Journal articles on the topic 'Heraldic decoration'

The tile compositions from decoration of Baturyn’s stoves are discussed. Based on the form, size and number of composite elements, the tile compositions are attributed to the tile panels and friezes. All finds had localized within two objects: hetman’s palace on the Citadel (two stoves) and a house of a Baturyn nobleman on the territory of Fortress (one stove). In the decorative construction of the polychrome stove in the Hetman’s palace, there was a tile panel, which included the large heraldic tile and a frame from the belt tiles. The frame is presented in two variants, and it’s probable to determine which of them covered the central panel. Besides that, in the central part of this polychrome stove, the tile frieze was located. Its central elements were represented by small round heraldic tiles. From the tile panel in the decoration of the second stove in Hetman’s house, only fragments of a monochrome green frame were found. The tiled panel from the stove of the dwelling on the territory of the fortress consisted of four square tiles which formed the heraldic image of the two-headed eagle. Graphic reconstructions of tile compositions can be used in future to reconstruct the decor of the stoves.

The use of heraldic decoration in medieval books has been somewhat neglected, only a few have been the subject of detailed studies and some of these are less than satisfactory. The Tickhill Psalter group had the advantage of having been the first to use the medieval rolls for comparanda, although the importance of the background decoration and line fillers as part of the overall pattern was not realised, accordingly a re-examination of all of these books is desirable. Unfortunately the book also gave renewed currency to the erroneous identification of the heraldry in the so-called Grey–FitzPayne hours at Cambridge which has long been regarded as closely dated to 1308 and hence a key manuscript for the chronology of the early fourteenth century books.

Surprisingly little attention has been paid by scholars of Henry VIII to the heraldic ceiling of the Chapel Royal in St James's Palace (fig. 1). Study of its decoration has fallen somewhere in between surveys of Tudor architecture and painting. In this article specific problems relating to the ceiling will be addressed: when it was made, the iconography, the reasons for the iconography, the visual source of the ceiling and how it was transmitted, and who made it. The ceiling warrants attention because its programme of Henrician heraldry is a key to the understanding of the political iconography of the Royal Supremacy. In addition, the ceiling's dependence on a contemporary Italian architectural treatise for its design is unusual for its time.

This article is sequel to the article published in the third issue of the Journal “Herald of the Institute of History, Archeology and Ethnography of the Dagestan Scientific Center of the Russian Academy of Sciences” in 2017 and it deals with the peculiarities of decorative finish of Muslim gravestones of the 14th -15th centuries in the village of Kubachi, partly in the village of Ashty, and now uninhabited villages of Dats’amazhe and Kalakoreish. This article, unlike the previous one, covers the issues related to the principles and methods used by stonecutters, calligraphers and ornamentalists in the decoration of the headstones. The analysis shows that bilateral symmetry was the guiding principle, which stonecutters used in decorative finish of the gravestones and of various architectural details as well. It is noted that the patterned and epigraphic compositions presented on the medieval headstones are based on the principle of free or relative symmetry, since there is no exact coincidence of the left and right sides of the figures. Along with the compositions with bilateral relative symmetries, there are the so-called mirror symmetries, in which the left and right sides are the same and coincide. These are mainly compositions of floral ornament. In medieval stone-cutting art of the village of Kubachi, mirror symmetry is most often found in heraldic compositions with images of paired, opposing animals, birds and fantastic creatures carved on various architectural details. The stonecutters adhered to the principle of relative (free) symmetry while making relief decorative Arabic inscriptions against the background of the floral ornament. The same inscription of the patterned and epigraphic band (border) in the upper part of many headstones is divided into two equal parts by a small ornamental medallion or braided ornament. But according to the figure (structure) these parts (right and left) are different. The stonecutters were to show the symmetry of the whole decoration of the headstones - the center and its sides. Among the architectural details there are also some decorative Arabic inscriptions executed in compliance with bilateral mirror symmetry. This symmetry is presented in the inscription (pseudo-inscription) on the archivolt of the window tympan of late 14th - early 15th centuries with the image of a horse rider, and on the archivolt of the window tympan with the image of a deer dropped down to the front legs. The author of the article presents the data on the relationship between Kubachi and the neighboring villages of Itsari, Shiri, Dats’amazhe in the development of the stone-cutting art and other types of decorative and applied art - wood carving, metalworking, carpet weaving, etc. in terms of similarity of compositional techniques and ornamental motives, performed in compliance with the principle of symmetry. The author analyzes similarities and differences in the decoration of the headstones at the medieval cemeteries of the village of Kubachi - “Bidaq huppe”, “Ts’itsila”, “Baqutsila”, “Dats’amazhe”, and also in the villages of Ashty and Kalakoreish. The modern ornamental art of Kubachi has inherited the rhythm, symmetry, balance, and proportionality peculiar to medieval ornamental compositions.

In many ancient churches the establishment of chantries and chantry chapels provides a fascinating appendix to the archaeology and history of the building. This paper is a short study of a chantry founded in St George's Chapel, Windsor not long before the Henrician and Edwardian reforms which were to undermine the theological principles upon which such establishments were erected. It refers to the life and the achievements of the founder and seeks to highlight, through the examination of architectural and heraldic evidence the difficulties of tracing the history of the building and decoration of the chantry chapel for which the Foundation Deed and the will of the founder are lost.

By V—IV century BC the images which iconography and context originate from Greek-Scythian art are becoming popular among people of Scythia. One of the most popular motive was sphinx. It was depicted on jewelry: earrings, neck rings, bracelets, appliqué-plates. The image of the mythical creature was among symbols of gods, life-giving forces of nature as well as signs of protection against dark forces. Some stories on the artifacts from Scythian kurgans are unique, presumably free interpretations of images from the creations of Greek masters. Often the image of sphinx was included to the heraldic compositions on golden plates which decorated headdresses. Most of the appliqués with relief patterns were forged in Greek workshops of Northern coast of Black Sea. However some artifacts tell about the existence of jewelry craft in Scythia itself. The images of sphinx with double and symmetrically opened torso raise extreme interest. This is the feature of decorative art of Northern coast of Black Sea. The majority of the artifacts which represent different variations of the image are found on the Scythian territory. It is possible that the idea of the image should be linked to the semantics of the sphinx — its dualistic nature. The iconography has the reflections of traditions which are usual for Scythian art: the stylization, representations of species specific of creatures, so-called transformations (one detail becomes set-up for another). The decorative elements with the image of sphinx with double and symmetrically opened torso were also symbols of fertility in Scythian costume.

This article presents two printed epithalamia from the 17th c. related to marriages contracted in the Pacas family. Each of them was adorned with a graphic decoration conforming with the allegoric meaning of the Gozdawa coat-of-arms. This determined not only individual virtues but also, together with the relevant quotations and symbols, became a prognostic of a satisfactory marital life. It also demonstrated the connections of the Pacas family, which were crucial in terms of strengthening the position of both the family and its individuals against public and family issues.

The article studies the Alan-Abkhazian cultural contacts by analyzing architectural decorations of these peoples. Actuality of the study is determined by considering the architectural decorations as a cultural marker of Abkhazians and Alans in the period of the 8th—10th centuries. This point of consideration is primarily important for studying the material culture of the ethnic groups living in close proximity to the route of the Silk Road, which is regarded as a powerful catalyst for cultural exchange between the numerous tribes and peoples each having its own unique and diverse artistic skills. The article compares a number of artifacts: some fragments of the altar barrier from Anacopia (Republic of Abkhazia, New Athos) and some fragments of the altar barrier from the Ilyichevskoe Hillfort (Krasnodar Region, Otradnensky District). This allows the author to state that there existed common ornamental schemes in the monumental art of those peoples in the period preceding the 13th—14th centuries. The article analyzes the patterns and zoomorphic images of “animals in a heraldic pose” from the church on Mount Lashkendar (Republic of Abkhazia, Tkuarchalsky District), and a dog from the Alan tomb of the Kyafarskoe Hillfort (Karachay-Cherkess Republic, Zelenchuksky District), providing additional arguments for the animals’ identifi cation. The author explores the system of images of the Alan tomb to determine the semantics of the dog’s image in the Christian church’s decoration and comes to the conclusion that the symbolism of the dog’s image originates from pre-Christian beliefs (namely, those Zoroastrian). The article emphasizes the fruitfulness of studying the Alan-Abkhazian contacts using the example of architectural decoration: it makes possible to identify some images and specify their dates. The author offers a variant of identifi cation of the relief from Mount Lashkendar; defi nes the place of this unique monument in the course of formation of the original artistic culture of the Abkhazian Kingdom; notes the heterogeneous infl uences on this process, coming both from the territories of different regions of the Byzantine Empire (Constantinople, Cappadocia, etc.) and from Transcaucasia (Armenia, Georgia). The Alan-Abkhazian layer of cultural contacts is highlighted.

The article is devoted to the linguopoetic analysis of the ancient text of the Baroque period, in particular the panegyric “Evodiia” by G. Butovych, which is considered both the external design of the text, and the internal linguistic elements, caused by synthesis of the Baroque author’s thinking and sociocultural guidelines of the first half of the XVII century. The sociocultural circumstances of the creation of the “Evodiia” are revealed. The external, ornamental design of the Baroque monument is described, so such aesthetic elements of the panegyric as the graphic decoration of the text by the author and the inclusion of various actual Baroque elements (acrostic, heraldic verse, visual poem etc.) and internal language units, in particular stylistic figures and tropes, creating aesthetic effect are investigated. Linguopoetic parameters of “Evodiia” by G. Butovych, represented by architectonics and stylistically marked linguistic units, reveal the specifics of the panegyric as the original genre of the Baroque Period and testify to the peculiarities of the old Ukrainian literary language expressive means of the first half of the XVII century.

In the Archaic period, from the end of the seventh and above all in the sixth century bc, sphinxes are ubiquitous in the figured decoration of Greek temples. They appear not only as acroteria, but also on antefixes and simas. As acroteria, they always occur as lateral versions, flanking the central acroterion at a distance. Although these figures have recently been the subject of several exhaustive studies, their significance remains a matter of debate. In the absence of explicit texts, the only means of comprehending their meaning is by examining the combinations of figures in which the sphinx makes an appearance. It is their association in three-part or heraldic compositions with a central vegetal or floral motif which provides the key to the explanation. This group is similar to that known in the Levant in which two sphinxes flank a ‘Tree of Life’, a group which the Old Testament texts allow us to identify as the cherubim guarding the Tree of Life of Genesis 3.24. This group was transmitted to Cyprus and to the Aegean world without losing its meaning. A series of documents allows us to verify that the ‘extended’ group of acroteria that we are concerned with has not lost its symbolic value by comparison with the ‘compact’ group known particularly from Archaic Greek vase-painting. An explanation in terms of eschatological ends and aspirations also permits us to interpret the other associations of the sphinx – with gorgons, with horsemen and with ‘Nike' figures.

The present study arose from the need to provide the background for understanding theheraldry mentioned in the post-mortem inventories of Henry VIII, and while it seems unlikely that this commentary will appear in the foreseeable future it fills agap in the heraldic literature. The role of the ‘British History’ in English royal propaganda and state ceremonials antedated the accession of Henry VII as is evidenced by the material prepared in relation to Edward IV's supersession of Henry VI in 1461. The role of heralds and kings of arms in rationalizing the arms and beasts required for the pageants etc is examined with the ways in which it was organized for entries and other ceremonials. The period also witnessed the introduction of new decorations f ortournaments – ciphers and impresses. The appendices provide editions of some hitherto unpublished texts which were devised for these purposes.

Three sources of inspiration are discernible in early 20th-century Polish furniture design and especially in the output of artist-designers associated with the Polish Applied Art Association (TPSS), namely, folk art, the historical styles, and the modernistic/geometrical current. Edward Trojanowski’s oeuvre in that area combines all these three tendencies and embodies the evolution of a Polish approach to designing furniture; hence it may serve to illustrate the history of Polish furniture design in the early 20th century. Although initially Trojanowski turned to folk art, he did not passively copy its decorative motifs. His study of folk craft persuaded him to simplify the forms of pieces of furniture and to experiment with the use of colour in furniture design and interior decoration. Later, his search for a national style encouraged him to seek inspiration in Biedermeier furniture design, which added elegance to his designs, as evident in the proportions of the pieces of furniture and in the use of decorative veneers or sophisticated geometric ornaments. In this manner Trojanowski, while following his own artistic path, developed forms of furniture that effortlessly bear comparison with the avant-garde designs of the Modernist geometric current, as proposed by the Wiener Werkstätte and the Werkbund, which heralded the arrival of Art Déco.

Abstract In the later Middle Ages, traveling to sacred places and foreign courts promised honor, not least to residents of cities keen to advance their status within and beyond urban society. But the symbolic capital promised by travel had to be rendered recognizable. To this end, the inhabitants of German-speaking cities also relied on coats of arms and badges of chivalric orders, as this essay will show by looking at travel accounts, visual sources, and material remains. Analogous to noble customs, these signs were meant to record the presence of townsmen abroad and to commemorate their achievements as travelers once back in their hometowns. From town houses and church decorations to conspicuous dress, the urban space was filled with visual reminders of spatial mobility displayed for the purpose of social mobility. As it becomes clear that contemporaries were acutely aware of travelers’ ambitions, the heraldic and para-heraldic communication of travel emerges as a prominent and at times contested element of urban visual and material culture.

The decorative and applied art of the Kazan Tatars includes ornamental motives which are studied in the article from the point of view of the art semiotics. The relevance of the work is associated with realization of the relationship between the formation of ornamental elements with gesture and sound which in the process of evolution promoted to the creation of a pictorial language. The detected interaction is revealed through the description and ornamentation analysis method in all its forms: geometric outline, zoomorphic, plant, combined, religious, epigraphic, heraldic embodied by the Kazan Tatars in the objects of decorative and applied art. A review of the museum and collection base exhibits of ornamental art objects helped to classify them according to the types of ornamentation: visual, combined and non-visual. The aim of the paper was to analyze the ethno cultural features of Tatar art through the semantics of ornamental motives.

Colors were ubiquitous in the medieval world, and castles were no exception. While in the eyes of most people their rich color schemes manifested power and wealth, some could also read the more nuanced messages these colors conveyed. The main objective of this paper is to discuss the use and role of color in the interiors of castles of medieval Bohemia and Poland. The picture is complemented by the analysis of color decorations of defensive residences of the Teutonic Order. The discussion takes into account the varying states of preservation and draws from the available written accounts. To present the most complete picture possible, we discuss royal residences, for which unfortunately limited data are available, as well as the better-preserved castles of dukes and knights. We discuss the identified iconographic programs and their chivalric, heraldic, and hagiographic motifs. Within the scope of our discussion are late forms of floral decorations, known as “green chambers”. The numerous examples presented in the paper prove that color was an important tool of visual social communication in castle architecture: it complemented the symbolism, and sometimes carried an independent message.

W artykule zostały zebrane i opisane źródła ikonograficzne do dziejów herbu miasta Lublina z XV–XVIII w. przechowywane w zasobie Archiwum Państwowego w Lublinie. Wizerunki tego herbu podzielono na trzy grupy w zależności od rodzaju źródła i miejsca występowania znaku. Należą do nich: wyobrażenia na pieczęciach miasta, superekslibrisy na oprawach ksiąg miejskich i zdobienia malarskie o tematyce heraldycznej występujące na kartach tych ksiąg. Najstarsze wizerunki herbu Lublina zachowały się na pieczęciach z początku XV w., które z uwagi na swój urzędowy charakter są też najcenniejszym źródłem heraldycznym. Przedstawiony na nich herb, zarówno w swojej budowie, jak i stylistyce rysunku, był akceptowanym przez władze miejskie znakiem miasta. Z kolei pierwsze barwne wyobrażenia herbu Lublina, ważne dla poznania barw heraldycznych, pochodzą dopiero z pierwszej połowy XVII w. The Image of Lublin’s Coat of Arms in Archival Sources of 15th–18th Centuries The article has collects and described iconographic fifteenth-eighteenth century sources to the history of the Lublin coat of arm, which are kept in the State Archive in Lublin. The images of the coat of arms have been divided into three groups depending on the sort of the source and the place of its occurrence. They include: images on the seals of the town, super-bookplates on the bindings of city registers, and heraldic painting decorations present on the pages of these volumes. The oldest images of the Lublin coat of arms were preserved on seals from the beginning of the fifteenth century which, considering their official character, are also the most precious heraldic source. The coat of arms presented on them, both in its structure and the style of the drawing was the mark of the city, accepted by its authorities. However, the first color images of Lublin’s coat of arms, important for recognizing heraldic colors, come from the first half of the eighteenth century.

This paper claims the heraldry of the twelve tribes of Israel as a distinct iconographic invention in post-Reformation England. It is argued that the theme became popular during the reign of King James, a period usually regarded as iconophobic. Little-studied examples of church wall-painting are understood in relation to analogous bible illustrations and writings which have been ignored by historians of this period. The depictions of the twelve patriarchs themselves, part of a ‘Laudian’ beautification of Burton Latimer church in the 1630s, during the incumbency of Robert Sibthorpe allows exploration of the shifting meanings of this Reformation subject.

Unveiled in 1898, the Adam Mickiewicz Monument in Cracow was the work of Teodor Rygier; meanwhile, it was Tadeusz Stryjeński who laid out its vicinity. The architect designed a whole made of three components, the main of them being a granite and porphyry ornamental belt that went in a circle round the base of the pedestal with symmetrically placed heraldic motifs of lilies and eight-pointed stars, these followed by twelve granite-hewn posts joined by chains forming a circle, and four decorative gas lampposts (candelabra) placed outside the belt. The monument and its surroundings survived intact until the outbreak of WW II. In 1940, the whole was destroyed by the Nazis. The Monument was reconstructed following the end of the war, in 1955, however without its genuine vicinity; the latter, slightly modified, was restored only in 2007, during the yet subsequent reconstruction of the Main Market Square surface.

The baldric of Thomas Randolph, 1st Earl of Moray (died 1332), a companion in arms of King Robert I, was made in the first half of the 14th century and taken to England before 1604, since which time it has been attached to the Savernake horn, now in the British Museum. It is elaborately decorated with champlevé and translucent enamel, and bears the arms of argent three cushions gules within a royal tressure, which were adopted by Thomas Randolph after he was created Earl of Moray in 1312. The baldric shows Scottish heraldry and ownership, and so appears to be an example of Scottish enamelling. This article examines both the enamel decoration and the life of Thomas Randolph and suggests that there is a greater probability that it was made in France, possibly Paris or Avignon, rather than Scotland.

This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.

This paper examines a late medieval manuscript produced in northern France and Flanders for a member of the Scottish royal house: Edinburgh University Library, MS 195. The manuscript contains an ornate representation of the royal arms of Scotland, supported by two unicorns. It was commissioned for James III c. 1464–7. Despite its royal provenance, the manuscript has received limited scholarly attention. The text and illuminations are analysed in order to shed light on their origins and on the circumstances of their production. The manuscript is an important example of a continental work produced for Scottish royalty. By studying the text, heraldry, iconography and historical context of the manuscript, this paper provides new insights into the diplomatic relationship between James III, the French court and the continental manuscript trade. It also provides new solutions to old problems, such as the enigmatic letters ‘P’ and ‘L’ found in the border decoration.

The article presents the results of the trace-wear analysis and elemental composition of the arks of the pendant seals of 1700—1801 from the charters of Russian Emperors Peter the Greate, Catherine I, Peter II, Anna Ioannovna, Elizabeth Petrovna, Catherine the Greate and Paul I. The objects were studied in terms of their iconography, technological features, and metal composition. Comparison with historical documents shows that in the manufacture of all the arks the masters followed the iconography, regulated by decrees, and in general the artifacts reflect heraldic innovations of different periods. The peculiarities of the technological methods of the master jewelers of different periods, used in the production of these status items, have been identified. The evolution of the technology of making Russian seal arks has been revealed. The earliest ark (1700) was identified as belonging to the European technological tradition. The other arks belong to a different technological tradition, inclined to a more decorative depiction and the use of small complex embossings. Two of the arks show signs of later surface plating with electroplated gilding.

Talk about the rich arsenal of decorative and artistic variations in the traditional living architecture, consider the symbolism originated in the traditions. The decorative equipment of residential buildings is determined by the indicator of the quality and originality of the glorification of the national culture, which will support the relevance of the development of cultural development and illumination of symbols. About the formulation of architectural and artistic plastics of facades and a look through the prism of architectural symbolism, about reading the information code embedded in symbols, is known in the monographs of A.O. Kadurinа. The creation of links between elements of ornamental motifs, as well as visual and morphological regularities - in the scientific works of I.A. Yurchenko. Problems of ethnic self-identification in the multicultural space and the root of art methods in the architectural design of the middle ground - the article of O.M. Tyurikova. Purpose of the article: to conduct a detailed and comprehensive analysis of symbol complexes in the traditional architecture of central Budzhak: the tree of the world, symbols of fertility and status. The image of the tree of the world and the symbols of natural elements (sun, water, earth, midwife) immediately formed a group of symbols of the universe (65.2%). Prior to the symbols of fertility (28.3%), the following are included: fruit, steams, wheat, grapes, kits, garlands of leaves, kits and fruits, vases with kits and fruits. Status symbols (6.5%): heraldic lines, cartouches with initials and the date the house was built. People's majstri introduced the first and most important ideas of the establishment of the world, the greatness of the ministers of Vsesvit, as well as the power of natural forces. The presentation of the decorative and artistic features of various symbols and symbols in the traditional architecture of central Budzhak encourages design with elements of ethno-art traditions. The location of the symbols (the tree of peace, symbols of fertility and status), both on the house itself and in the middle of the estate, is determined by the idea, meaning, as well as constructive and compositional features.

Статья посвящена художнику и педагогу уральского города Коркино Артуру Фолленвейдеру, чье наследие стало недавно объектом искусствоведческого и культурологического исследования. Показаны основные этапы биографии и творческого становления художника. Авторы подчеркивают, что актуализация советского наследия в региональных вариациях становится исследовательским мейнстримом, поскольку взгляд на искусство соцреализма как на некую стандартизированную монолитность уступает место более широкому и неоднозначному пониманию. Отмечается важная роль творчества А. Фолленвейдера в художественном пространстве СССР и России. Показано отражение в его работах перекрестных связей исторических событий и личной судьбы; принципы формирования языка, окрашенного романтизмом, метафорикой, лирикой, декоративностью колорита и конструктивностью формы. The article is devoted to the artist and teacher of the Ural city of Korkino Arthur Vollenweider, whose legacy has recently become the object of art history and cultural studies. The main stages of the artist's biography and creative development are shown. The authors emphasize that the actualization of the Soviet heritage in regional variations is becoming a research mainstream, since the view of the art of socialist realism as a kind of standardized solidity is giving way to a broader and more ambiguous understanding. The important role of A. Vollenweider's creativity in the artistic space of the USSR and Russia is noted. The reflection in his works of cross-links of historical events and personal fate is shown; the principles of the formation of a language colored by romanticism, metaphor, lyricism, decorative coloring and constructive form.

Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.

The Chapel of S. Felice in the southern transept of the Basilica of S. Antonio in Padua was commissioned by the condottiere, Bonifazio de' Lupi in 1372. Its principal designers were the architect and sculptor Andriolo de' Santi, and the painter Altichiero. In transforming the pre-existing transept of the Basilica into the chapel, Andriolo solved many problems. He converted a large, unfocused space into an intimate one; he regularized an irregular ground plan; he resolved a potential conflict of longitudinal and lateral axes; and he established the means to focus the viewer's attention on both the altar and the tombs of the chapel's patron and his kinsmen. Altichiero tailored his frescoes to Andriolo's architectural container to make of the chapel a compelling gesamtkunstwerk. He accentuated the powerful cross axes by pictorial means; he established cogent iconographical and formal interrelationships between the frescoes and other components of the chapel; and, finally, he integrated sunlight and compass orientations with the decorative scheme. By these means the artists fashioned a Trecento masterpiece which heralds the chapels of the Baroque era in which all three media are synchronized with one another and with their setting.

This article was prompted by a gilt bronze lockplate in the Rijksmuseum, originally the decorative fastening of a chest and one of a large group of similar objects. Hardly any other metalwork design was more extensively reproduced in Italian Mannerism. Its success was based on the appealing design and the fact this type of lockplate offered the possibility of integrating coats of arms and thus personalizing a chest. The paper presents new examples not yet listed in Charles Avery’s comprehensive overview (2001), identifies a whole series of clients for these lockplates on the basis of heraldic and genealogical analyses and deduces from this an origin in Rome and a dating of the entire group (previously dated 1540) to the last third of the sixteenth century.It has been generally assumed that the specific function of these objects was to decorate marriage chests. Closer analysis argues against this thesis. The lockplate in the Rijksmuseum is particularly significant in this context. The coats of arms on its lateral cartouches identify the Roman Orazio Ruspoli and his wife Felice Cavalieri (marr. 1594) as the clients for the piece. Surprisingly, however, the crest on the hasp belongs to a family that was not related to this couple. A comparable finding is made for a lockplate in the National Gallery in Washington, which has also been misinterpreted so far. In this case, too, the coats of arms on the plate and on the hasp do not point to a family connection, but to neighbouring and presumably friendly families. The analysis of other examples, such as one in the Palazzo Venezia, confirms that these lockplates and the chests to which they were attached were not exclusively bound to the context of marriage. As travelling chests, which became must-have items for the Roman upper class, they seem to have been open to a variety of functions.

Scholars have proposed Milan, Pisa and/or Bologna as possible locations for the copying of the inner gatherings (II–IV) of the manuscript Modena, Biblioteca Estense Universitaria, α.M.5.24 (Mod A) and have argued that some of the compositions might have originated in the circle of Archbishop of Milan Pietro Filargo. Yet evidence based on Mod A's repertory and the scant biographies of its composers is insufficient for determining the manuscript’s origin. To solve this problem, I look at Mod A as a cultural artifact, attributing its illumination to the Master of 1411, an illuminator active in Bologna from 1404 to 1411, or to his assistant, both associated with the manuscript workshop of the Olivetan abbey of San Michele in Bosco, on the outskirts of medieval Bologna. The Master of 1411 might have been Giacomo da Padova, an illuminator documented there between 1407 and 1409. Iconographical analysis shows that the illuminator of Mod A possessed considerable knowledge of Paduan culture before the fall of the ruling Carrara family in 1405. This knowledge is apparent in his use of an astrological allusion to Carrara heraldry in his decoration of the song Inperial sedendo. His illumination of a Gloria by Egardus with the figure of Saint Anthony of Padua implies a familiarity with Padua's musical institutions. Mod A may have been illuminated when the papal entourage of John XXIII visited San Michele in Bosco in the fall of 1410, although further compositions were added after the illuminator had finished his work. This conclusion invites scholars to consider afresh the social context that might have fostered the compilation of the repertory in the inner gatherings of Mod A.

The great hall roof of the medieval palace at Westminster, which now adjoins the British Houses of Parliament, was erected c. 1395 by Hugh Herland and stands as one of the great achievements of English monumental carpentry. When the roof was built to span the vast un-aisled interior of nearly 68 feet, it was 50 percent wider than any previously known hall in England. Hence, this unique framing of unprecedented scale has long been regarded as a technological tour de force uniting engineering skill and visual elegance. For the last century and a half, Herland's framing, combining a great arch with a "hammer-beam" bracket, has been discussed for its remarkable structure, and a number of ideas have been suggested by English and Continental experts concerning how the great weight of the roof is sustained and which members of the truss are structural as opposed to those which are mainly decorative. Yet, despite recent analyses by prominent engineers, there is no consensus of opinion as to how the frame actually carries its load. From a review of the major literature, which forms the first part of our study, a number of important questions arise concerning the nature of the timber frame, the function of its primary members, and, particularly, the precise structural relationship between the roof and its supporting masonry. In order to address and resolve the major structural and historiographical issues, we have undertaken a new and more complete study of the Westminster roof that combines archaeological and historical research with two types of interactive model analyses. The initial model was carefully constructed of timber at 1:10 scale to conform as closely as possible to a transverse frame of Herland's truss. This model, instrumented with electric-resistance strain gauges, was used to determine the general behavior of the truss under loading and with three kinds of support conditions, corresponding to the conflicting theories examined in the literature. Using the data from the timber-model testing as a guide, we then refined the analysis with a numerical (computer) model. Our results have clearly resolved the major questions raised by previous studies and indicate that the roof derives its primary support from the masonry wall at the level of the heraldic corbels, upon which rest the massive timber wall posts. The load of the roof is carried nearly halfway down the walls by the combined action of the heavy hammer posts and the great arch rib. We also found that the angel hammer beams are in tension and that they function, significantly, to take horizontal forces off the top of the wall. Moreover, these findings are consistent both historically and structurally with other examples of English carpentry that preceded Herland's brilliant design for Westminster Hall.

In Byzantine painting, starting from the XIII and particularly during the XIV century, there was a visible return to models from the period of Antiquity. The influences of ancient, ostensibly, Hellenistic heritage were reflected in the shapes, in the content of the compositions, as well as in the drawing, modellation and colours. In the art that came into being in the course of the XIII century, in the endowments of the Serbian donors numerous elements emerged that had existed in ancient art. In the frescoes in the Church of the Mother of God in Studenica, the endowment of Stefan Nemanja and his sons, we see personifications, symbols, the introduction of details, and space acquiring depth, features that were later to come to full expression, especially from the middle of the XIII century. The few preserved frescoes dating from the XIII century in the Church of the Resurrection in the Zica monastery, the endowment of Stefan the First Crowned, his son Radoslav and his brother Sava, are an iconographic continuation of the trends in the art one encounters in Studenica. The frescoes in the Church of Christ's Ascension in Mileseva, the endowment of King Vladislav, with their subtly fashioned figures and carefully modelled faces, as well as refined colouring, signal a return to the Hellenistic models. The painting in the Church of Dormition of the Virgin in the Moraca monastery, the endowment of Prince Stefan, nephew of king Stefan, with its well-proportioned, firmly modelled figures, landscapes and architecture deepening the space, reminds one of the Sopocani frescoes. In the fresco painting of the Holy Apostles in Pec, the endowment of Archbishop Sava which owed its outcome to the efforts of Archbishop Arsenije I, the images are very vivid, and the painted architecture is depicted in an abbreviated form, using different kinds of perspective. The painting in the Church of the Holy Trinity in Sopocani, the endowment of king Uros I, represents an ensemble of new artistic trends that appeared during the first half of the XIII century. Its spacious and monumental compositions present solutions that give the figures a quality of flexibility and breadth to their movements, while their faces resemble those of Antiquity. The space is indicated by architecture painted in an abbreviated manner, the iconostasis and icons are framed in an ornament of stucco bearing antique motifs, some scenes contain personifications, while the rich and harmonious colours and gold in the background emphasise the Hellenistic spirit. The frescoes in the Church of the Annunciation in the Gradac monastery, the endowment of Queen Jelena followed the trends in painting from Sopocani. The figures in the narthex of the Church of St. George in Djurdjevi Stupovi and in the parekklesion of the entrance tower, the endowment of King Dragutin, were painted in a rather similar fashion. The decoration of St. Ahilije in Arilje, the endowment of King Dragutin, consists of monumental figures of ancient beauty, richly painted architecture in the background, and greater depth painted in different forms of perspective and scenes containing details from everyday life. During the XIII century, the proportions of the compositions became larger, the number of participants in them increased, various episodes were added to the existing scenes, and the space was defined by a larger number of plans and buildings of ancient forms. At the same time, the painted architecture was presented in the perspective of different projections, deepening the space when necessary and highlighting the subject matter. The landscape is presented in the background, keeping to the rhythm of the scene or partitioning the episodes within the composition, while depicting vegetation and animals that resemble the mosaic flooring of ancient times. Special attention was paid to appearance and workmanship, to the modeling of the faces and human figures that acquired the proportions and harmony of Antiquity. Characters with lively movements were more numerous and were located more freely in the space. Compositions were more numerous, enriched with details from everyday life, while into the established scenes as regards Christian iconography were included personifications, symbolic and allegorical figures. The influences of Antiquity were also reflected in the precise drawing, plastic modeling and rich, refined colours. During the XIII century, the revival of models from Antiquity evolved gradually in the painting of the endowments belonging to the Serbian ktetors, most of whom were members of the Nemanjic ruling house. First of all, single elements appeared that were related to the proportions of the compositions and the images, personifications, symbolic presentations, the temperate voluminousity of the figures, refined colours all of which heralded further trends in painting. In addition, the painted architecture, of Hellenistic forms, gained an increasing role in the definition of space. The painting in Sopocani, with its monumental dimensions, its harmony of ancient proportions, precise drawing and modeling, wealth of colours and splendour of gold, reached an outstanding level in the Byzantine painting of that epoch. The decoration of the monuments that were built later, up to the end of the XIII century, mirrored the achievements of the Sopocani painting and continued to develop by including elements from the Antiquity. Thus, at the beginning of the XIV century, the emulation of models from the Antiquity came to full expression in the monumental endowments of King Milutin.

This paper explores the main issues in professional attribution and methodology for the expert assessment of decorative porcelain works. Expert assessment of such works consists of a range of examinations, including studies of technological peculiarities, marking of items, stylistic, heraldic and epigraphic analysis. The history of Russian porcelain is heavily influenced by various trends in European art, as well as events in Russian history. In each stage of development of locally produced porcelain, marks on the items were used in different way and presented a different range of information. Interpretation of these marks provides an important source of attribution and establishment of provenance and, therefore, is of vital importance for any professional working with Russian porcelain. This article provides information on the porcelain markings from the establishment of first porcelain factories in eighteenth-century Russia during the imperial period, before discussing markings on Soviet porcelain and, finally, giving examples of contemporary marks used by modern Russian factories. Keywords: attribution, expertise, porcelain, decorative plastic, sculpture, decoration, brand names, hallmarks, author’s signatures

IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memories.Design and ConstructionIn February 1878, the Colonial Secretary’s Office announced that “it is intended to hold under the supervision of the Agricultural Society of New South Wales an international Exhibition in Sydney in August 1879” (Official Record ix). By December the same year it had become clear that the Agricultural Society lacked the resources to complete the project and control passed to the state government. Colonial Architect James Barnet was directed to prepare “plans for a building suitable for an international exhibition, proposed to be built in the Inner Domain” (Official Record xx). Within three days he had submitted a set of drawings for approval. From this point on there was a great sense of urgency to complete the building in less than 10 months for the exhibition opening the following September.The successful contractor was John Young, a highly experienced building contractor who had worked on the Crystal Palace for the 1851 London International Exhibition and locally on the General Post Office and Exhibition Building at Prince Alfred Park (Kent 6). Young was confident, procuring electric lights from London so that work could be carried out 24 hours a day, to ensure that the building was delivered on time. The structure was built, as detailed in the Colonial Record (1881), using over 1 million metres of timber, 2.5 million bricks and 220 tonnes of galvanised corrugated iron. Remarkably the building was designed as a temporary structure to house the Exhibition. At the end of the Exhibition the building was not dismantled as originally planned and was instead repurposed for government office space and served to house, among other things, records and objects of historical significance. Ultimately the provisional building materials used for the Garden Palace were more suited to a temporary structure, in contrast with those used for the more permanent structures built at the same time which are still standing today.The building was an architectural and engineering wonder set in a cathedral-like cruciform design, showcasing a stained-glass skylight in the largest dome in the southern hemisphere (64 metres high and 30 metres in diameter). The total floor space of the exhibition building was three and half hectares, and the area occupied by the Garden Palace and related buildings—including the Fine Arts Gallery, Agricultural Hall, Machinery Hall and 10 restaurants and places of refreshment—was an astounding 14 hectares (Official Record xxxvi). To put the scale of the Garden Palace into contemporary perspective it was approximately twice the size of the Queen Victoria Building that stands on Sydney’s George Street today.Several innovative features set the building apart from other Sydney structures of the day. The rainwater downpipes were enclosed in hollow columns of pine along the aisles, ventilation was provided through the floors and louvered windows (Official Record xxi) while a Whittier’s Steam Elevator enabled visitors to ascend the north tower and take in the harbour views (“Among the Machinery” 70-71). The building dominated the Sydney skyline, serving as a visual anchor point that welcomed visitors arriving in the city by boat:one of the first objects that met our view as, after 12 o’clock, we proceeded up Port Jackson, was the shell of the Exhibition Building which is so rapidly rising on the Domain, and which next September, is to dazzle the eyes of the world with its splendours. (“A ‘Bohemian’s’ Holiday Notes” 2)The DomeThe dome of the Garden Palace was directly above the intersection of the nave and transept and rested on a drum, approximately 30 metres in diameter. The drum featured 36 oval windows which flooded the space below with light. The dome was made of wood covered with corrugated galvanised iron featuring 12 large lattice ribs and 24 smaller ribs bound together with purlins of wood strengthened with iron. At the top of the dome was a lantern and stained glass skylight designed by Messrs. Lyon and Cottier. It was light blue, powdered with golden stars with wooden ribs in red, buff and gold (Notes 6). The painting and decorating of the dome commenced just one month before the exhibition was due to open. The dome was the sixth largest dome in the world at the time. During construction, contractor Mr Young allowed visitors be lifted in a cage to view the building’s progress.During the construction of the Lantern which surmounts the Dome of the Exhibition, visitors have been permitted, through the courtesy of Mr. Young, to ascend in the cage conveying materials for work. This cage is lifted by a single cable, which was constructed specially of picked Manilla hemp, for hoisting into position the heavy timbers used in the construction. The sensation whilst ascending is a most novel one, and must resemble that experienced in ballooning. To see the building sinking slowly beneath you as you successively reach the levels of the galleries, and the roofs of the transept and aisles is an experience never to be forgotten, and it seems a pity that no provision can be made for visitors, on paying a small fee, going up to the dome. (“View from the Lantern of the Dome Exhibition” 8)The ExhibitionInternational Exhibitions presented the opportunity for countries to express their national identities and demonstrate their economic and technological achievements. They allowed countries to showcase the very best examples of contemporary art, handicrafts and the latest technologies particularly in manufacturing (Pont and Proudfoot 231).The Sydney International Exhibition was the ninth International Exhibition and the colony’s first, and was responsible for bringing the world to Sydney at a time when the colony was prosperous and full of potential. The Exhibition—opening on 17 September 1879 and closing on 20 April 1880—had an enormous impact on the community, it boosted the economy and was the catalyst for improving the city’s infrastructure. It was a great source of civic pride.Image 1: The International Exhibition Sydney, 1879-1880, supplement to the Illustrated Sydney News Jan. 1880. Image credit: Mitchell Library, State Library of NSW (call no.: DL X8/3)This bird’s eye view of the Garden Palace shows how impressive the main structure was and how much of the Gardens and Domain were occupied by ancillary buildings for the Exhibition. Based on an original drawing by John Thomas Richardson, chief engraver at the Illustrated Sydney News, this lithograph features a key identifying buildings including the Art Gallery, Machinery Hall, and Agricultural Hall. Pens and sheds for livestock can also be seen. The parade ground was used throughout the Exhibition for displays of animals. The first notable display was the International Show of Sheep featuring Australian, French and English sheep; not surprisingly the shearing demonstrations proved to be particularly popular with the community.Approximately 34 countries and their colonies participated in the Exhibition, displaying the very best examples of technology, industry and art laid out in densely packed courts (Barnet n.p.). There were approximately 14,000 exhibits (Official Record c) which included displays of Bohemian glass, tapestries, fine porcelain, fabrics, pyramids of gold, metals, minerals, wood carvings, watches, ethnographic specimens, and heavy machinery. Image 2: “Meet Me under the Dome.” Illustrated Sydney News 1 Nov. 1879: 4. Official records cite that between 19,853 and 24,000 visitors attended the Exhibition on the opening day of 17 September 1879, and over 1.1 million people visited during its seven months of operation. Sizeable numbers considering the population of the colony, at the time, was just over 700,000 (New South Wales Census).The Exhibition helped to create a sense of place and community and was a popular destination for visitors. On crowded days the base of the dome became a favourite meeting place for visitors, so much so that “meet me under the dome” became a common expression in Sydney during the Exhibition (Official Record lxxxiii).Attendance was steady and continuous throughout the course of the Exhibition and, despite exceeding the predicted cost by almost four times, the Exhibition was deemed a resounding success. The Executive Commissioner Mr P.A. Jennings remarked at the closing ceremony:this great undertaking […] marks perhaps the most important epoch that has occurred in our history. In holding this exhibition we have entered into a new arena and a race of progress among the nations of the earth, and have placed ourselves in kindly competition with the most ancient States of the old and new world. (Official Record ciii)Initially the cost of admission was set at 5 shillings and later dropped to 1 shilling. Season tickets for the Exhibition were also available for £3 3s which entitled the holder to unlimited entry during all hours of general admission. Throughout the Exhibition, season ticket holders accounted for 76,278 admissions. The Exhibition boosted the economy and encouraged authorities to improve the city’s services and facilities which helped to build a sense of community as well as pride in the achievement of such a fantastic structure. A steam-powered tramway was installed to transport exhibition-goers around the city, after the Exhibition, the tramway network was expanded and by 1905–1906 the trams were converted to electric traction (Freestone 32).After the exhibition closed, the imposing Garden Palace building was used as office space and storage for various government departments.An Icon DestroyedIn the early hours of 22 September 1882 tragedy struck when the Palace was engulfed by fire (“Destruction of the Garden Palace” 7). The building – and all its contents – destroyed.Image 3: Burning of the Garden Palace from Eaglesfield, Darlinghurst, sketched at 5.55am, Sep 22/82. Image credit: Mitchell Library, State Library of NSW (call no.: SSV/137) Many accounts and illustrations of the Garden Palace fire can be found in contemporary newspapers and artworks. A rudimentary drawing by an unknown artist held by the State Library of New South Wales appears to have been created as the Palace was burning. The precise time and location is recorded on the painting, suggesting it was painted from Eaglesfield, a school on Darlinghurst Road. It purveys a sense of immediacy giving some insight into the chaos and heat of the tragedy. A French artist living in Sydney, Lucien Henry, was among those who attempted to capture the fire. His assistant, G.H. Aurousseau, described the event in the Technical Gazette in 1912:Mister Henry went out onto the balcony and watched until the Great Dome toppled in; it was then early morning; he went back to his studio procured a canvas, sat down and painted the whole scene in a most realistic manner, showing the fig trees in the Domain, the flames rising through the towers, the dome falling in and the reflected light of the flames all around. (Technical Gazette 33-35)The painting Henry produced is not the watercolour held by the State Library of New South Wales, however it is interesting to see how people were moved to document the destruction of such an iconic building in the city’s history.What Was Destroyed?The NSW Legislative Assembly debate of 26 September 1882, together with newspapers of the day, documented what was lost in the fire. The Garden Palace housed the foundation collection of the Technological and Sanitary Museum (the precursor to the Powerhouse Museum, now the Museum of Applied Arts and Sciences), due to open on 1 December 1882. This collection included significant ethnological specimens such as Australian Indigenous artefacts, many of which were acquired from the Sydney International Exhibition. The Art Society of New South Wales had hung 300 paintings in preparation for their annual art exhibition due to open on 2 October of that year, all of these paintings consumed by fire.The Records of the Crown Lands Occupation Office were lost along with the 1881 Census (though the summary survived). Numerous railway surveys were lost, as were: £7,000 worth of statues, between 20,000 and 30,000 plants and the holdings of the Linnean Society offices and museum housed on the ground floor. The Eastern Suburbs Brass Band performed the day before at the opening of the Eastern Suburbs Horticultural Society Flower show; all the instruments were stored in the Garden Palace and were destroyed. Several Government Departments also lost significant records, including the: Fisheries Office; Mining Department; Harbour and Rivers Department; and, as mentioned, the Census Department.The fire was so ferocious that the windows in the terraces along Macquarie Street cracked with the heat and sheets of corrugated iron were blown as far away as Elizabeth Bay. How Did The Fire Start?No one knows how the fire started on that fateful September morning, and despite an official enquiry no explanation was ever delivered. One theory blamed the wealthy residents of Macquarie Street, disgruntled at losing their harbour views. Another was that it was burnt to destroy records stored in the basement of the building that contained embarrassing details about the convict heritage of many distinguished families. Margaret Lyon, daughter of the Garden Palace decorator John Lyon, wrote in her diary:a gentleman who says a boy told him when he was putting out the domain lights, that he saw a man jump out of the window and immediately after observed smoke, they are advertising for the boy […]. Everyone seems to agree on his point that it has been done on purpose – Today a safe has been found with diamonds, sapphires and emeralds, there were also some papers in it but they were considerably charred. The statue of her majesty or at least what remains of it, for it is completely ruined – the census papers were also ruined, they were ready almost to be sent to the printers, the work of 30 men for 14 months. Valuable government documents, railway and other plans all gone. (MLMSS 1381/Box 1/Item 2) There are many eyewitness accounts of the fire that day. From nightwatchman Mr Frederick Kirchen and his replacement Mr John McKnight, to an emotional description by 14-year-old student Ethel Pockley. Although there were conflicting accounts as to where the fire may have started, it seems likely that the fire started in the basement with flames rising around the statue of Queen Victoria, situated directly under the dome. The coroner did not make a conclusive finding on the cause of the fire but was scathing of the lack of diligence by the authorities in housing such important items in a building that was not well-secured a was a potential fire hazard.Building a ReputationA number of safes were known to have been in the building storing valuables and records. One such safe, a fireproof safe manufactured by Milner and Son of Liverpool, was in the southern corner of the building near the southern tower. The contents of this safe were unscathed in contrast with the contents of other safes, the contents of which were destroyed. The Milner safe was a little discoloured and blistered on the outside but otherwise intact. “The contents included three ledgers, or journals, a few memoranda and a plan of the exhibition”—the glue was slightly melted—the plan was a little discoloured and a few loose papers were a little charred but overall the contents were “sound and unhurt”—what better advertising could one ask for! (“The Garden Palace Fire” 5).barrangal dyara (skin and bones): Rebuilding CommunityThe positive developments for Sydney and the colony that stemmed from the building and its exhibition, such as public transport and community spirit, grew and took new forms. Yet, in the years since 1882 the memory of the Garden Palace and its disaster faded from the consciousness of the Sydney community. The great loss felt by Indigenous communities went unresolved.Image 4: barrangal dyara (skin and bones). Image credit: Sarah Morley.In September 2016 artist Jonathan Jones presented barrangal dyara (skin and bones), a large scale sculptural installation on the site of the Garden Palace Building in Sydney’s Royal Botanic Garden. The installation was Jones’s response to the immense loss felt throughout Australia with the destruction of countless Aboriginal objects in the fire. The installation featured thousands of bleached white shields made of gypsum that were laid out to show the footprint of the Garden Palace and represent the rubble left after the fire.Based on four typical designs from Aboriginal nations of the south-east, these shields not only raise the chalky bones of the building, but speak to the thousands of shields that would have had cultural presence in this landscape over generations. (Pike 33)ConclusionSydney’s Garden Palace was a stunning addition to the skyline of colonial Sydney. A massive undertaking, the Palace opened, to great acclaim, in 1879 and its effect on the community of Sydney and indeed the colony of New South Wales was sizeable. There were brief discussions, just after the fire, about rebuilding this great structure in a more permanent fashion for the centenary Exhibition in 1888 (“[From Our Own Correspondents] New South Wales” 5). Ultimately, it was decided that this achievement of the colony of New South Wales would be recorded in history, gifting a legacy of national pride and positivity on the one hand, but on the other an example of the destructive colonial impact on Indigenous communities. For many Sydney-siders today this history is as obscured as the original foundations of the physical building. What we build—iconic structures, civic pride, a sense of community—require maintenance and remembering. References“Among the Machinery.” The Sydney Mail and New South Wales Advertiser 10 Jan. 1880: 70-71.Aurousseau, G.H. “Lucien Henry: First Lecturer in Art at the Sydney Technical College.” Technical Gazette 2.III (1912): 33-35.Barnet, James. International Exhibition, Sydney, 1880: References to the Plans Showing the Space and Position Occupied by the Various Exhibits in the Garden Palace. Sydney: Colonial Architect’s Office, 1880.“A ‘Bohemian’s’ Holiday Notes.” The Singleton Argus and Upper Hunter General Advocate 23 Apr. 1879: 2.Census Department. New South Wales Census. 1881. 3 Mar. 2017 <http://hccda.ada.edu.au/pages/NSW-1881-census-02_vi>. “Destruction of the Garden Palace.” Sydney Morning Herald 23 Sep. 1882: 7.Freestone, Robert. “Space Society and Urban Reform.” Colonial City, Global City, Sydney’s International Exhibition 1879. Eds. Peter Proudfoot, Roslyn Maguire, and Robert Freestone. 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Ross Gibson, Jonathan Jones, and Genevieve O’Callaghan. Balmain: Kaldor Public Arts Project, 2016.Pont, Graham, and Peter Proudfoot. “The Technological Movement and the Garden Palace.” Colonial City, Global City, Sydney’s International Exhibition 1879. Eds. Peter Proudfoot, Roslyn Maguire, and Robert Freestone. Darlinghurst, NSW: Crossing Press, 2000. 239-249.“View from the Lantern of the Dome of the Exhibition.” Illustrated Sydney News and New South Wales Agriculturalist and Grazier 9 Aug. 1879: 8.