scholarly journals Study on Architectural Ornament Images of Wuzhou Arcade Buildings

2017 ◽  
Author(s):  
Yang Yu ◽  
Li Jiang
Keyword(s):  
Architectural Ornament

A Restricted Gaze: The Ornament of the Main Caliphal Palace of Samarra

2015 ◽  
Vol 32 (1) ◽  
pp. 155-195 ◽  
Author(s):  
Matthew D. Saba
Keyword(s):  
Restricted Access ◽  
The Public ◽  
Partial Reconstruction ◽  
Architectural Ornament ◽  
The Way

This essay examines the architectural ornament of Samarra’s Main Caliphal Palace, also known as the Dar al-Khilafa, in light of the context in which it was seen. First, it offers a partial reconstruction of the architectural ornament in one section of the palace, its Audience Hall Complex, based on unpublished documentation from the archive of Ernst Herzfeld, who excavated the site in 1912–13. In the second part, Herzfeld’s findings are interpreted in light of the function of the space as the locus of official audiences at the Abbasid Court. The analysis suggests that in certain portions of Samarra’s Main Caliphal Palace ornament was carefully planned in conjunction with its architectural frame and can even be seen to further the ideological aims of the palace’s patrons. By encouraging the viewer to glance but remaining partly to completely hidden from sight from most palace guests, the decorations of the Audience Hall Complex reinforce the sense of hierarchy and restricted access that informed the way Abbasid caliphs were presented to the public.


Late Hadrianic Architectural Ornament in Rome

1953 ◽  
Vol 21 ◽  
pp. 118-151 ◽  
Author(s):  
D. E. Strong
Keyword(s):  
Practical Advice ◽  
British School ◽  
The Subject ◽  
Architectural Ornament ◽  
Source Of Information

This article forms part of a larger study of Roman architectural ornament undertaken during two years of residence in the British School. The subject was first suggested to me by the Director, to whom I am grateful both for his constant encouragement of my work and for a great deal of practical advice and help in the preparation of this article for press. My friend, Dr. Enrico Paribeni, has been an unfailingly generous source of information, and I wish to thank him especially for drawing my attention to the fragments in the Via del Banco di Santo Spirito and for identifying some fragments from the Hadrianeum. Mrs. Sheila Rizzello has shown great patience and skill in the preparation of the drawings and tracings; and the text could not have been completed without the help of Miss Shirley Twallin.

scholarly journals The Cult Statues of the Pantheon

2017 ◽  
Vol 107 ◽  
pp. 146-212
Author(s):  
Edmund Thomas
Keyword(s):  
Architectural Ornament ◽  
The Temple

ABSTRACTThis article reconsiders the possible statuary of the Pantheon in Rome, both in its original Augustan form and in its later phases. It argues that the so-called ‘Algiers Relief’ has wrongly been connected with the Temple of Mars Ultor and is in fact evidence of the association of the Divus Julius with Mars and Venus in the Pantheon of Agrippa, a juxtaposition which reflects the direction of Augustan ideology in the 20sb.c.and the building's celestial purpose. This triple statue group became the focus of the later Pantheon, and its importance is highlighted by the hierarchized system of architectural ornament of the present building.

Elena Malvezzi's keyboard manuscript: a new sixteenth-century source

1990 ◽  
Vol 9 ◽  
pp. 73-128 ◽  
Author(s):  
Craig Monson
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Musical Instruments ◽  
The Political ◽  
Early Twentieth Century ◽  
Architectural Ornament ◽  
Art Dealer ◽  
Personal Collection

It is safe to say that the collections of the Museo Comunale Bardini, situated in Piazza dei Mozzi on the oltrarno in Florence, remain comparatively little known. The museum's vast store of paintings, sculpture, architectural ornament, rugs and tapestries, armour, bronzes, furniture and musical instruments all belonged to Stefano Bardini, the nineteenth- and early twentieth-century collector and art dealer. Born in 1836 in the province of Arezzo, Bardini came to Florence to study painting at the Accademia delle Belle Arti. After the political turbulence of the 1860s, when Bardini fought with the Garibaldini, the young painter turned to restoration, connoisseurship and art dealing. By the age of forty-five he had established his reputation and an extraordinary personal collection. At the height of his career his patrons included the Rothschilds, the Vanderbilts, Isabella Gardiner and J. Pierpont Morgan. Many objects now in some of the world's best-known public collections passed through his hands.

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