Painted Decoration Research Articles

Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain by Tara Zanardi

Reviewed by: Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain by Tara Zanardi Amy Freund Tara Zanardi, Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain (University Park: The Pennsylvania State University Press, 2016). Pp. 264; 44 color + 35 b/w illus. $94.95. Framing Majismo: Art and Royal Identity in Eighteenth-Century Spain is a welcome addition to an unjustly small field: the history of the visual arts in eighteenth-century Spain. English-language studies of Spanish art of this period, including important scholarship by Janis Tomlinson and Andrew Schulz, can almost be counted on one hand, and tend to focus on the protean work of Francisco de Goya. In her analysis of the visual representation of majas and majos—working-class types who embodied a certain vision of Spanish national identity—Tara Zanardi has produced a particularly rich account of eighteenth-century Spanish visual culture, one that includes not only the familiar names of Goya, Francisco Bayeu, and Anton Raphael Mengs, but also the history of dress, theater productions, popular prints, and decorative painting. The book's broad thematic scope will appeal both to scholars of Spanish art and to readers interested in problems of national identity, European court culture and elites, representations of the working class, and the history of dress. The book's central claim is that majismo—the working-class aesthetic of majas and majos, and their depiction in the visual arts—was enthusiastically embraced by elite consumers in the second half of the eighteenth century as an embodiment of authentic Spanishness in the face of anxieties about outside influences on Spain (beginning with the Bourbon dynasty installed in 1700) and the reforms associated with Enlightenment thought. Zanardi argues that majismo was culturally effective because it accommodated social tensions in Spanish society surrounding gender roles, class hierarchies, and the conflict between tradition and modernity. Her study of majismo in the visual arts, as she clearly delineates in her introduction, focuses on noble and royal patronage and on Madrid; the book is organized thematically rather than chronologically or by medium. [End Page 345] The first chapter defines majismo as a visual style by tracing the representation of class and regional types back to the seventeenth century, and by identifying references to majos and majas in plays, prints of popular types, and genre painting. Zanardi argues here, and throughout the book, that majismo allowed artists to promote both popular customs and a modern national aesthetic. The following chapters map the relationship between majismo, gender norms, and class hierarchies. Chapter 2 analyzes how visual representations of the majo type defined Spanish masculinity for elite patrons. Using Judith Butler's theory of gender performativity, and analysis of works by Lorenzo Tiepolo and Goya, Zanardi argues that the majo was a complex, unstable social type that partook of traits understood as male and female. The third chapter builds on her argument about the performance of masculinity by examining how the visual arts participated in the fan culture surrounding the bullfight. Zanardi traces the transformation of bullfighting from an aristocratic pastime to a popular entertainment that made celebrities out of working-class fighters, and correlates this history with visual representations of the bullfighter's body, from print series by Goya and other artists to Goya's portrait of the matador Pedro Romero. In her final two chapters, Zanardi shifts her focus from masculinity to femininity. She argues that the persona of the maja, celebrated for her independence, mobility, and frank sexuality, was appropriated by elite women as a model of both Spanish tradition and modern femininity. Drawing on literary texts, political tracts, the history of dress, and works by Goya, Tiepolo, and Luis Paret y Alcázar, Zanardi argues that the maja's fluid identity allowed elite women to claim political and social agency but also crystalized cultural anxieties about Spanish women's increasing participation in cultural and political life. The last chapter takes as its case studies the famous Goya portraits of the Duchess of Alba and Queen María Luisa, juxtaposing these works with other portraits and fashion prints celebrating maja style. This chapter, despite the title of the book, is the only one that treats...

Pomiędzy przeszłością a współczesnością. Dziedzictwo kulturowe kościoła w Orawce

Cultural heritage, whether tangible or intangible, occupies a superior position in every social group. This legacy is not only comprised of physical and spiritual artefacts but also attitudes towards them or the ability to live through artefact-related experiences. The broad spectrum of phenomena covered by the term ‘heritage’ makes it examinable through many aspects – historical, social, or psychological. Tracking the continuity of individual phenomena makes it possible to build a narrative that constitutes a tale about people and their history. What is a particularly intriguing area for this type of research is the borderland, usually marked by ethnic diversity and complex political history. The upper part of Polish Orawa is one of the least studied regions. The wooden church in Orawka, founded in the second half of the 17th century, is the oldest preserved manifestation of the cultural heritage there. Owing to this building, along with its impressive painting decoration and fittings, it is possible to paint the picture of the community which has been gathered around it for almost four centuries. The paper aims not only to introduce the value of this unique temple but also to answer the questions about the factors which influenced the shape of the region’s heritage and how this heritage is nurtured today.

Le pitture murali di Santa Maria Del Gradaro a Mantova

The essay discusses the painted decoration of the church of Santa Maria in Gradaro, which is here considered in relation to the constructive phases of the building it-self. The paintings in the apse and in the northern chapel, as well as the ornamental patterns on the walls of the central nave and the counter-facade, were conceived as part of the same, uniform decorative project. It involved the whole architectural container and can be dated immediately after 1295. Such date is indeed inscribed on the left jamb of the portal, and has likely been written after the completion of the church. Some frescoed fragments with figures of Saints painted in the northern chapel can instead be dated to a slightly later phase, having been done at the very beginning of the Trecento. Some fragments with a painted decoration and a velarium in the main chapel date back to an older phase, as well as the geometric decoration painted on the beginning of the right wall of the nave, at the bottom. The author thus argues that a first oratory did exist here. According to her, it was smaller and consisted of a single rectangular hall, which is now included in the apse and in the lower part of the present church.

Patterns in hammertone paints

Purpose The purpose of this study is to determine required paint and silicone proportions, their mixing rate and duration to eliminate the pattern problems caused by the misuse of silicone polymers in hammertone paints. Results of the findings aim at preventing raw material, manufacturing time and labour losses in hammertone paint production. Design/methodology/approach A paint formulation produced commercially was used. The effects of silicone proportion and mixing rate and paint and pigment density on the pattern formation within the paints, to which the spray painting method was applied, were investigated. Brightness controls of the produced paints were done, and the effect of the additive polymer on brightness was investigated. Photographs of paints for each practice were taken. Findings The most suitable silicone proportion and mixing conditions for the silver grey paints, in which Al non-leafing pigments were used, were calculated as 0.034-0.036 g/kg-paint and 15 s at 200 rpm, respectively. It was observed that the increase in pigment density increased required silicone proportion for the desired pattern. It was determined that mixing rate and duration were very significant in pattern formation, and that silicone decomposed and the pattern was disrupted in long-continued mixings. In addition, excess silicone use disrupted the pattern and decreased the paint brightness. Research limitations/implications This research was conducted for hammertone paints, which are industrial and self-patterned aluminium silvered decorative paints. The results can be used for hammertone paint production. Practical implications The results will enable manufacturers to produce hammertone paints more economically. Results can be used in the paint industry to produce such paint. Originality/value It is crucial to produce high-quality products using less raw materials in today’s industry, where the amount of raw materials is decreasing, and economical and reliable production is becoming increasingly important. When environmental impacts in the solvent-based paint industry are taken into consideration, paint production in shorter times is important for both workers’ and environmental health. As a result of this study, hammertone paints will be produced more economically by appropriate production conditions yet without any energy, raw material and time loss.

Experimental and theoretical studies of perceptible color fading of decorative paints consisting of mixed pigments

We study the color fading of paints films composed of mixtures of white rutile titanium dioxide and yellow arylide pigments dispersed in two polymer binders at different volume concentrations. The samples were exposed to ultraviolet radiations in an accelerated weathering tester during three weeks. The measured patterns in color variations appeared to be independent of the chemistry of the binders. We then developed a theoretical framework, based on the Radiative transfer Equation of light and the One Particle T-Matrix formalism to simulate the color fading process. The loss of color is correlated to the progressive decrease of the original colored pigment volume-filling fraction as the destructive UV radiations penetrate deeper into the films. The calculated patterns of color variations of paints film composed by mixtures of white pigments with yellow Cadmium Sulfate (CdS) and red Cerium Sulfide (Ce2S3) pigments showed the same trend as that seen experimentally.

Prototype Doucai porcelain — A special form of ancient Honglvcai in Cizhou kiln, Jin Dynasty (1115–1234 AD), China

Honglvcai (also named red and green porcelain) was prosperous in Jin Dynasty (1115–1234 AD) and had played a pivotal role in ancient ceramic development history in China, connecting with former glazed pottery Tang Sancai and later polychrome porcelain like Wucai and Doucai, but little scientific analysis has been reported up until the present day. In this research, one precious sherd unearthed from Linshui (one major site of Cizhou kiln system) in Hebei province was adopted as specimen for compositional and micro-structural analysis. Optical microscope (OM), X-ray fluorescence spectrometry (XRF) and energy dispersive spectrometry (EDS) in association with scanning electron microscope (SEM) were employed for investigation of the multi-colour decors and black outline. The extensive data reveal that although high lead content has been detected by surface analysis and the iron-rich pigment particles do locate in the middle of the whole vitrified region, the black outline in fact belongs to high temperature fired under-glaze painted decoration, rather than the deceptive low temperature fired lead based over-glaze decor or the generally believed ‘sandwich’ (glazed twice) structure. Furthermore, a corresponding criterion then has been established for differentiation among three main decorating methods, especially for the puzzling ‘sandwich’ effect scenario. Moreover, once this ongoing vexed debate over the nature of the black decoration in Cizhou kiln system has been clarified, it is then reasonable to deduce that, from idealistic and technical point of view, there is no difference between producing prototype like this sherd and real Doucai in Ming dynasty (1365–1644 AD) except for the types of under-glaze pigment. Overall, all these results together firstly provide realising scientific proofs for the origin of Doucai.

Production technology of Nabataean painted pottery compared with that of Roman terra sigillata

The Nabataeans, who founded the city of Petra (southern Jordan) in the late first millennium BCE, are noted for the production of a distinctive very fine pottery with painted decoration and a wall thickness sometimes as little as 1.5mm; this pottery appears largely locally made and not widely circulated. Using a combination of OM, SEM with attached EDS, surface XRF, and XRD, it is shown that the Nabataean fine pottery bodies were produced using semi-calcareous clays which were fired to temperatures of about 950°C. In contrast, published data indicate that contemporary and in many ways apparently functionally equivalent Roman terra sigillata, which was traded throughout the Roman Empire, was produced using fully-calcareous clays which were fired to temperatures in the range 1000–1100°C. Furthermore, the high gloss slip applied to Roman terra sigillata is fully vitrified whereas the red-painted decoration applied to the Nabataean pottery is unvitrified. The more robust Roman terra sigillata is therefore better suited as tableware for serving and consuming food than would be the case for Nabataean fine pottery, and would be a more successful export material.

Multi-criteria Decision-making for Sustainable Wall Paints and Coatings Using Analytic Hierarchy Process

To which extent do potential users of construction products take sustainability into account during their decision-making process? How well could they align themselves in all the legislation frameworks and calculation tools for the sustainable construction products? In accordance with the Environmental Product Declaration (EPD) [1], determining of ecological properties of construction products could be accomplished with applying life cycle assessment (LCA). There is a number of tools and frameworks for evaluating the sustainability of construction products for the European experts, which may be used in such a decision-making process. However, for a non-expert user, this could be quite complex. Therefor, the assumption here is that environmental and human health safety are prior in contrast to the market prices when it comes to choosing a decorative paint or coating. In the framework of herein research, an Analytic Hierarchy/Network Process model was designed involving four major merits of the Analytic Hierarchy Process: Benefits, Opportunities, Costs, and Risks [2]. The model which is based on the major characteristics of a decorative wall paint helps emphasising the best alternative with respect to given priorities: low risk of environmental and human health damage, quality, market price, repairability. The model shows values for all the criteria and alternatives with respect to pairwise comparisons. In a future research step, this model will be validated with a questionnaire survey targeting non-expert users, i.e. average consumers, on the construction market in Germany.

A Sub-Geometric Skyphos from Borysthenes

In the Borysthenes collection a fragment of Sub-Geometric skyphos has come to light, which is most likely to have been manufactured in Miletus. The shape of the vessel and the stylistic features of its painted decoration enable us to date it to the second quarter of the 7th century bc. This skyphos, like other vessels in the Sub-Geometric style from barbarian sites in the North Pontic region, was taken there by colonists, who had founded the early apoikiai of Histria and Borysthenes. For this reason, vessels dating from the first half of the 7th century bc cannot be cited as evidence for pre-colonial ties having existed in the Pontic region.

Identification of the majolica polychromatic decoration by IRFC methodology

A multi-analytical approach was applied to study majolica fragments coming from the Medieval and Renaissance waste shaft (butto) of the Monks' Palace in Capena (formerly Leprignano) in order to test the efficacy of IRFC reflectography to characterize ceramic glazed decorations. A total of 21 pottery samples dating back from 14th to 18th century were analyzed. The majority of fragments referred to Archaic and Renaissance artifacts, but one sherd of painted XVIII century majolica from Albissola has been also analyzed. The chemical composition of the colored layers was ascertained by portable surface XRF, and SEM-EDS analyses performed on freshly cut cross sections. The glazes are variable in thickness and generally composed of silicate materials, to which lead and tin compounds, respectively acting as fluxing and opacifying agents, were added. Analyzing the painted layers allowed identifying the elements responsible of the coloration. Manganese in different concentration has been found in violet, brown and black decorations, while copper was detected in the green and turquoise ones. Cobalt is the main chromophore in blue decorations, and refers to the zaffera, whose arsenic content is related to the production period. Yellow and orange decorations are due to lead antimoniate, to which iron oxides are added in the case of orange-brown decoration. Comparing the obtained analytical data with the mineral composition ascertained by micro-Raman technique gave the possibility to precisely identify all used chromophore. The precise knowledge of the composition of all painted decorations made it possible to interpret the response obtained by IRFC reflectography and couple each false color to the peculiar chromophore. The IRFC methodology was proved to be very efficient to identify the single chromophore even in the case of mixtures of pigments. It is also an alternative non-destructive, and low cost methodology that may be successfully applied to the study of decorated majolica pottery.

Hindu Iconography in the Gor Khatri Temple (Peshawar): Sacred Imagery Painted in the Śaiva Shrine

The work in hand is a primary attempt to explore iconography of divine images painted on mural surfaces of the Śaiva (or western) shrine in the Gor Khatri temple (Peshawar). Some of these images have gone due either to weathering condition or human vandalism, while there still survive a good number, although in a poor state of preservation, which need proper analysis in terms of their iconographic attributes leading to their identification. Quite in line with the thematic arrangement of these paintings, the temple was originally decorated with godly figures in stucco together with the now missing stone Śivaliṅga. This sacred decoration once imparted dazzling beauty to the entire temple complex.The paintings, forming the subject-matter of this work, were executed in tempera technique using variegated colour scheme, which closely compare with painted decoration of nineteenth/twentieth-century mosques and mausolea in and around Peshawar. It appears that the guilds of artists felt no reluctance in earning their subsistence to decorate religious buildings of the Muslims or the Hindus as their ancestors did long ago at changeover from Buddhism to Hinduism. This study is important with a view to preserve iconographic features of the surviving sacred imagery whatsoever for the coming generations.

Megjegyzések a középkori zágrábi székeskáptalan néhány liturgikus kódexéhez

The substantial pre-1526 book connection of the Zagreb cathedral chapter (those marked MR are kept by Metropolitanska knjižnica, those indicated by a letter and Arabic number after a Roman numeral are in the Hrvatske akademija znanosti i umjetnosti) is a little explored source of Hungarian manuscript illumination. Adjusted to Orsolya Csomó’s musicological investigations I had a chance to study manuscripts with varying painted decoration. I was primarily interested in their age and place of creation, as well as their style. The Crucifixion image before the Canon of the Mass in the missal dedicated to Saints Cosmas and Damian (MR 13) dates the manuscript to the end of the 14th century. The exquisite Canon picture of the codex marked IV.C.59. seems to be a work produced in Zagreb and dates from the second-third decade of the 15th century. It has connections mainly in Austrian art. Another Zagreb missal (MR 62) was so-far dated by literature to the turn of the 13-14th centuries or the mid-15th century. The present paper reckons with the beginning of the period between 1425 and 1450 and emphasizes the south German, Austrian peculiarities of the Crucifixion image. Finally, a missal (III.D.23.) containing a Canon picture whose underdrawing is also unfinished displays the influence of Viennese works incorporating Prague elements as well from the years between 1430 and 1450. The codices oriented toward the art of Central European, particularly neighbouring Lower Austrian, Styrian and Carinthian areas is followed by a discussion of the Salzburg Missal (Salzburg, Unversitätsbibliothek, III 23) of the Zagreb rite. After the iconographic analysis of the images in the codex possibly belonging to the late period of the Salzburg-Augsburg workshop associated with Johannes Bämler the paper enquires into the possible relation of archbishop of Salzburg Johannes Beckensloer to the manuscript. It is not impossible that the codex is a relic of the high priest’s attraction to liturgical codices, particularly missals. Nor can it be precluded that the manuscript was created upon Hungarian commission or as a present for the bishop of Zagreb. The study of these codices raised the question of the Austrian stylistic relations of certain missals in Pozsony (e.g.: Budapest, National Széchényi Library, Cod. lat. 222). Special literature usually links these manuscripts to Viennese or Pozsony-based illuminators and stresses the influence, sometimes personal involvement of Ulrich Schreier. The author wishes to withdraw from this circle – among other manuscripts – the Mss I 20 missal in the Esztergom Archiepiscopal Library which is thought to have been used in Pozsony. On the basis of some characteristic and rare border ornamental motifs its place is sought somewhere in the environment of the Zagreb Missal kept in Salzburg. It is well known that the illuminators employed by the Bämler worksop in Salzburg and/or Augsburg spread the motivic stock of the workshop wandering south and east of Salzburg. During the investigations an itinerant artist’s work was also found in the Hungarian heritage of the art discipline (Pannonhalma, Abbey Library, 120b A 12). The paper ends with a few minor observations. The author agrees with the dating of missale notatum marked MR 70 by literature to the 13th century, but specifies the date as between 1280 and 1290 on the basis of the Crucifixion drawing echoing the Zackenstil. Finally, the paper discusses the inscription on folio 222vb of the MR 26 Zagreb missal in the chapter library. The note names the scribe and the client who ordered the manuscript. The liturgical book was ordered by provost Vitus and copied in 1453. The inscription reveals he was the son of Tamás Büssüi. He was the direct descendant of a branch of the Gutkeled clan, the Bacskai family once living in Zemplén, on the line of Miklós son of András who had settled in Slavonia. The text is accompanied by the provost’s coat of arms: a small triangular shield with three red wedges turning from left to right in a white field. The father of the provost assumed the name Büssüi [of Büssü] after his estate in Somogy. His son, however, chose their Bosho (Buchko, Bacska, Bocska) name reaching back to the Gutkeleds and was the first in the family to use their coat of arms.

Synthesis of nano CaCO3/acrylic co‐polymer latex composites for interior decorative paints

CaCO3 nanoparticles were synthesised in patented solution spray reactor system using non‐ionic Tween‐80 surfactant as template. Design of solution spray reactor permits the intimate thin film contact between the highly atomized precursor and precipitant solutions to control the CaCO3 size in 25–90 nm range. CaCO3 nanoparticles were surface modified with γ‐methacryloxypropyltrimethoxysilane (GMPTS) in order to improve the compatibility with polymer matrix. CaCO3/acrylic co‐polymer latex nanocomposites were prepared by in situ emulsion polymerization with 0.5‐2.5 wt % loadings of nanoCaCO3. Functional group, surface modification, crystal phase, size and morphology of CaCO3 nanoparticles were determined by their FTIR, XRD and FESEM analysis. DSC and TGA analysis was performed to establish the rise in thermal stability of latex nanocomposites due to inclusion of nanoCaCO3, while its ultrafine dispersion in polymer matrix was confirmed by FESEM analysis of latex nanocomposite films. Interior waterborne decorative paints were formulated using CaCO3/acrylic co‐polymer latex nanocomposites as binder. Overall three fold rise in performance of latex nanocomposite paint over that of clear latex paint in terms of wet scrub, mar and stain resistance, cross cut adhesion and pencil hardness was observed which implies commercial viability of use of surface modified nanoCaCO3. POLYM. COMPOS., 39:1350–1360, 2018. © 2016 Society of Plastics Engineers

النظم الهندسية والإيقاعية لظاهرة التوالد والنمو للتوريق في الزخارف الإسلامية والإفادة منها في تدريس اللوحة الزخرفية في التربية الفنية = Engineering and Rhythmic Systems of Securitization for a Selection of Plant Elements in Islamic Art and Benefit from Them in Teaching Decorative Painting in Art Education

النظم الهندسية والإيقاعية لظاهرة التوالد والنمو للتوريق في الزخارف الإسلامية والإفادة منها في تدريس اللوحة الزخرفية في التربية الفنية = Engineering and Rhythmic Systems of Securitization for a Selection of Plant Elements in Islamic Art and Benefit from Them in Teaching Decorative Painting in Art Education

Pigments and colours: An inside look at the painted decoration of the Macedonian funerary monuments

The funerary monuments located in the area of ancient Macedonia (Northern Greece), namely the monumental Macedonian tombs, as well as the decorated chamber and cist tombs form a remarkable source of evidence about late Classical and Hellenistic painting. They preserve simple or more elaborate compositions executed with the employment of techniques developed at the end of the 5th and during the 4th centuries BCE.In the framework of the NARNIA Project, an interdisciplinary approach to the study of the painted decoration of these tombs was applied combining archaeological research and archaeometric techniques of material study and characterisation. Different analytical techniques have been used in order to determine the techniques and materials employed in the wall paintings in several funerary structures. Specifically, the surface and stratigraphy of the painting were examined with optical microscopy, polarised light microscopy (PLM) and scanning electron microscopy (SEM), while the chemical composition of the inorganic materials was determined through the application of micro-X-ray fluorescence spectroscopy (μ-XRF), energy-dispersive X-ray spectroscopy (EDS) and X-ray diffraction (XRD). Furthermore an investigation of the use of Egyptian blue in the decoration of selected monuments has been conducted through the in situ application of the non-invasive technique which combines visible induced luminescence (VIL) infrared imaging.In the course of this study, the information obtained through the analysis and the review of the literature has revealed the pigments employed in the painted decoration of eighteen funeral monuments. The mainly inorganic colouring materials vary from natural, such as hematite and goethite, calcite and carbon black, to the synthetic Egyptian blue. The coloured arsenal employed by the ancient painters is further enriched by other minerals, such as the red cinnabar and realgar, as well as an arsenic based yellow pigment. Green earth was also used, despite the availability of copper based green minerals. Lastly, the presence of Egyptian blue in the monuments has provided invaluable information regarding the spatial distribution of the pigment and allowed a further comprehension of the decorative motifs.

Study of the deterioration products, gilding, and polychromy of the stones of the Scuola Grande Di San Marco's façade in Venice

The Scuola Grande di San Marco is one of the most outstanding Renaissance buildings in Venice. Destroyed by fire in 1485, the Scuola was reconstructed between 1487 and 1495 by Pietro Lombardi (and sons), together with Giovanni Buora and Mauro Codussi. The façade is considered one of the finest and most original exteriors of Venetian buildings and in particular features refined sculptural and painted decorations and a remarkable pictorial effect created by the extensive use of polychrome marbles and the false perspective view between the pilasters of the lower order. Most of the stone materials (Istrian and Verona red limestones, nero di Roveré, pavonazzetto toscano, Carrara marble and various reused antique marbles) present evident decay phenomena such as scaling, exfoliation, powdering, fissuring, salt efflorescence, black crusts, and artificial patinas of various kinds. The present study reports the results of petrographic and chemical laboratory analyses carried out in preparation for the conservation treatment of the building, in order to characterize the main micro- and macro-morphologies of decay and to identify the causes and mechanisms of deterioration as well as the nature and application technique of the polychromy, gilding, and patinas present on parts of the monumental Renaissance façade.

Workshop of the painter Gottfried Ezekiel – the technique of 18th-century decorations in Bodø (Norway)

The presented research was focused on a group of Norwegian decorative paintings from about 1750, executed by Gottfried Ezekiel – the painter of Prussian origin, formed in Konigsberg. The aim of described project was to compare the style and the technique of works in Bodin church and of the so called Louis-Philippe Room – lading to determine the characteristics features for the artist’s workshop.

Recommendation Effect Dynamic Shift from Consideration Set to Preference Set for Decorative Paint Purchase

An Experience is engineered at the time when the customer consolidates sensory images and perceived value about the various encounters the customers had in relation to the various touch points encountered. This results in generating a connect with these brands in consideration from the total set of brands available to the customer. Customers are always with a temptation of looking at something new, innovative and value adding so that the chances of the best decision always exist. The customer mind continuously searches to this extent and thus the role of strategically providing experiences at every touch points for the customer irrespective of whether the customer is willing to purchase the brand or not. Decorative paints falls into the category where the customer disconnect remains once the paint is applied and the immediate benefit of sensory appeals seizes to exist, thus disconnecting from the category until a repurchase need is recognized. Though the customer receives various controlled touch points like advertisements or sales promotional information the involvement rather the willingness to process the information for generating a perception is limited as the customers willingness to process the information gets active when the need is sensed for a repurchase of decorative paints. So every time a customer goes for buying decorative paint the decision making process is started afresh considering various sources of information, self learning and heuristics to arrive at the final choice. This dynamic shift from the consideration set to the preference set is worth studying and discussing to understand the category strategies.

St Faith’s Chapel at Westminster Abbey: The Significance of its Design, Decoration and Location

St Faith’s chapel is situated beyond the south wall of the south transept of the Gothic abbey church, built by King Henry III (r. 1216–72) at Westminster. The chamber’s paintings, corbel heads and the use of Purbeck marble for wall shafts and corbels, together with 13th-century floor tiles, mark it out as a locus of high status. The paper promotes the claims of St Faith’s chapel to have been the sacristy and vestry of the Benedictine church through an examination of its fittings, sculpture and painted decoration.

ZASŁUŻENI GEOLODZY NA FRYZIE SALI MUZEUM GEOLOGICZNEGO PIG-PIB IMIENIA PAWŁA EDMUNDA STRZELECKIEGO

DISTINGUISHED GEOLOGISTS ON THE FRIEZE IN THE PGI -NRI PAWEŁ EDMUND STRZELECKI GEOLOGICAL MUSEUM Abstract. In the Hall of the PGI Geological Museum, there is a decorative frieze, at the height of the third-tier galleries, which was created with completion of the Institute’s main building in 1936. Iconography on the frieze in the P.E. Strzelecki Hall is the only decorative painting and is limited to the panel filled with the names of distinguished geologists. Currently, there are 32 names of prominent Polish and foreign scientists on the frieze. The aim of this article is to present short biographies of all the great geologists placed at the frieze, to disseminate knowledge about them among visitors of the Institute and, in particular, of the Geological Museum.