There is no monument there to him, although there is one to his successor, his brother, who fought on - until he became one of the thousands who died of smallpox and other diseases brought by the invaders.
The exhibition will bring together spectacular loans from Europe and Mexico, including objects recently excavated from remains of the Aztec city still emerging from under Mexico's modern capital. Portents such as flaming comets preceded the Spanish, so some accounts suggest Moctezuma wondered if the promised return of the god Quetzalcoatl was imminent. The invaders were astonished by the sophistication of the Aztec capital with its palaces, temples, canals and artificial islands.
But Moctezuma's curator, Colin McEwan, admitted that personal details about Moctezuma are so scarce that one academic thought the exhibition would be impossible. Modern tests on objects including a spectacular turquoise mask show that the gold, precious stones and feather decorations came from many different places, mapping the breadth of the Aztec empire. The new medieval gallery at the British Museum is full of beautiful images of saints in ivory, stone, gold and wood - but invisible to visitors, it also holds the bones of 39 real saints, whose discovery came as a shock to their curator.
The relics, packed in tiny bundles of cloth including one scrap of fabric over 1, years old, were found when a 12th-century German portable altar was opened for the first time since it came into the British Museum collection in It was in for a condition check and cleaning, before going on display in the gallery that opens tomorrow - but to the amazement of James Robinson, curator of medieval antiquities, when it was opened a linen cloth was revealed, and inside it dozens of tiny bundles of cloth, each neatly labelled on little pieces of vellum.
The most precious was the relic of St Benedict, an Italian who in the early 6th century was credited as the father of the western monastic tradition, founding monasteries and establishing guiding principles still followed at many monasteries.
532 Gallery Thomas Jaeckel
The relic was wrapped in cloth that was itself an extraordinary object, a piece of silk from 8th or 9th century Byzantium. Each Roman Catholic altar-stone is supposed to contain at least one relic of a saint, usually in the form of minute flakes of bone. There was a clue on the back of the museum's altar in a list of names beginning slightly implausibly with John the Baptist, and including saints James, John and Mary Magdalene.
There are many reliquaries in the gallery, in the form of crosses, pendants and rings, including one owned by a saint, the Georgian queen Kethevan who was executed by Shah Abbas in for refusing to convert to Islam. Almost all have long since lost their contents in the centuries of religious and political upheaval which scattered them from palaces and monasteries and eventually brought them to the British Museum. A relic of bone fragments was discovered almost 30 years ago in a spectacular lifesize head of St Eustace, but the relic was sent back to Basle cathedral in Switzerland which was forced to sell the golden reliquary in The newly discovered saints will remain in Bloomsbury.
Robinson said they were cared for and rearranged into the 19th century, the date of the most recent piece of fabric, but at some point one was lost as there are 40 engraved names but only 39 saintly bundles. IRS officials won't name targets. A written contract required him to repay any balance when his employment ended. But Strick -- who quit his MOCA job under pressure in December, as the museum's finances crumbled -- now says he didn't meet the contract's terms. Strick said that under the new deal, he owes the money when he sells a house that the loan helped him buy.
Good luck with that. Southern California has suffered some of the nation's steepest declines in housing prices. MOCA spokeswoman Lyn Winter would not answer my questions about the deal, saying that Strick's employment agreement was confidential. I learned of the loan by reading to the bottom of the museum's IRS filings , which are public for many tax-exempt organizations.
Strick also said housing loans are common in the museum world. That may well be true. There have been plenty of reports in recent years about nominally non-profit institutions rewarding executives handsomely. The loan has no repayment schedule. It becomes due in full, plus 5. Texas Ballet Theater nearly folded last year after a series of questionable financial moves , as my story in The Dallas Morning News showed yesterday. Ballet officials say they're now in strong financial shape and defend the loan as a way to help an underpaid employee.
Federal law bars most publicly traded for-profit businesses from making insider loans banks are a big exception , yet generally allows non-profits to make them. However, the government can tax payments if it thinks a non-profit is being overly generous to an executive. In extreme cases, it can revoke a group's tax-exempt status. And, as of this year's tax filings, the IRS is requiring all non-profits to reveal more about all sorts of spending practices that benefit insiders.
A dream almost a century old moved another step closer to reality on Tuesday as the Smithsonian Institution chose a team led by David Adjaye, the celebrated Tanzanian-born architect, to design the National Museum of African American History and Culture, scheduled to open on the National Mall in Washington in The museum was established in by an act of Congress. And although it does not have a building yet, it has already begun collecting artifacts and conducting seminars and other events, including a recent two-day program on the Black Power movement.
Efforts to build a national museum of black history stretch back to the early s, but they were thwarted by political opposition well into the s. Adjaye, who works in London and recently opened offices in New York and Berlin, is known for his colorful and eclectic designs for the Nobel Peace Center in Oslo and the Museum of Contemporary Art in Denver, as well as for the homes and studios he has designed for artists and celebrity clients like Alexander McQueen , the fashion designer, and Ewan McGregor , the actor.
In accepting the commission, Mr. The Freelon Group, led by Philip G. Freelon, will be the architect of record for the project. Based in Raleigh-Durham, N. The inclusion of Davis Brody Bond in the group was bittersweet; J. Max Bond Jr. Freelon said. The announcement of the design winners, at a news conference at the Smithsonian Castle, the oldest building on the Mall, was a reminder of the disagreements that have long simmered over where the museum should be built.
Some groups had lobbied heavily for its placement south of the Mall, arguing that the new museum would help bring about a much-needed physical and psychological expansion of the Mall beyond its current boundaries. Parsons , recently named the chairman of Citigroup; Robert L. Johnson, the founder of Black Entertainment Television; and Oprah Winfrey — recommended the acre site that was eventually chosen: across the street from the National Museum of American History. The council rejected three other possibilities, two of which were not on the Mall. In an interview in Mr. Lonnie G. If anything, the criticism enhances his subversive agenda, as it fosters debate about the line between influence and theft in art and design.
His sensibility is perhaps even more reminiscent of the old Mad magazine advertising parodies and their derivative, Wacky Packs, which send up mainstream products by co-opting and changing their names. But this does not mean the results are not sometimes simplistic. To protect that brand, even he is now aggressively using legal means to stop other artists from appropriating his work. El primer museo dedicado solamente a la vida y obra de Walt Disney -fallecido en , tiene previsto abrir sus puertas en octubre. En tanto, "Blancanieves y los siete enanitos" de fue un nuevo hito en su carrera, como primer largometraje animado en color.
AS anyone who works in a museum knows, art conservators can be slow to embrace change. Since catastrophic rainstorms have become so prevalent in England that the trust has gradually retrained its emergency teams to cope with floods, in addition to its time-honored enemy, house fires. And now, in the photographs Ms. So were the 19th-century fire irons and ornate wrought-iron fireplace seating unit, which had both rusted, and the billiard table, whose legs would take several months to dry out. The room finally reopened to the public in late February.
Staniforth said. For more than 50 years conservators around the world have sought to prevent damage to the varied objects in their collections by observing a uniform climate-control mantra: Keep everything in the museum at approximately 70 degrees Fahrenheit and 55 percent relative humidity. Since the s that goal has increasingly been achieved with the help of mechanical HVAC heating, ventilating and air-conditioning systems, which typically cope with unforeseen events by working overtime.
But as museum budgets shrink, energy costs spiral, and gradual climate changes make the traditional HVAC system more costly to maintain, conservators and other museum experts are rethinking this model. Should museums add to global warming by continuing to rely so heavily on such systems in the first place?
And what happens if unforeseen events put them and other protective measures out of commission? As a first step some are pushing for new scientific research while considering updated versions of old solutions. A week after Cragside was flooded, such issues were at the fore as Ms. Staniforth moderated a panel discussion on climate change as it pertains to museum collections at the annual conference of the International Institute for Conservation of Historic and Artistic Works. Paul Getty Museum in Los Angeles, who believes the panel was the first of its kind.
Podany said the meeting was long overdue. A major issue confronting museums is to figure out whether their current climate guidelines can be refined. Although they have been debated for centuries, those in use today date to , when Harold J. Archaeological iron rusted, bronzes developed patches of powdery green corrosion, and some pottery and limestone objects developed salt crystals because of high humidity levels. But some conservators maintain that Mr. Wood expands and contracts as it absorbs and releases moisture, while the paint expands and contracts at a different rate, which eventually leads to blistering and cracking.
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Bisacca said that since the 19th century, when many more paintings began traveling internationally, most panel paintings have cracked, in part because of the resulting change in humidity levels, combined with cradling, a pervasive and problematic 19th-century restoration technique. Conservators often reduced the panel to half its thickness and attached a restraining grid to keep it flat.
At the time of this interview Mr. Marble, for example, withstands far greater extremes of temperature and humidity, as do some ceramics, metals, plastics, mosaics and glass. Yet many artworks are composites, like an illuminated manuscript fashioned from parchment, ink, paint, wood, leather, metal and jewels — all materials that have different responses to temperature and humidity. Consider the infinite possibilities, and it is little wonder that conservators maintain similar guidelines for almost everything, with major exceptions for archaeological iron and bronze, which need to be kept very dry, and ivory, which can fall apart unless it is adapted to new conditions very gradually.
A degree temperature also works well for something museum directors want to attract: people. And by now a climate of approximately 70 degrees and 55 percent relative humidity is required under most art-lending agreements. A Short History of Italy A Thousand Splendid Suns Arabic edition. Volkswirtschaftliche Schriften buch. Als een ouder erg ziek is pdf download Leshan. Amor y respeto libro - Dr.
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