Decorative Motifs Research Articles

Орнаментальные мотивы первоначальной декорации новгородской Владычной палаты

Painted in 1441 by the order of Archbishop Euthymius, the interiors of the Archbishop’s Chamber made an unforgettable impression on contemporaries, as evidenced by the testimony of the Athonite monk Pachomius Logothetes. But, did this decoration have a single conception, like the decoration of some structures in Western Europe, and what traditions could it be oriented towards? These questions are particularly acute due to the fact that the painting of the Chamber is the earliest among the few examples of painted decoration of civil buildings in medieval Russia. The remaining ornamental elements of the painting rediscovered during the restoration of 2006–2013 allow us to shed some light on these questions. The prevalence of plant motifs of the same type (“Blüttenblattstil”) in the decor (with the exception of braided rosettes) and an elaborate hierarchy in its distribution suggest that there is the personality of the master behind the unified concept of all the ornamental decorations of the Chamber. This master could have been familiar with samples of European decor and guided by them in the picturesque decoration of the rib arches. However, in the use of the ornamental motifs, he appealed to the local tradition. In this respect, the ensemble of the Archbishop’s Chamber appears to be a hybrid of two heterogeneous traditions. This publication has been completed with the support of the Russian Science Foundation (RSF), project № 18-18-00045 “Civil stone architecture of Novgorod (14th–15th centuries): a complex study”.

Architrave Slab of the Entrance into the Gate Church of Funa

The gate church of the Theodorite castle near the village of Funa appeared in 1459 and existed to 1778. Left unattended later on, it became decayed, quickly dilapidated, and finally turning into ruin after the earthquake of 1927. The experts’ conclusions concerning its origin are based mainly on the typical features of the architectonics and carved decoration of the structure, correlated with the traditions of Armenian architecture and Seljuk ornamentation. The most exquisite architectural detail of the building is the large slab with relief ornamentation that overlapped from outside the doorway of the south entrance. Two iconographic sources are published for the first time to supply new information about the slab in question along with the results of a substantive study of a large fragment of the artefact which was found by chance outside the castle short time ago. Almost a half of the composition that adorned the outermost part of the architrave survived. Its completely lost middle part can be reconstructed reliably by the photograph taken by N. N. Klepinin and the drawing by D. M. Strukov. The ornamental motif of the slab is one of the most popular in mediaeval art, being typical of the eastern decorative tradition. It is still not possible to discover the origin and exact date of the architrave which was secondary used in the church of 1459. Stylistically, structurally, and technologically it is comparable with carved architectural details of many main buildings of the capital town of Theodoro, which were erected in the 1420s. Therefore, the slab in question possibly has the same chronology, but still it could be made even earlier.

The transformation of modern architecture in Kazakhstan: From soviet “internationalism” to a post-soviet undestanding of the regional identity

After the collapse of the USSR at the end of the 20th century, the Soviet republics, including Kazakhstan, that had been previously united within one country became independent countries and went through decades of reforms to establish new social, political and economic frameworks and revive their own cultural traditions. The transition from the state planned Soviet-era economy to the market economy was accompanied by dramatic changes in all aspects of life - in the economy, science and culture. The Soviet architecture in Kazakhstan met the contemporary requirements of its time: all settlements were developed according to approved master plans, and design and construction were carried out by large state companies with powerful technical potential. 30 years of post-Soviet life have gone by since 1991, and Kazakhstan has gone through some transformation in its architecture; it is now searching for methods of expressing a unique "Kazakh" architectural language with its own particular regional characteristics seen in: arches, domes, ornamental motifs of decorative design. The purpose of the study is to analyse the transformation that the architecture in Kazakhstan has undergone so far in the 21st century using the example of public buildings, and to identify the factors forming new features of architecture. Realizing the dependencies of Kazakhstan?s architectural transformation on the new social and economic conditions will help architects strengthen the regional identity in the architecture through the symbiosis of traditional local experience and new global technologies.

THE COLUMN OF CLEOPATRA III AND PTOLEMY IX FROM KOM OMBO IN THE GEM (45481)

This is the publication of a column currently in the Grand Egyptian Museum at Giza. This column is covered with scenes, hieroglyphic texts, and decorative motifs. It is one of the few depictions of a Ptolemaic queen, Cleopatra III, alone offering to deities. Its content shows a period of coregency between her and her son Ptolemy IX. Moreover, it bears new motifs, such as the frieze of Hathoric faces and the rekhyt-bird adoring the divine children of Kom Ombo. This research presents a theological, historical, and palaeographical analytical study of the scenes and texts of the column. Indeed, it also shows the two divine children of Kom Ombo receiving offerings from Ptolemy IX and his mother. A reconstruction of the column is suggested, either as a complete element or locating it on the plan of the Mammisi of Kom Ombo.

The Swiss Magdalenian portable art and supra-regional parallels

There are about fifty Magdalenian sites known in Switzerland. Most of these sites were discovered and excavated at the end of the 19th and in the first half of the 20th century. Consequently, it is not always possible today to establish clear research contexts and dating is often based on typo-chronological statements. The Swiss Magdalenian portable art can be divided into two main groups: engravings and figurative sculptures. Engravings mostly appear on reindeer antlers, bones, and rarely on stone or jet. They are more common than figurative sculptures. The majority of engravings are on everyday objects such as perforated batons and projectile points. They are mainly signs and other ornamental motifs. In addition, there are also figurative subjects such as animals and a animal-human representation. The term “figurative sculptures” refers to partially sculptured objects, such as decorated spear thrower ends and stylized female figurines. With the exception of a musk ox head no other evident animal sculptures have been found in Switzerland. Some of the Magdalenian portable art objects found in Switzerland show supra-regional parallels with finds from other parts of Europe. The aim of this article is to present the most important Swiss finds in a broader European geographical context.

Золотий скарб із Буштина (Україна)

The territory of the modern Transcarpathian region of Ukraine is rich in Bronze Age hoards (about 200 complexes are known). However, just a small part of them includes only gold objects. The gold items of the treasure were interpreted as Tarpa type earrings and dated to the Opaya horizon (BD). Re-analysis of the finding allowed reviewing the data of the statement. The article proposes to refer the complex to the period of the BC and, perhaps, even BB1, and to interpret gold implements as elements of a special hairstyle or headdress (crown?). The hoard from the village of Bushtino (Khust district), which is the focus of our article, also belongs to them. The hoard was discovered in 1911. It consisted of 13 jewellery items (11 gold pendants and 2 bracelets). To date, only 3 items have been saved. They are stored in Uzhgorod, in the Transcarpathian Museum of Local Lore named after Tyvodar Lehotsky. Jewellery items from Bushtino belong to two types: Tarpa type of earrings (1) and Bushtino type of pendants (2). All of them are ornamented in one technique and in one style, and also have common or close motives (paired zigzag lines, crosses, stars, etc. and their combinations) and compositions. The analysis of ornamental motifs of ornaments from Bushtino shows that most of them have analogies on products of earlier times, periods BB1 - BA2. Tarpa-type bronze earrings in the Pilin culture (Northern Hungary and Eastern Slovakia) mostly also date to an earlier time (BC period). The author of the article proposes to determine the chronology of the Bushtino hoard not later than the period of BC or even BB1. Based on archaeological and ethnographic data, as well as the number of ornaments in individual complexes, it is hypothesized that gold items from Bushtino could be either part of a special hairstyle (women?), or part of a special headdress (crown?) made of organic materials (fabric, leather). Rich headdresses (crowns) existed in the Bronze Age in Western Asia and Europe. Probably the implements from Bushtino belonged to someone from the elite unit of cultural bearers of Suciu de Sus (Stanovo). Key words: Superior Tisa Region, Bronze Age, gold hoard, chronology, interpretation.

Керамічна збірка трипільського поселення Шипинці А в контексті видозміни розписного посуду на межі етапів ВІ та ВІ-ВІІ

Attention is paid at the article to ceramic ware of Trypillia settlement of Shypyntsi A, which belongs to stage BI. Some of the materials were processed in Historical Museum of Lviv, other part are taken from O. Kandyba's works. This site is interesting because it belongs to the final period of Trypillia BI and is promising for examination of changes in the shape and ornamentation of tableware during the end of stage BI – beginning of BI–BII and determining basis for the formation of Zalishchyky group of sites. Only «tableware», usually painted, is represented at the collection. There are no finds with deepened ornaments among the collections of museum, but O. Kandyba wrote about its presence in the ceramic complex of Shypyntsy A. Painted ceramic ware are represented by the following forms: goblets, lids, bowls, pear-shaped ware, cups on a pallet, binocular-shaped ware, spoons or scoops. To analyze the ornament on ceramic ware classification scheme of styles of painting, developed by G. Schmidt and supplemented by other researchers is used. The following styles are distinguished among the ornamental compositions of ceramics of Shypyntsy A: ABα, αα², α¹, α², α³, β². Among them ABα, αα² are the oldest. Volutes, spirals, circles, meanders and broken lines that form triangular shaped figures are dominated among the motifs. Some of the ornamental motifs characteristic of Shypyntsi A are also represented on the ceramic ware of later Zalischyky sites. Subgroups of styles of painting α, β, which appeared at the stage of Trypillia BI – Kukuten` A4, for some time continued to exist on Zalischyky ceramics, along with new styles of painting. On the stage of Trypillia BI-BII changes of shapes of ceramic ware took place – rejection of ceramic ware on a pallet and appearance of new forms of ceramics. Pear-shaped ware and goblets have changed, but in parallel the old versions of both pear-shaped ware and goblets were used. Forms of lids and bowls from Shypyntsi A can be also found on Zalischyky ceramics. It is obvious that Shypyntsi A belongs to the settlements of the end of BI, which influenced the formation of Zalischyky sites of BI–BII stage. Key words: Shypyntsi A, Trypillia, painted tableware, stage BI, stage BI-BII.

ХУДОЖНЄ КАМЕНЯРСТВО ГУЦУЛЬЩИНИ – ФЕНОМЕН САКРАЛЬНОЇ КУЛЬТУРИ УКРАЇНИ

The purpose of the article is to comprehend the works of the artistic stonecraft of the Hutsul region as a phenomenon of the artistic culture of Ukraine; to prove the antiquity of the symbolism of decorative motifs used by the stone craftsmen from the Hutsul region. Research Methodology. The comparative and typological analysis was used to compare the artistic and stylistic features of stonecraft with the other types of folk art. While considering the artistic features, the author used a comprehensive method. Scientific Novelty. The artistic stonecraft of the Hutsul region and its significance in the development of the sacral culture of Ukraine is considered for the first time. The author collected and introduced into scientific circulation the unknown works of the memorial art of the Hutsul region. A number of works of the artistic stonecraft were published for the first time. The article considered the works of stonecraft presented in cross-crafting and figurative sacred plastic art, which has been preserved in the cemeteries of the Hutsul villages of Yamna, Malyi Kliuchiv, etc. Crosses without artistic plastic and with sculptures were considered. A typological analysis of the figures of the crucified Jesus Christ was carried out. The comparison of the style of the carved ornaments of artistic stonecraft with the carved decor in wood and artistic metal was given. Conclusions. Artistic stonecraft ornaments are associated with an ancient, even pre-Christian culture. The sign and symbolic system of ornaments of ancient origin was analysed. The study shows the antiquity of the traditions of artistic carving on both wood and stone in the Hutsul region. Works of artistic stonecraft of the Hutsul region are a phenomenon of sacral culture in Ukraine. They have to be preserved. One of the ways to solve this problem is to create a museum-lapidarium, where monuments would be restored and properly cared for under the supervision of the experts.

A DIDACTIC ITINERARY THROUGH MATHEMATICS, SCIENCE AND ART ON ESCHER’S PERIODIC DRAWINGS

The purpose of this analysis is to show that strong connections might exist between the teaching of mathematics, science and art. This is due to the particular geometrical configurations behind several paintings and other artistic creations. Therefore, the knowledge of this connection might be of help for the students to guess that mathematics and science also have possible applications to art. This is particularly relevant for the high schools of art. Since too often, mathematics is taught in high schools without any relevant link to reality, this can be one of the reasons of students’ disaffection for this subject. In this analysis, a teaching experiment developed by the author in an Italian (Udine) high school of art is proposed. In particular, Escher’s periodic drawings, and the ornamental motifs that characterize many products in reality, offer an interesting opportunity to make high school students understand the relevance of mathematics and especially of geometry in art. The discovery of mathematical laws, that derive from crystallography, behind Escher’s drawings should persuade students that such an artistry is reachable only by means of mathematical knowledge. In what follows the main features of the outlined didactical proposal are presented and discussed. Keywords: Escher, periodic drawings, mathematics and art, mathematics teaching, cristallography

ФОРМОУТВОРЕННЯ НАРОДНОГО ДЕКОРУ В ТРАДИЦІЙНІЙ ЖИТЛОВІЙ АРХІТЕКТУРІ СЛОВ’ЯНСЬКИХ ТА РОМАНСЬКИХ НАРОДІВ

Abstract. Issues are discussed regarding the means of decorative and artistic expression in folk architecture (ornamental and plastic decor, artistic carving and painting, artistic forging), which are characterized by a certain symbolism that has developed in traditions. The type of the original form (natural, objective, constructive), which is the basis of the ideological and creative concept, is not always obvious, especially in geometrized, complexly stylized contours, that is why it is recognized only as a result of stage-by-stage research. The process of forming a decorative element is read through visual and morphological analysis. The author formulated the following research objectives: to discover the connection between the initial form and the final artistic image in the decor of traditional residential architecture; to identify the varieties of initial forms ‒ figurative prototypes; to reveal the course of compositional complication in the process of forming decorative means of expressiveness; provide relevant illustrative examples. The article examines the architectural decor used both on the residential building itself (wall planes, pediments, pilasters, etc.), and within the estate. Sometimes there are no analogues, and the creation of decorative furnishings is conditioned by a clear adherence to natural samples, and in some compositions there may be direct borrowings (citation) of stylistically established and well-known examples inherent in urban buildings. Comparing the samples of a certain ornamental motif, it is noticed that the drawn version can subsequently form the basis of the relief or sculptural variants, and the prototype shape predetermines the place (by the similarity of the contour features) for placing the decor. Hence - important observations about what kind of people may be inherent in the use of certain artistically designed architectural details. The table illustrates decorative elements of residential buildings and estates (stylization and transformation of the original form, the development of constructive and compositional design). Examples of the formation of folk decor in the traditional residential architecture of the Slavic and Romanic peoples (Ukrainians, Russians, Bulgarians, Moldavians, Romanians) are given. Conclusions are made and prospects for further research on this topic are highlighted.

Making of nusantara decorative motif creations necklace based on hdpe on type plastic waste

The problem of HDPE plastic waste from thick inorganic household waste that is difficult to destroy can damage the environment, the need for the utilization of HDPE plastic waste into products that are beneficial to humans. The purpose of this study was to determine the results of ornamental motif necklaces in the archipelago in accordance with the provisions of the aesthetic theory derived from HDPE plastic waste material that produces good quality so that it can attract consumers as users. The method used is a qualitative method based on the collection of literature data and information from the opinions of experts in their field of accessories to provide input or to the archipelago creation creations based on product theory and aesthetics. The results obtained are necklace products that have design elements derived from decorative motifs of the archipelago (Kawung and Tumpal) made from HDPE plastic waste that have benefits in fashion. The conclusion from the analysis based on theory and accessory expert opinion on the archipelago ornamental motif necklace especially kawung motif made from HDPE plastic waste can produce necklace creations that have good aesthetics and quality so that they can attract attention. consumers as users.

A North African Plate Unearthed in the Andriake Excavations

Twelve fragments constitute the subject of this article, one of which is part of a body and eleven are parts of borders. Six fragments (figs. 2, 4/a-f, 5) belong to the longer border of a rectangular plate. A corner fragment shows a bearded, nude figure with open arms standing inside a kantharos. Along the border is a running lion figure. The remaining section shows a standing figure (Lazarus) wrapped inside an aedicula with a triangular pediment. Six different fragments (figs. 3/g-l, 6, 7) are distinguished by their clay composition but represent the same decorative motifs. Behind a lion there appears part of a triangular pediment. Additionally, a section of a lion’s mane, the body of a running lion, and the lower part of a kantharos are discernible. A small fragment shows a part of a horse’s head and body along with an inscription. The central decoration must be a depiction of the Dioscuri. These fragments belong to plates manufactured in North Africa. This type is dated between the years AD 360 and 430. However, the dating could be extended to the late 5th century up to early 6th century AD. We can propose a period between the second half of the 4th century and the early 6th century AD.

Coastal Batik Ornament Design : Aesthetic Analysis and Meaning of Batik Ornaments in Ciwaringin Cirebon, West Java

Along the coast of the island of Java, there is a wealth of craft art (batik), characterized by its expression of decorative motifs and techniques. In general, the most prominent characteristic of the dominance of primary and secondary colors. Courage in expressing bright colors is also the visual identity of coastal batik. In West Java, Cirebon is one of the popular coastal batik cities. Several villages have become centers for batik crafts, including Ciwaringin Village. The batik that is developed in this village has the characteristics of Cirebon which was born and developed in line with Trusmi batik. Ciwaringin batik is unique in terms of coloring and decorative motifs when compared to Trusmi batik. In terms of typical Ciwaringin coloring is produced by natural dyes (natural dyes), a batik tradition that has long developed in the Cirebon Pesisiran batik culture. This study uses descriptive-qualitative methods with aesthetic and semiotic approaches to reveal the aesthetics and meaning of ornamentation in Batik Ciwaringin. One of the important findings in this study is that in Ciwaringin batik there is no expression of animate motives, which differentiates it from batik motifs in general because Ciwaringin batik was born from the Islamic boarding school community with strong Islamic values. Another finding is that Ciwaringin batik craftsmen transform nature not only as a source of philosophical ideas, but they also care about environmental issues. Concern for the environment is proven by developing coloring techniques using natural dyes (natural dyes) and avoiding synthetic (chemical) dyes.

المعماري أنطونيو لاشياك (1856-1946) في سياق إعادة إحياء العمارة المملوكية

Antonio Lasciac was one of the most active of European architects working in Egypt in the late nineteenth and early twentieth century. His output was as eclectic as it was prolific, comprising buildings and decoration in neo‑Renaissance, neo‑Gothic and neo‑Mamluk styles. This paper focuses on of the origins of the motifs on his buildings decorated in Mamluk revival style, and particularly on his villa at Rafut, in Slovenia, beside the modern border of Gorizia in Italy. The paper first gives a background to the rise of the neo‑Mamluk style in Egypt before analyzing Lasciac’s contributions to it. In one of his early buildings, the neo‑Renaissance palace of Yūsuf Kamāl at Matariyya, a newly‑discovered neo‑Mamluk room is discussed. The detailed analysis of his villa at Rafut and later buildings show the unusual extent to which the decorative motifs he used were accurately based on earlier Mamluk designs, reflecting his long‑standing involvement as a board member of the Comite de conservation des monuments de l’art arabe.

An Unusual Fabric from Jety-Asar-2, Eastern Aral Sea Region, in the Context of the Central Asian Textile Tradition

We present the results of an interdisciplinary study of an unusual sample of wool fabric, found at the Jety-Asar-2 fortifi ed site, representing the Jety-Asar culture of the late 4th century BC to early 1st century AD, in the central Turan Plain. We outline the results of the analysis of the dyes and technological characteristics of the fabric. The woven pattern is described in detail. The specimen is compared with the tapestry from Shanpula (Sampul) cemetery in the Hotan oasis, Xinjiang, China. We examine the idea that the Jety-Asar fabric had been manufactured in Shanpula and transported to the Aral basin along the Great Silk Road. Previously, this type of tapestry was believed to have been used only in the Hotan oasis, because no direct parallels with other areas were known. A direct parallel with such a remote westerly region is all the more intriguing. Apparently, colorful strips of woolen tapestry depicting animals, birds, humans, fantastic beings, mountains, and fl owers were in big demand. The tradition, then, may have been distributed much more widely than previously thought. Many anthropomorphic, zoomorphic, plant, and purely decorative motifs have numerous parallels in the Early Iron Age art of the Eurasian steppes, highlands, and piedmont areas. The Shanpula people used such fabric for decorating skirts. In other cultures, it was destined for various purposes.

Ornaments as a tourist attraction at the King Binamu Tomb Complex in Bontoramba District, Jeneponto Regency

The existence of ornament which adorns almost the entire walls of the tomb functions as decorative or symbolic. Ornamen provided information about the life of Raja Binamu when he was still victorious. The analysis is described in a descriptive qualitative manner with an interpretive approach. The discussion is described based on problems related to how the ornament is able to be an attraction of visitors or tourists. The scavenger began by analyzing the ornament in the tomb with Thomas Murno's ornamental composition theory which was developed in Guntur, according to Murno, organizing the composition in art works in this case there were four models of ornaments, namely: composition based on expediency, composition based on representation, composition based on expository, and thematic based composition. It also uses concepts that are based on tourism science strategies. The results obtained in the form of an understanding that the ornaments there contain two understandings, namely ornamentation as a decorative element, namely the presence of thematic repetition ornaments such as parengreng flower motifs. The symbolic ornaments explain the life and activities of kings during his life and have a moral message. Related to its potential as a tourist attraction, the presence of ornaments needs an understanding and image strategy in the form of 1) bringing up ornaments or ornaments in each of the promotional media, 2) providing information about the types of decoration or ornaments in books (booklets) tourist guides and 3 ) creating merchandise taken from ornamental motifs in the Raja Binamu tomb complex

Kain Tenun “ Kamooru “ Di Kabupaten Muna (1990 – 2019)

The study discusses on woven fabric typical of Muna district, which is one of the distinctive cultural heritages of Muna ethnic. The weaving craft is done by weavers by using gedogan tools and ATBM. The Masalili village is the center of a weaver village in Muna district, which has a unique weaving and is rich in decorative motifs. The focus of this study is the history of making Muna woven fabric so it shows its existence to date as well as explain and document various kinds of woven motifs that are produced so it shows its development without eliminating traditional elements. Based on this topic, the purpose of this study is to determine the initial process of making Muna weaving in Masalili village, Kontunaga sub-district in Muna district to produce a variety of motifs and philosophies existed on the fabric sheet. This research method employed descriptive analysis with a qualitative approach. Data collections were conducted with literature study, observation, interview, and documentation. In this study, the author tries to explain brief history of the originator of Muna weaving, the process of making Muna weaving using gedogan tools and ATBM, the marketing flow of Muna weaving, and the existence of Muna weaving so it can marketed internationally.

EVOLUTION OF INDIAN TEXTILE DESIGN : A STUDY OVER TIMESPAN

Indian Textile Designs has a rich vocabulary and are well known all over the world for their rich variety, grace, beauty, elegance and skilled craftsmanship. These designs are used by the craftsmen’s in weaving, embroidery, wall paintings, printing, etc. Indian designs are the references of rich culture, traditions and heritage. Over the millennium beautiful designs has not only blossomed into an intricate art but has also been consumed in recent times by overwhelming phenomenon of modernization in the form of mass production and mechanization in textile world. The rich and intricate designs have rightly called ‘Exquisite poetry in colorful fabrics’. The natural forms are woven in a highly embellished and stylized manner. A unit of a pattern or the smallest unit of a design is a motif. Often inspired by nature, architecture, culture, or religion, etc. The motifs on traditional Indian textiles are all distinct and mostly very colorful, intricate, bold and symmetrical. After assimilating the essence of a pattern, a weaver, an embroiderer or an artist implements his own interpretation of it. Since ancient time many kings ruled our country, these designs are often representation of the different styles from an era gone. Thus a stem can evolve into a flower or an animal/bird form. Decorative motifs like a leaf, fruit, flower, branch, bud, creeper, animal, bird or a tree never break the symmetry of the pattern or designs. Indian craftsmen’s always gave serious consideration to the proper utilization of the space between the motifs in a pattern. To maintain correlation and harmony between the patterns, certain geometrical patterns, textures and effects were used. The most common being checks, strips, dots, etc.

Territory and related artworks: Stuccoworks from the lombard lakes

The paper presents the analytical campaign carried out on the Baroque stucco decorations by Italian artists known as Artists of the Lakes. Forty samples (from moldings, background, sculpture bas- and high- reliefs) from the churches of S. Lorenzo in Laino, S. Maria dei Ghirli in Campione d’Italia and S. Maria Assunta in Puria (Como, Italy) were analysed by chemical and mineralogical techniques and the data were discussed with a multi-disciplinary approach with art historians, in order to enlighten and compare the artistic techniques. Binders, aggregates, pigments and organic fractions were determined using optical microscopy, scanning electron microscopy with EDS microprobe, X-ray powder diffraction, Raman and Fourier transform infrared spectroscopy, gas chromatography-mass spectrometry. The substrate is constituted by a mixture of magnesian lime, silicatic and/or carbonatic aggregate. Layers sequence varies from the simple pattern of S. Maria dei Ghirli, (1 or 2 layers), to the complexity of S. Lorenzo where up to 9 layers above the substrate were observed. Pigment particles were identified as ochres and as green earth in a single case. Three different gilding techniques are described, as the gold leaf is applied over a chrome yellow ground ( a missione ), over a layer composed by ochre and lead white or over a brass leaf. In some cases organic materials were recognized: oil in gilding preparations and egg mixed with ochre pigments. A carbon black based pigment was identified by Raman spectroscopy in some decorative motifs. The sequence and composition of the finishing layers, the accumulation of particulate matter and the use of gypsum on purpose depending on the decorations typology, enlightened the artist skills, showing how different needs and timing influenced the commissions in the buildings.

The Union of Science and Art: Stained Glass Windows for the South Kensington Museum

This article traces the history of a number of stained glass windows designed for the world’s leading museum of art and design, the South Kensington Museum, which opened in 1857. During the expansion of the museum in the 1860s and 1870s under the directorship of Henry Cole, several large-scale windows celebrating the union of science and art formed part of an ambitious interior decorative scheme that reflected the museum’s collection, its unique history, and evolving role as a national institution for the promotion of artistic and technical education. Although most of these windows were later removed, and some have been lost, the rediscovery of some windows in the Victoria and Albert Museum’s store, and the reinstatement of others, provides an opportunity to consider the original scheme, its context, and significance. Drawing on themes of religious and moral instruction, as well as knowledge and learning, combining allegorical and figurative scenes with ornamental motifs, institutional devices, and royal mottos, the iconography of the windows demonstrates a peculiarly British approach to stained glass design for secular public contexts. Interpreting these windows reveals how the decoration of public museums and galleries articulated institutional aims and helped to define and shape nineteenth-century visual culture.<br>