspects but functional as well. On the basis of research's fundamental questions, mythological and religious reliefs are the most important decoration of Bronze weapons which reflect beliefs a nomadic ethnic moved back and forth in valleys and altitudes for constant centuries. Additionally, it should be noted that religious and cultural effects during the 5 century Kassites’ domination in Babylon and the inspiration of the Mesopotamia have been appeared in bronze reliefs. By considering the research examples, it can be said that plant and animal reliefs were in priority on bronze weapons and tools and had more popularity for bronze instructors. The analysis of Luristan's bronze weapons reliefs and the impact on the periods Achaemenid and Parthian’s weapons are likely to be the crucial findings of this research that open a new pathway so as to do more research

From Milan to Kilbaha: Bronzing Irish Traditional Music

From Milan to Kilbaha:Bronzing Irish Traditional Music Verena Commins (bio) Monuments represent important anchoring devices, tying "collective remembering" to physical places and mobilizing a sense of shared memory and identity consolidation (Rowlands and Tilley 500).1 In the specifically Irish context of the last half-century, the types of events and people remembered by this process of monumentalization has changed significantly. Yet as the current decade of centenaries (2012–22) demonstrates, the erection of monuments persists in constituting a significant backdrop for both the representation and framing of national and local identities in public spaces (Commins, "Musical Statues"). Demonstrating their agency as devices to (re) create emotional bonds with particular histories and geographies, monuments focus attention on specific places and events, offering spatial and temporal landmarks loaded with memory. Situating itself within a body of work examining the growth of this monumental culture within Ireland (Breathnach-Lynch; Hill; Johnson; P. Murphy, "Introduction"; Whelan), this article examines Irish traditional music as a cultural channel that has more recently come to embrace monumentphilia. It considers the particular intersections of collective memory with local and national identity (and identities) as represented by monuments specifically raised to commemorate and celebrate Irish traditional musicians. In a rapidly changing world in which identities are increasingly fluid, the subsequent perception that cultures are becoming homogenized or indistinguishable from one another is widely shared (Tovey et al.), raising the attractiveness of the concept of tradition. This research addresses how the "in-placeness" of monuments—their materiality and physical presence—brings [End Page 275] these "traditions" to a much wider public, and in this particular case, beyond the listening and performing community of practice of Irish traditional musicians. In order to do so, it bookends its investigation with two monuments, indeed two moments, that commemorate uilleann piper Willie Clancy (1918–73): both located in Miltown Malbay, Co. Clare, and raised in 1974 and 2013 respectively (figure 1). With an initial focus on County Clare this essay considers the emergent relationship between music and place and the augmentation of this dynamic by the insertion of commemorative material-culture into place. Stepping outside of County Clare and Irish music practices per se, this article goes on to examine the wider vista of monumentalizing commemoration in Ireland. General trends in commemorative culture are charted in order to contextualize the space that preceded the arrival of the first monument to Irish traditional music, the Clancy relief in Miltown Malbay, revealing a shift from the celebration of institutional to vernacular memory. By examining details such as commission, design, reception, and legacy, it employs the statue of Clancy and its portrait-relief predecessor as framing devices. It reflects, firstly, on the creative sector and cultural capital developments in the region that provide context for the creation of the monuments. Secondly, through an examination of the visual semiosis performed by these two displays of material culture across a forty-year span, it reveals how the meanings attached to the musician Willie Clancy changed, both literally and symbolically, in tandem with the shifting status of Irish traditional music during the bookended time frame. The First Monument The uilleann piper Willie Clancy died suddenly and tragically in January 1973. The affective power of Clancy and his music was appositely demonstrated by an immediate compulsion to commemorate. Hence the initiation in February 1973 of the Willie Clancy Memorial Fund and the subsequent launch in the same year of the Willie Clancy Summer School (WCSS). A weeklong celebration of Irish traditional music, its practices of transmission, performance, and commemoration are in keeping with Clancy's own philosophy with regard to music (Commins, "Locating"). As the first weeklong summer [End Page 276] Click for larger view View full resolution Figure 1. Willie Clancy bronze relief at Ballard Cemetery (1974), top, and statue on Main Street (2013), bottom. Miltown Malbay, Co. Clare. Photographs by courtesy of author. [End Page 277] school of Irish traditional music, this was virgin territory for the founding committee (Commins, "Scoil"). The relationship between Clancy and his hometown Miltown Malbay, Co. Clare, is synergized through the annual repetition of the WCSS, as indeed are subsequent local, national, and international developments in Irish traditional...

For Their Own Cause: The 27th United States Colored Troops by Kelly D. Mezurek

Reviewed by: For Their Own Cause: The 27th United States Colored Troops by Kelly D. Mezurek Douglas R. Egerton For Their Own Cause: The 27th United States Colored Troops. Kelly D. Mezurek. Kent, OH: Kent State University Press, 2016. ISBN 978-1-60635-289-2. 354 pp., cloth, $37.95 By the war's end, 178,975 African Americans, constituting roughly one-twelfth of all the soldiers who fought for the United States, had filled 145 infantry regiments, seven cavalry units, thirteen artillery groups, and one engineering battalion. An astonishing 74 percent of northern black men of military age enlisted to fight for a nation that denied them citizenship. Despite this, the black soldiers who [End Page 218] donned blue have been curiously understudied. Classic studies by Benjamin Quarles and Dudley Taylor Cornish are now more than half a century old, while important recent studies by Joseph Glatthaar and John David Smith examine black soldiers within the context of their relationship with white officers or their commander in chief. Very few studies focus on a single black unit. Kelly Mezurek's impressively documented and clearly written study of the 27th USCT does far more, however, than merely address that unfortunate omission. Unlike the fabled 54th Massachusetts, the 27th was neither a pioneering unit nor did it see a good deal of action (although several of its companies played a supporting role in the disastrous Battle of the Crater). Whereas 140,313 of the USCT soldiers were black southerners born into slavery, the Ohioans who volunteered for the 27th had been free for all or most of their lives. It was not even the first Ohio-based USCT regiment, an honor that went to the 5th. But its wartime experience, Mezurek demonstrates, was in many ways far more typical of life in the USCT than that of more celebrated regiments. Its soldiers did more than their share of fatigue duty, and when they returned home no grand parade welcomed their return. No bronze relief sculpture was erected in their memory. A good many volumes explain why white soldiers, both North and South, fought for their respective nations. Mezurek's study does that as well, but it also chronicles what these soldiers' lives were like. During the antebellum years, midwestern whites were especially hostile to black residents and immigrants and had little interest in supporting black enlistments if that might lead to voting rights and citizenship. Governor William Dennison, an antislavery Republican, rejected black volunteers in the days after Sumter, and when African Americans forged ahead and set up a recruiting station in Cincinnati, a mob tore down their American flag. They reported the incident to a policeman, who snapped, "We want you damned niggers to keep out of this; this is a white man's war" (29). His 1862 successor, David Tod, a National Union man, was not much better, and as a result, black men who wished to serve had to catch the train for Massachusetts, where so many joined the 54th and 55th that they comprised the third largest contingent in the former and the largest state group in the latter. Only after a declining number of white volunteers forced Tod's hand did the governor reluctantly agree to black enlistments. The average age of those who signed on was just under twenty-five years, similar to northern white enlistees and other USCT units. A majority of soldiers in the 27th resided in rural areas or small towns. But while only 27 percent of them were born in Ohio—compared [End Page 219] to 60 percent of whites—a far higher percent of them were American-born than were white troops. Only five men in the regiment were foreign-born, and then only in nearby Canada. Most had lived in the state for years, and after their regiment was mustered out in September 1865, they returned to and remained in the Buckeye State. The 27th began its service in April 1864, two months before Congress equalized pay for soldiers regardless of race. Rural men who served as farm laborers at best earned $1 per day, and there was rarely any guarantee of a steady income. As a result, many...

Egy deliciőz allegória. Maulbertsch freskóciklusa a szombathelyi püspöki palotában

Abstract The frescoes decorating the stateroom of the Episcopal palace of Szombathely were painted by Franz Anton Maulbertsch in 1783 on commission from bishop Janos Szily. The lateral walls received scenes from the history of the Roman predecessor of the town Savaria in the form of grisaille murals imitating bronze reliefs. The four paintings – Tiberius Claudius founds Savaria, Septimius Severus is elected emperor, Triumph of Constantinus Chlorus, and Attila chases the Romans out of Pannonia – conjure up the Roman world with a multitude of detail and with historical authenticity. Besides, they also deliberately apply the iconographic and compositional rules of relief sculpture in the Imperial Period. This historicizing rendering is an indicator of the new accent on historism, suggesting the 18th century transformation of the concept of history fed by the recognition of the historical distance between the event and the observer. The ceiling shows the process of salvation under the governance of Providence...

Non destructive neutron diffraction measurements of cavities, inhomogeneities, and residual strain in bronzes of Ghiberti’s relief from the Gates of Paradise

Quantitative neutron studies of cultural heritage objects provide access to microscopic, mesoscopic, and macroscopic structures in a nondestructive manner. In this paper we present a neutron diffraction investigation of a Ghiberti Renaissance gilded bronze relief devoted to the measurement of cavities and inhomogeneities in the bulk of the sample, along with the bulk phase composition and residual strain distribution. The quantitative measurements allowed the determination of the re-melting parts extension, as well as improving current knowledge about the manufacturing process. The study provides significant and unique information to conservators and restorators about the history of the relief.

A nondestructive stratigraphic and radiographic neutron study of Lorenzo Ghiberti’s reliefs from paradise and north doors of Florence baptistery

A neutron study on two gilded bronze reliefs by Lorenzo Ghiberti is presented. The two reliefs, representing heads of prophets, come from the north and east doors of the Baptistery of Florence. The east door will be permanently located at the Museo dell’Opera di Santa Maria del Fiore museum at the end of its restoration, which is still in progress at the Metals Conservation Department of the Opificio delle Pietre Dure in Florence. The north door is kept in the original site, on the north facade of the Florentine Baptistery. Both reliefs exhibit critical aspects regarding their state of conservation in particular the stability of the gold layer on the bronze surface. Moreover the east head presents a remelting of which extension and composition are still unknown. The present work describes a non-destructive study of the subgilding area and bulk. The two main objectives of such analyses are: (1) to study the manufacturing technique and state of conservation of the reliefs; and (2) to assess the two cleaning techniques (laser cleaning and Rochelle salts chemical cleaning) used by the conservators during the restoration process of the east door. The experiment was carried out using prompt gamma-ray activation imaging combined with neutron radiography and conventional neutron radiography. The former method was applied to map the elemental composition of the two reliefs, while neutron radiography was used to investigate the bulk. The results provide significant information about subsuperficial areas, elemental composition of the objects from the surface down to a depth of 1 mm below gilding, and bulk structure of the remelting. Such information will guide the curators in the selection of the most suitable microclimatic conditions for the exhibition of the east door and for future conservation work on the north door.

Drawing Comparisons: Cellini’s Perseus Liberating Andromeda and the Paragone Debate

L’analyse porte sur Persée libérant Andromède, relief en bronze qui fait partie intégrante de l’ensemble sculpté entre 1545 et 1554 par Benvenuto Cellini pour la Loggia dei Lanzi de Florence. Ce relief, rajouté à la fin du projet, offre la clef de la signification théorique et polémique du colossal Persée monté sur son piédestal orné de figures. En bas du monument, encadrée de marbre comme un tableau, la Libération d’Andromède fait ainsi entrer le spectateur avisé dans la querelle de l’époque sur la valeur respective des arts, le fameux débat du paragone, mais elle ne se borne pas à une simple évocation de ce débat, et elle n’affïrme pas seulement l’infériorité de la peinture par rapport à la sculpture. Le nu mystérieux et sans profondeur du centre du relief fonctionne en tant qu’agent provocateur pour lancer une comparaison entre la sculpture en relief, qui ressemble à du dessin, et une autre sculpture plus en profondeur comme celle d’Andromède à ses côtés. Cette comparaison peu flatteuse pour les arts bidimensionnels concerne aussi l’architecture, comprise par Cellini comme un art de la surface apparenté au dessin et à la perspective. Pour l’orfèvre-sculpteur qu’est Cellini, la preuve à la fois de la bonne peinture et de la bonne sculpture réside dans leur capacité à libérer la beauté plastique et humaine des contraintes de la surface. Enchaînée au mur littéralement et figurativement, son Andromède en relief illustre certes le plus haut degré de la peinture, mais en même temps l’impuissance et les limites de cet art féminin. Si l’autobiographie et les écrits théoriques de Cellini donnent bien à la sculpture en ronde bosse la première place parmi les arts, encore fallait-il prouver sans recours aux mots, donc à un autre art, cette supériorité : c’est ce que fait voir, et de façon systématique, le monument du Persée, à condition d’en considérer l’ensemble.

Other Monuments to Inhalation Anesthesia

Other Monuments to Inhalation Anesthesia

Giambologna's Salviati reliefs of St Antoninus of Florence: saintly images and political manipulation

ABSTRACTThis paper focuses on the figure of St Antoninus and his representation in visual imagery. At its centre are Giambologna's bronze reliefs in the Salviati Chapel in Florence's church of San Marco, dating from 1581 to 1587, illustrating the life of Archbishop Antoninus (Antonino Pierozzi), who was active in Florence in the mid‐fifteenth century. Giambologna was also responsible for the design of the chapel itself. By and large, these reliefs have attracted little attention on the part of art historians and sermons specialists – perhaps because at the height at which they are set into the walls, they are largely inaccessible. Although executed a century after the demise of St Antoninus, these reliefs provide us with a valuable impression of the activities of the archbishop and their impact on Florence. Moreover, they shed important light on the cult of St Antoninus and its connection with the politics of Medicean Florence.

Possession, and: Levitation

Possession All winter, the fox came for me, black-footed, listening for my husband's sleep. All winter, lights drew me into the yard to find fireflies, green and slow, circling his tall ears. Other nights, he sat animal still, nose steaming, in the snow under the pear tree he brought to bloom. In fear for my life, my husband set five great hounds into the forest, but they tumbled back pups. I told no one that I had known him before he died, when he was human, or that he'd kneeled giddy, hugging my waist, my palms cupped to his ears. Instead, I waited and kept salted meats and whiskey in the hedge. Even when my husband could stay awake to keep watch, I dreamt - not of before, but of when he came back, the pointed face a Noh mask nodding in the treeline. [End Page 85] Levitation Through the rear window, I would watch slow-moving night sky, head back, the torn vinyl seat scratching my wrist at each seam in the road. Black power-lines and branches cut across swarming stars as my body slackened back to itself and the speed became unimportant. You could have been alive beside me, out of vision as we hovered and dipped along unlit back-roads, my heart sliding in my chest, the headlights projecting flashes of mailboxes, fieldstone walls, turns appearing and disappearing, the black hole ahead framed by trees. I crashed a car once and lived. It went airborne for a moment, but I was too angry to feel the lift, to appreciate it. Before morning, the house was always one color, a bronze relief of false shutters, bowed roof, gutters heavy with leaves. I'd hear myself moving up the steps, the keys in my hand, and the black- primered Chevy ticking, settling in the drive.

Engineering Duty Officers Dedicate Bronze Relief at the U.S. Navy Memorial

Naval Engineers JournalVolume 113, Issue 1 p. 101-102 Engineering Duty Officers Dedicate Bronze Relief at the U.S. Navy Memorial Capt. Keith Arterburn, Capt. Keith ArterburnSearch for more papers by this author Capt. Keith Arterburn, Capt. Keith ArterburnSearch for more papers by this author First published: 29 October 2008 https://doi.org/10.1111/j.1559-3584.2001.tb00016.xAboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume113, Issue1January 2001Pages 101-102 RelatedInformation

The Roman Bronze Relief of the Personified City of Alexanderia

The Roman Bronze Relief of the Personified City of Alexanderia

Giambologna, Narrator of the Catholic Reformation by Mary Weitzel Gibbons

724book reviews were a feature of the EngUsh history of those days. Persons the man and the priest gets lost in the clutter. His important work Ui manning and helping finance the seminaries comes out clearly, but his work as a writer—and he was one of the best EngUsh stylists of his day—is slighted. One would have preferred to see a clearer picture of Persons' character and personaUty. There do exist some published efforts along this line, especiaUy those focusing in on the last dozen years of his life, which he spent mostly as rector of the EngUsh CoUege, Rome. The reader rarely gets a hint 'why Persons inspires so much devotion on the one hand and so much enmity on the other. He enjoyed the complete confidence of Claudio Aquaviva, one of the greatest Jesuit generals. PhUip II of Spain trusted and revered him. He was a close collaborator of WiUiam Cardinal Allen and was highly regarded by his Jesuit brethren on the English mission. Nevertheless, there is every indication that almost aU Protestants and a good number of EngUsh Catholics opposed his policies and revUed his person. Nevertheless, this biography is a good first step. Edwards has addressed the most difficult and puzzling side ofhis subject. It wUl be easier for future biographers to fiU Ui the blanks, especiaUy if they have access to a good edition of aU of Persons' letters. This is a book that students ofJesuit history, English history, and the Reformation wUl have to read. I would recommend that they do so surrounded by reference books. It wUl repay thetf effort. Thomas H. Clancy, SJ. JesuitArchives, New Orleans Giambologna, Narrator of the Catholic Reformation. By Mary Weitzel Gibbons . [California Studies in the History of Art, XXXIIL] (Berkeley: University of California Press. 1995. Pp. xviii, 262; 13 colorplates, 81 black and white figures. $50.00.) Mary Gibbons successfully challenges the generaUy held view that Giambologna was not interested in subject matter. She demonstrates that the style he invented for the bronze reUefs of Christ's Passion in the Grimani Chapel in Genoa was his response to the newly voiced requirements of the CathoUc Reformation that art be legible and comprehensible to the worshiper. She thus removes these works from the context oflate maniera court art and places them firmly in the avant-garde of Baroque reUgious art. The chapel, commissioned Ui 1579 by Luca Grimani, a prominent Genoese who would later serve as doge, has been neglected because it was destroyed when the church of San Francesco di Castelletto was suppressed under BOOK REVIEWS725 Napoleon and Giambologna's bronzes transferred to the university. The author reconstructs the Grimani sepulcral chapel with the aid of the artist's contemporary Salviati Chapel Ln San Marco Ui Florence, which she caU his "most important extant architectural and sculptural complex" (p. 27), and other precedents where painting and sculpture were combined. She associates die rare pairing of a series ofVirtues with a Passion cycle to the CatiioUc Reformation's focus on good works and the new catechism of 1566 that joined these two elements (p. 57). Passion cycles took on new prominence with the post-Tridentine emphasis on the Eucharist as first among the sacraments, insistence upon the real presence Ui the consecrated host, and the desirabUity offrequent communion for the faithful. The Passion story reminded the worshiper that Christ's sacrifice was made for humankind's redemption, as celebrated m the Eucharist. The prominence ofPUate in Giambologna's cycle is linked to the dUemma of choosing between poUtical expediency and personal conscience, faced by the patron Grimani as a prominent member of the Genoese government. The final chapter, "Giambologna's Narrative Method," contains the essential argument. The artist's technique in the bronze reliefs is shown to be an adaptation of the multiview technique for which he is famous in his statues Ui the round, like the Rape ofthe Sabines. By means of a series of photographs of the reUefs shot from three angles, subtle variations In the narrative are revealed. The spectator's eye is kept Ui constant motion, rendering the narrative dynamic and serving to involve the worshiper. Giambologna's reUefs are contrasted witii...

Fatte à Sembianza di Pittura:Jacopo Sansovino's Bronze Reliefs in S. Marco

This article is a study of a group of bronze reliefs that Jacopo Sansovino made as part of his remodeling of the choir of S. Marco in Venice. The reliefs of the two tribunes were specifically designed to exploit the dramatic possibilities of their position above eye level. Those of the Sacristy door display an unprecedented freedom of modeling in order to suggest “painterly” effects of light and atmosphere. In both cases, there are close relationships with Titian's painting and this suggests a mutual interest in the paragone, the rhetorical debate on the relative merits of painting and sculpture.

Le Dieu Océan en Espagne: un thème de l'art hispano-romain

Abstract The catalogue of oceanic scenes to be found in Romano-Spanish art shows that they are much less numerous in Spain than in the neighbouring region of North Africa: eight mosaic pavements, a bronze relief and a stone statue. To this list can be added the lamp of Port-Vendres, found in a wrecked ship from Betica, and some Hadrianic coins connected with the sanctuary of Hercules at Cadiz. There is a great diversity in the rendering of the motif, about Ocean's aspect, and about his situation in the scenes using his figure. His presence can be interpreted from different points of view: mere ornament or evocation of the aquatic element, of the ancient river surrounding the world, of the great outer sea that stops the conquerors as they reach universal sovereignty. With the foreign influence on oceanic iconography, we note the originality of Romano-Spanish art in some of the decorative elements of mosaic pavements.

ニヒムロノウタゲについて : 「ムロとニヒムロノウタゲ」(その 2)

Throughout the Tumulus Period (4th〜7th century A. D.) in Japan, the most popular dwelling house style for the indigenous rice-cultivating people was the so called "Tateana-Zumai (Pit dwelling)", and we know of the plan of the building through archaeological excavations; of the shape of the building by three instances of bronze relief carved in the said Period. The floor of a dwelling of this type was a shallow pit dug in the ground about two feet deep, and there was a hearth in the center of the earthen floor. Covering this pit completely, there was a simple dome-like thatched roof, which had no window but had two little openings in the upper sides of the roof to exhaust smoke from the hearth. A little entrance was also cut in the lower part of the roof. (The building had no wall.) The inner-room of a "Pit dwelling" was a very closed one which could shut the exterior elements off completely. Today, we call this type of dwelling, as mentioned before, "Tateana-Zumai" because of its pit, but we don't know by what name it was called by the people of the Tumulus Period. On the other hand, we can find many buildings called "Ya", "Tono" and "Muro" in Japanese literature such as "Kojiki", "Nippon-Shoki", "Manyoshu" and "Fudoki". All of them were completed in 8th century A.D. Now the author takes up the "Muro" building in this paper. To get its architectural image and historical characteristics precisely, the author thoroughly researched available facts through the scenes presenting "Muro" buildings in the tales, legends and poetry in the said four areas of literature, and got the following points concerning "Muro" clearly. a. All of the "Muro" buildings presented in literature had very closed inner-room. b. The floor of the "Muro" building was an earthen one, and there was a fireplace in the room. c. The people who dwelt in "Muro" buildings were not the rich or noble but the ordinary native people. d. Almost all of the facts about "Muro" buildings were found in very ancient legends in the said literature. e. The origin of "Nifimuro-no-Utage (the ritual banquet for new 'Muro' buildings)" were founded in the folk custom of the rice-cultivating people in very ancient times. Comparing these points with the characteristics of the said "Pit dwelling", there are so many similar points, that the author thinks that we can take the "Muro" buildings in literature as the "Pit dwelling" in archaeological fact. This thesis consists of the following chapters. I. "Muro" buildings in 8th century literature. II. The architectural images of "Muro" buildings. III. The "Nifimuro-no-Utage". IV. The "Muro-foki (the ritual blessing for new 'Muro' buildings)". V. Conclusion.