Neo-Assyrian Glazed Terracotta Tile from Nimrud (Kalhu), Iraq, c. 883-859 BC
A clue to the colour scheme of an ancient palace:
This glazed tile was found by the excavator Henry Layard at the Assyrian city of Nimrud. Along with the stone reliefs, it was part of the decorative scheme of the royal palace, although few examples survived Nimrud’s destruction in the seventh century BC.
This example depicts an Assyrian king, possibly Ashurnasirpal II (reigned 883-859 BC), accompanied by his bodyguard and attendants. It was probably part of a sequence showing the king as triumphant warrior and hunter. Such tiles provide a clue to the kind of colour scheme used for the relief panels. The decoration was executed in yellow, black and green (perhaps originally red) paint. These were made from natural materials.
It is likely that most major Assyrian buildings had paintwork at least in the reception rooms. Ashurnasirpal recorded that he had represented his triumphs in paintings. There were murals on the walls above the carved stone panels and the ceilings were also painted.
Glazed bricks are mentioned first in the second half of the second millennium BC when the mastery of the mechanical properties of glass had become known.
Erastus Salisbury Field - Historical Monument of the American Republic - 1867–1888
“Field’s grand Historical Monument, painted in response to the Civil War and in anticipation of the nation’s Centennial, encyclopedically charts America’s early history. On more than 130 simulated relief panels set into ten painted towers, the 150-square-foot picture chronicles 250 years of American history, from Jamestown to the Centennial of 1876.”
Sueno’s Stone. You can see by the clouds how stormy the day was when my mate Andrew took me out to Findhorn, stopping off at this the tallest remaining sculptured stone in Scotland made during during the medieval period. It is one of the most magnificent pieces of Early Historic sculpture in The Brittish Isles, standing 7 m high, and dating to the ninth century AD. The west side bears a huge ring-headed cross carved in relief and containing long panels of interlace. On the sides of the stone small animals can be seen in the curling vine scroll. The east side is an immense battle scene shown in 4 panelsA total lack of decent light on this day meant not getting the greatest shots.
Still Life Abstract Relief Panel (2012) by James George
My still life painting has regenerated yet again, this time into an abstract relief panel. I’m going to paint and wood-stain certain areas and see how it turns out. I’ve been researching Suprematism, Synthetic Cubism and Futurism so far in this project, as well as sculptural artists who work a lot with wood. I think I’m finally on my way to my final piece!