![]() ![]() This becomes strikingly apparent in Raphael’s later work in the Vatican Stanze. This universal concern with the production of all kinds of decorative and applied art meant that painters also worked very closely with the joiners and carvers of the frames for their more spiritual creations, and understood the contemporary mechanics, ornament and symbolism employed in every kind of art, from high to low. ‘… not only were chests painted in this manner, but the beds, the backs of chairs, the frames and other ornaments of the rooms… even the most excellent painters employed themselves… in painting and gilding such things… this is illustrated by some chests, chair-backs and frames in the apartments of Lorenzo de’ Medici… by excellent masters… Dello…devoted himself… for many years… to nothing else than decorating and painting chests, chair-backs, beds, and other ornaments…’ Pieces like these were routinely produced by all Renaissance painters, along with much else as Vasari noted in his chapter on ‘Dello of Florence’ (1404-53): It has an integral painted and parcel-gilt border around each piece, decorated with a Greek fret, and punctuated with square motifs of cruciform leaves centred with a floret. However, it was recently restored again with some of the losses infilled, making it easier to read, and was exhibited in its home town of Città di Castello in Umbria, where Raphael’s career began. It was a double-sided processional banner, but was separated into its two constituent parts in 1632, and has been relined, restored multiple times, framed for protection (probably in the 19 th century), and is generally rather battered. The gonfalone of the Holy Trinity was painted between c.15. Raphael (1483-1520), painted gonfalone of the Holy Trinity with integral border, Pinacoteca Comunale, Città di Castello It is based on a paper written by Peter Schade of the National Gallery, which was delivered during the recent exhibition of Raphael’s work at the Gallery. The following article considers the variety and number of some of the many reframings of Raphael, as well as the surviving original frames and the descriptions of others. His enduring fame and the legend which was ignited by his untimely death made his paintings so highly desirable that even works which remained in situ were turned into giant Raphaelesque shrines, and surrounded with often monstrous frames. This is a great loss for understanding how Raphael’s works would originally have functioned. Only two surviving original frames seem to be known for works by Raphael – three, if the border of the early gonfalone he painted is included more, if the frescos in the Stanze of the Vatican are added – and, except for the latter, even those do not contain the paintings any more. Other Module Coordinators have their offices at Oslo University Hospital - OUS, either at Rikshospitalet or Ullevål.This article is dedicated to the memory of HM Queen Elizabeth II Administrative Coordinators (also referred to as Module Coordinators) for Module 1 and 2 are located at Domus Medica and can be contacted regarding teaching and scheduling. ![]() The Section for Student Affairs is located at Sogn Arena - This is where study issues that are mainly linked to the programme in medicine are dealt with. Student Guidance – Guidance of fellow students with offices inside the MED-studieinfo. The Student Information - MED-studieinfo - The greatest focus is on medicine, but it also provides general information about studies at the Faculty in general. The Orakel service offers IT help to students.The building has four reading rooms, three auditoriums, 12 group rooms, three dissection rooms, a histology room, a blood course room, seminar rooms and a photocopier for students. ![]() Maps Photo: Gunnar Lothe Study-related resources ![]()
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