Doors, Windows, Hardware
Floors, Walls, Ceilings,
Surface Finishes
Landscapes, Streetscapes,
Parks & Garden Fixtures
Lighting & Electrical
Masonry, Stone, Brick,
Chimneys
Molded & Cast Ornament
Ornamental Metalwork
Roofing & Roof Specialties
Specialties
(Arts & Crafts and More)
Timber Frames, Conservatories,
Special Construction
Woodwork, Millwork, Stairs
More from Restore Media
Clem Labine's
Traditional Building
The comprehensive resource for professionals involved in restoring old buildings or designing and constructing new buildings in traditional styles.
Clem Labine's
Period Homes
The comprehensive resource for professionals involved in residential restoration and renovation, as well as the design and construction of new homes built in traditional styles.
Tradweb
Targeted information about service providers in the field of building restoration and renovation, both commercial and residential.
BuildingPort.com
A portal site that brings together information about building products and materials, including data on more than 5,000 manufacturers.
Traditional Product Galleries
Traditional Product Galleries is a micro site showcasing—in big, colorful photography—thousands of items tailored to the requirements of restoration and renovation projects and new designs done in a period style, both residential and commercial.
Restore Media's electronic newsletters provide a continuous stream of information on key topics in the world of traditional design and building: likely products and services for both commercial and residential projects; special in-depth reports on projects and important product categories; and a bevy of blogs providing fresh perspectives from leading figures in the field.
Restore Media's Webinars cover a wide range of topics, from window
restoration to sustainable building materials. They feature leading experts
in the field and provide an effective, efficient way to learn about
important topics, while earning credits toward professional and vocational
certifications.
The Palladio Awards Program
is designed to honor outstanding achievement in traditional design. The program recognizes individual designers, design teams, or both whose work enhances the beauty and humane qualities of the built environment through creative interpretation or adaptation of design principles developed through 2,500 years of the Western architectural tradition.
The Traditional Building
Exhibition and Conference
World-class educational opportunities and a wide array of resources and products for professionals who work in the field of building restoration, renovation, and historically inspired new construction.
|
True Fresco: Applying the Lessons of History
By David Mayernik
Above left: David Mayernik stands in front of his just-completed fresco of the life-size figure of Christ on the Cross.
Above right: The fresco is shown here before the canvases were mounted on either side. Photo: courtesy of Don Giuseppe Clarioni
Mayernik’s fresco of the Crucifix is positioned between two 17th-century canvases. Photo: courtesy of Don Giuseppe Clarioni
My frescoes for the winter chapel of the ancient church of San Cresci in Valcava, in the Mugello district of Tuscany, were motivated by completing a 17th-century oil painting of Mary and John at the foot of the cross. At some point in its life, the central image of Christ on the cross had been cut out and removed, leaving only the two outside figures. My solution of creating a frescoed crucifix and placing Mary and John on either side preserved the historical integrity of the paintings while completing their narrative logic.
Originally, the fresco was proposed for the altar wall of the small chapel, but in the course of preparing the whitewashed wall for the new painting, an 18th-century fresco of the Annunciation was discovered, necessitating the relocation of the new fresco and the restoration of the old one. The crucifix and its oil pendants were moved to a lateral wall, necessitating the elimination of the oval painting showing the martyrdom of the church’s patron saint. Instead, five new oval frescoes in the same register were proposed for the rest of the space, illustrating the saint’s life.
In the summer of 2002, I painted the Crucifixion while the successors to the founder of the school where I had studied fresco worked on the restoration. It is telling of the nature of those two enterprises that my new work took four intense giornate, while their painstaking task required a full month. In the following summer, I returned to the chapel to paint the second scene of the saint’s life on the wall opposite the Crucifixion. The rest of the ovals remain to be done.
Click here to read main article
|
|
|
