Stephen.” The bottom has a graffito, or an inscription scratched into the silver, that repeats the first word of the lid inscription: “Offering: two pounds, two ounces, four grams.” Within the band is a punched Greek inscription that could be translated, “Offering of TIBERINE, the deaconess, to St. Lathe-cut grooves define the flutes, or parallel channels, on the body and concentric grooves frame the rosette on top, creating a wide rim band. This model is all that remains of the mural, as the room was eventually dismantled and the paintings based on this study were destroyed in World War II (1939–1945).Ī rare example of Byzantine church silver, this reliquary, or container for holy objects, has a fluted body and a large rosette decorating the lid. ![]() He sought to create a Gesamtkunstwerk, a total work of art that unified architecture, painting, sculpture, and ornament into a cohesive whole. It was Klinger’s first such project, and he was given almost free rein in decorating the space with wall paintings and sculptures. This study was part of a decorative commission for the vestibule of a villa belonging to the Austrian jurist Julius Albers. ![]() Klinger incorporated architectural elements like gold columns and the decorative frieze to frame these scenes and enhance his overall scheme. ![]() The centaurs reappear in the right portion, where the figures almost disappear into the arid, rocky landscape. In the left portion, two centaurs, hybrid creatures who were part human and part horse, battle fiercely in a grassy plain. In this drawing, Max Klinger presented two sun-drenched ancient landscapes.
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