Descrizione delle pitture del Campo santo di Pisa : coll' indicazione dei monumenti ivi racolti.

Errata, P. [224].

Die geschichtlichen Fresken in den Arkaden des Hofgartens zu München /

Mode of access: Internet.

Appendice aux Lettres d'un antiquare à un artiste sur l'emploi della peinture historique murale dans la décoration des temples et des autres édifices publics ou particulière chez les Grecs et les Romains.

Mode of access: Internet.

Kievo-Sofiĭskiĭ sobor : izsli͡e︡dovanie drevneĭ mozaicheskoĭ i freskovoĭ zhivopisi /

Includes bibliographical footnotes.

La cappella degli Scrovegni e gli affreschi di Giotto in essa dipinti /

Includes bibliographical references.

L'oeuvre de P.-V. Galland,

At head of title: Le peinture décorative au XIXe siècle.

Ecclesiae anglicanae trophæa, siue, Sanctor̄ martyrum, qui pro Christo catholicæq̀ fidei veritate asserenda : antiquo recentioriq̀ persecutionum tempore, mortem in Anglia subierunt, passiones, Romæ in Collegio Anglico /

Cavalieri has engraved reproductions of Circignano's frecoes in the church of St. Thomas of Canterbury of the English College in Rome.

Ecclesiae militantis trivmphi, sive, Deo amabilium martyrvm gloriosa pro Christi fide certamina : prout opera RR Patrum Societatis Iesv Collegij Germanici et Hungarici moderator impensa S.D.N. Gregorii PP XIII in ecclesia S. Stephani Rotundi Romae Nicolai Circiniani pictoris manu uisuntur depicta, ad exictandam pior deuotionem /

Cavalieri has engraved reproductions of Circignano's frescoes in S. Stefano Rotondo in Rome.

Pietro da Cortona e gli affreschi nel Palazzo Pitti : notizie documentate /

Includes bibliographical references.

Chambre sépulcrale avec fresques découverte en 1872 près de Kertch ...

Extract from Report for 1872 of Russia. I. Arkheologicheskaia kommissïia.

Painting and decorating : a journal treating of house, sign, fresco, car, and carriage painting and of wall paper and decoration.

Editors: Oct. 1885--Dec. 1886, A. A. Kelly.--Jan. 1887-Dec. 1888, Frederick Maire (with A. A. Kelly, Jan.-May, 1887)--Jan. 1889-Jan.? 1893, A. S. Jennings.

Colour in the home; with note on architecture, sculpture, painting, and upon decoration and good taste,

Mode of access: Internet.

An inquiry into the beauties of painting; and into the merits of the most celebrated painters, ancient and modern.

Signatures: A-N⁸ O⁴.

Modulating mythology in a post-traumatic era: Murals and re-imaging in Northern Ireland.

Arguably the most ancient of the social media, wall paintings have been a persistent vehicle of cultural meaning management. The dynamics of myth markets are reflected in the sectarian murals of Northern Ireland. In this paper, we draw from consumer research literature on mythology and street art to explore the continuous revision of these wallscapes that seeks to address the enduring contradictions of civic ideology in contested political space. In particular, we focus on the use of classical, historical and pop-cultural mythologies to transform private space into public place. We examine the decommissioning of murals occurring in the wake of the Peace Accords, and speculate on the implications of the creation of a shared mythology for the future of mural painting and the state.

Mural Painting

For my freshman Jan Plan at Colby I painted a mural in Runnals Union illustrating a William Blake poem. This effort began a four year painting project which I pursued my sophomore and junior years by finishing the Hall of the Machines in Runnals and by commencing the Paper Wall in Roberts. As a Senior Scholar, I've continued my undertaking by painting eleven more panels. Eight of these are in the Paper Wall and the other three are in the Spa in Miller Library. In my wallpainting up until this year my major interest has been in a strong two-dimentional design created by color juxtaposition. Over these two semesters I've developed a greater concern with the role of color value contrasts in achieving a sense of three-dimensional space. As one views my paintings in chronological order, he can see that gradually colors become less intense, value contrasts more effective, and subject matter becomes based on observation rather than imagination. Please judge my achievement solely on observation of the walls in these three rooms as this paper is only a very brief catalogue of works and the slides are not the best reproductions.