File:International studio (1897) (14784117925).jpg

Identifier: internationalstu64newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
eral design of theceiling is in the later period of the Italian Renais-sance, it was the architects desire to have theceiling recall the colour scheme of the Borgiaapartments in the Vatican. Mr. Mowbray incarrying out this colour scheme has employed amost liberal palette, still further enriched withgold, yet, he has brought down the tonal effectof the whole to a low key of perfect blending andquiet colour. The work has an unquestionablescholarly and classic character, of which no corre-sponding style of decoration is to be found exceptin the work of the masters of the Renaissance.It is mural decoration of the very highest type,richness of colour subdued to quiet and perfecttaste. No attempt has been made to paint aseries of masterpieces in the Long gallery; nolunettes or panels will be found to capture atten-tion; but, on the other hand, it is a masterfulhandling of decoration, with proper use ofdecorative composition and architectural detail,all wonderfullv and subtlv wedded into one
Text Appearing After Image:
CEILING DECORATIONS BY H. SIDDONS MOWBRAY ARCHITECT, GUY STUDY Book Reviei magnificent whole, sumptuous, yet quietly digni-fied, a ceiling, in fact, that should have a wideinfluence on the future work of the city, servingas an example of the best Renaissance art. The lighting of this room offered a serious prob-lem. The intention was to obtain a light at nightthat would approximate the light of day. In orderto do this the entire space between the upper andlower skylight is flooded with artificial light,which is reflected down into the room below. Thelights are placed in white enamel reflectors runningover the top of the beams of the skylight, reflecteddown into the gallery by means of white enamelreflectors made in the form of movable louvressituated under the upper skylight. These louvresare operated by a control in the gallery wainscotand serve likewise to shut out the sunlight duringthe day when desired. Thegalleryis built of buff Bedford stone, backedup with eighteen inches of bri

Note About Images