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Пишет Paslen/Proust (![[info]](http://lj.rossia.org/img/userinfo.gif){kind=small} paslen)@ 2010-08-09 20:40:00 |
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Витражи
Коллекция фотографий европейских католических витражей, наиболее полная из когда-либо мной виденных, чья уникальность оправдывает низкое качество (тем более, если учесть, что некоторых этих витражей более не существует в природе).
http://ica.princeton.edu/metcalf/main.p
via![[info]](http://lj.rossia.org/img/userinfo-lj.gif)
clement@lj
Over the years the Index of Christian Art has been the welcome recipient of a number of image collections from various scholars in the world of medieval studies. Some of these collections are currently available on the home page of the archive and others will be added over time. The largest such gift we have received to date was the 11,000 slides of stained glass which is named after Gertrude and Robert Metcalf, the two scholars who were responsible for the photographing and cataloging of the collection. The fascinating lives of these two unique individuals is documented in a biography by their son, Robert Metcalf, Jr.
With the advent of World War II, these fearless individuals traveled throughout Europe to photograph stained glass before it was either secured for safe keeping or else destroyed in the war. Kodak developed a special color slide film for them and they devised their own unique classification system to document these works. The glass in these images covers Austria, England, France, Germany, Switzerland. The coverage of these areas is not comprehensive. By far the largest area to be photographed was France and only one building for example was documented in Austria and indeed only one image as well. Within each building they photographed what was there often against tremendous odds with enemy forces arriving as they were still documenting. Every effort was made to satisfactorily cover all of the glass from the twelfth century to the twentieth century, but it is clear that there are omissions. The collection lay for many years in the Dayton Art Institute from where it was transferred to Princeton’s Index of Christian Art in 2004.
In some cases architectural views were taken and these are included where they contextualize the glass. Photographs were taken of entire windows as well as individual panels and details. The Metcalfs were not interested only in the representational, and foliate and ornamental details are covered in considerable detail. Multiple images may also exist of the same subject and for the purpose of having the collection intact, they have also been included in this database. The only omission is the post-1800 stained glass which we decided to exclude from this database.
Коллекция фотографий европейских католических витражей, наиболее полная из когда-либо мной виденных, чья уникальность оправдывает низкое качество (тем более, если учесть, что некоторых этих витражей более не существует в природе).
http://ica.princeton.edu/metcalf/main.p
via
clement@ljOver the years the Index of Christian Art has been the welcome recipient of a number of image collections from various scholars in the world of medieval studies. Some of these collections are currently available on the home page of the archive and others will be added over time. The largest such gift we have received to date was the 11,000 slides of stained glass which is named after Gertrude and Robert Metcalf, the two scholars who were responsible for the photographing and cataloging of the collection. The fascinating lives of these two unique individuals is documented in a biography by their son, Robert Metcalf, Jr.
With the advent of World War II, these fearless individuals traveled throughout Europe to photograph stained glass before it was either secured for safe keeping or else destroyed in the war. Kodak developed a special color slide film for them and they devised their own unique classification system to document these works. The glass in these images covers Austria, England, France, Germany, Switzerland. The coverage of these areas is not comprehensive. By far the largest area to be photographed was France and only one building for example was documented in Austria and indeed only one image as well. Within each building they photographed what was there often against tremendous odds with enemy forces arriving as they were still documenting. Every effort was made to satisfactorily cover all of the glass from the twelfth century to the twentieth century, but it is clear that there are omissions. The collection lay for many years in the Dayton Art Institute from where it was transferred to Princeton’s Index of Christian Art in 2004.
In some cases architectural views were taken and these are included where they contextualize the glass. Photographs were taken of entire windows as well as individual panels and details. The Metcalfs were not interested only in the representational, and foliate and ornamental details are covered in considerable detail. Multiple images may also exist of the same subject and for the purpose of having the collection intact, they have also been included in this database. The only omission is the post-1800 stained glass which we decided to exclude from this database.
