#Frescoes

[pimsri]

Paleo art inspired by Minoan frescoes

[lightthereis]

The Saffron Goddess (1600 B.C.) is a detail from a Minoan fresco depicting a saffron harvest, Akrotiri, Santorini island, Greece

[madeleineengland]

Church of S. Giovanni Battista in Racconigi (Italy)

[yeoldegodzilla]

Exactly what Godzilla's role was in the 1348 Siege of Budapest is still debated.

[tragediambulante]

Details from the room of Cupid and Psyche in Palazzo Te, Giulio Romano, 1526-28

[girlcatilina]

Dionysus as grapes, detail from fresco of Dionysus on Vesuvius, Pompeii, before 79 A.D. Museo Archeologico Nazionale, Naples

[blueiskewl]

‘Ancient Roman’ Solar Roof Tiles Power Pompeii Villa

Ancient Roman ruins at Pompeii have been fitted with invisible solar panels, in a move that will contribute to the archaeological site’s sustainability efforts and cut costs. The innovative panels, which blend into the background by imitating traditional materials, were installed on the House of Cerere, on a thermopolium — a Roman snack bar — and on the House of the Vettii, which recently reopened following 20 years of restoration work.

“They look exactly like the terracotta tiles used by the Romans, but they produce the electricity that we need to light the frescoes,” said Gabriel Zuchtriegel, the director of the archaeological park of Pompeii, in a press release.

Each year, 3.5 million tourists explore the vast ruins of the ancient Roman city, which was buried by the eruption of Mount Vesuvius in 79 AD. But due to Pompeii’s size, energy bills are expensive and conventional methods of providing power across the site can threaten its appearance.

“Pompeii is an ancient city which in some spots is fully preserved,” Zuchtriegel said. “Since we needed an extensive lighting system, we could either keep consuming energy, leaving poles and cables around and disfiguring the landscape, or choose to respect it and save millions of euros.” The new technology will help the archaeological site to cut energy bills and make it more enjoyable, he added.

The invisible solar panels — or “traditional PV tiles” as they are technically known — were created by the Italian company Dyaqua. They can be designed to appear like stone, wood, concrete or brick, and hidden on walls, floors and roofs, according to Elisabetta Quagliato, whose family owns Dyaqua, in the press statement.

“We are an archaeological site but we also want to be a real-life lab for sustainability and the valorization of intangible heritage,” Zuchtriegel said. “Our initiative is not merely symbolic. Through the million tourists who visit us every year, we want to send a message to the world: cultural heritage can be managed differently and in a more sustainable way.”

Other locations in Italy using the invisible solar technology are the commune of Vicoforte in Italy and, soon, Rome’s contemporary art museum Maxxi. Public buildings in Evora, Portugal, and Split, Croatia will also install the panels, according to the press statement.

Pompeii’s recent use of these panels is just the beginning, Zuchtriegel said. “From now on, we will be taking this solution into account for all future renovation and restoration projects.”

By Garry Shaw.

[arts-doodle]

Angel Dust Doodle :)

[illustratus]

Lucrezia Borgia by Pinturicchio

Detail from the Disputation of St Catherine of Alexandria

[shisasan]

The House of Vettii frescoes, Pompeii 79AD

[ybon-paramoux]

Saffron Goddess, Minoan (Santorini), Akrotiri Frescoes, c. 1600 B.C. [2185 × 2172]

[howamidrivinginlimbo]

"The Apotheosis of King Ferdinand IV and Queen Maria Carolina", by Pietro Bardellino (1781), Museo Archeologico Nazionale di Napoli

[lightthereis]

From ancient city of Knossos, Minoan Civilization on Crete, circa 2000 B.C.E.

[nobrashfestivity]

Pietro Annigoni

I thought I would relay the story of Pietro Annigoni's use of a dead body for a crucified Christ figure in two of his works. As told by Micheal John Angel, in 1939 Annigoni was painting a number of frescoes in the Monastery of San Marco when he heard about the death of a 30 year old Sicilian in a motorino accident outside Florence. Needing a model for Christ, he asked the authorities for the body on the condition that the monks at San Marco would take care of the burial. He strung the body up in his studio where rigor mortis started to set in while he sketched away. These sketches were worked up into a cartoon that he used for this fresco

Thirty years later, Annigoni used the same cartoon for his fresco of the Deposition and Resurrection at the church in Ponte Buggianese, a small town just outside Florence

source

[paganimagevault]

Khwarazm/Chorasmian murals from Akchakhan-Kala & Toprak-Kala, 3rd century BCE - 3rd century CE. The one with hearts is from Toprak-Kala. The rest are from Akchakhan-Kala.

"The world of hearts is under his power in the same manner that The Khwarazmshahs have brought peace to the world."

-Khaqani Shirvani

[tragediambulante]

Galleria Farnese (frescoes details), Annibale Carracci, 1597-1607