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Title
A name given to the resource
Viva l'Italia: A Regional Romp through Italy. Online exhibition
Description
An account of the resource
‘A man who has not been in Italy, is always conscious of an inferiority, from his not having seen what it is expected a man should see.’ - Dr Samuel Johnson
Italy – what dreams and romantic longings the name conjures up. Florence, Venice, Rome – landmarks of European history and civilization. The country of Caesar, Cicero, Horace, and Virgil: the land which gave birth to Michelangelo, Raphael, Titian, Dante, Ariosto, and Tasso. The list would be endless if it also encompassed ‘modern’ day celebrities such as Giuseppe Verdi, Enrico Fermi, Sofia Loren, Giorgio Armani, Dino Zoff (considered the best goalkeeper in the history of football), and the controversial Silvio Berlusconi.
Renowned for its architecture, its complex historical past, its literature, fashion, and cuisine, Italy is now sub-divided into 20 regions, where most speak Italian (a Florentine variety of Tuscan). Viva l’Italia: A Regional Romp through Italy is an exhibition that is constructed around images of Italian cities from a 17th century copy of Pietro Bertelli’s Theatro delle Citta d’Italia (1629). By utilising these images, the viewer ‘romps’ through the various regions of the country from Piedmont in the north, to Puglia in the southeast, Sardinia in the west, and Sicily in the southwest. The Republic (formed in 1946) encompasses some 301,338 kilometres. By necessity coverage is selective, an overview that covers most regions, not all cities, and not all facets of this richly diverse country.
Most of the Italian books in this exhibition are from the collections of Esmond de Beer and Charles Brasch, which are housed in Special Collections. Both men thoroughly enjoyed what Italy offered to the world; we are grateful for their passion. Forza Italia!
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
One of Bologna’s most famous, yet relatively unknown, sons is Renaissance architect Sebastiano Serlio (1475-c.1554). Serlio trained as a painter and woodcutter before travelling to Rome in 1514 to work under architect and painter, Baldassare Peruzzi (1481-1536). Serlio’s seven volume treatise on architecture, <em>Tutte l’Opere d’Archittetura et Prospetiva</em>, was the first such work to be illustrated and written in Italian, not the usual Latin. Serlio’s treatise was hugely influential in disseminating Italian Renaissance architecture to Western Europe. Described as the ‘most important architectural writer and theorist of the 16th century’, it is thought Sir Christopher Wren (1632-1723) had Serlio’s work in-hand while building St Paul’s Cathedral in London.
Creator
An entity primarily responsible for making the resource
Sebastiano Serlio
Publisher
An entity responsible for making the resource available
[Venice]: Giacomo de’Franceschi
Date
A point or period of time associated with an event in the lifecycle of the resource
1619
Identifier
An unambiguous reference to the resource within a given context
de Beer Itb 1619 S
Title
A name given to the resource
Tutte l’Opere d’Archittetura et Prospetiva
Architecture
Bologna
Emilia-Romagna
Italy
Sebastiano Serlio
-
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Title
A name given to the resource
Rare Delights III: Recent Additions to Special Collections. Online Exhibition
Description
An account of the resource
The rare book collection in Special Collections at the University of Otago grows - slowly and surely - by purchase and donation. With these new acquisitions Special Collections aims to build on the strengths of the collection such as those traditional collecting fields of 18th century literature, garden history, art and architecture, travel, and works by and about John Evelyn, John Locke, and the English poet Robert Graves.
Over time new areas of collecting have come to the fore, in particular ‘popular culture’ items in the guise of pulp fiction and science fiction (SF). In 2010, Professor Fred Fastier gifted his entire SF Collection to Special Collections. Since then holdings in this field have grown considerably with the acquisition of the Hal Salive SF Collection, some 2400 titles kindly donated by Rachel Salive, and a near complete run of the Magazine of Fantasy and Science Fiction, donated by Trevor Agnew. ‘Pulps’ continue to be acquired as too the works by the Dunedin-born artist John Buckland Wright. Other books have been acquired because of their historical significance or because they fill a visible gap in the existing collection. Brief examples here include French language works by Racine and Corneille, and Robert Hooke’s Micrographia (1780)
It is by no means true that all rare books are old books. Recent purchases include important modern works that complement the older material. By this means Special Collections will continue to house significant examples of printing and publishing into the next century, will continue to provide an important forum for original research, and will retain its position as an important University-based rare book collection in New Zealand. These volumes are a selection of titles added to Special Collections between 2008 and 2013. Please enjoy.
Contributor
An entity responsible for making contributions to the resource
Special Collections - University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
In 2012 some 30 architectural books were donated to Special Collections by the family of the late Niel Wales (1927-2011). They included Edward Blore’s <em>Monumental Remains of Noble and Eminent Persons</em> (1826); Thomas Chippendale’s <em>Gentleman & Cabinet-makers Director</em>. 3rd ed. [1862]; and Matthew Dubourg’s <em>Views of the Remains of Ancient Buildings in Rome</em> (1820); each in their own way must have helped Wales in his work as a partner in Mason and Wales, the oldest practising architectural firm in New Zealand. This is a page from a scrapbook that contains numerous illustrations of English buildings and hand-drawn architectural ornaments.
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Dunedin
Date
A point or period of time associated with an event in the lifecycle of the resource
c. 1890s
Identifier
An unambiguous reference to the resource within a given context
Special Collections NA2841 D728 1890
Title
A name given to the resource
[Drawings of architectural detailing]
Architecture
Niel Wales
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Rare Delights III: Recent Additions to Special Collections. Online Exhibition
Description
An account of the resource
The rare book collection in Special Collections at the University of Otago grows - slowly and surely - by purchase and donation. With these new acquisitions Special Collections aims to build on the strengths of the collection such as those traditional collecting fields of 18th century literature, garden history, art and architecture, travel, and works by and about John Evelyn, John Locke, and the English poet Robert Graves.
Over time new areas of collecting have come to the fore, in particular ‘popular culture’ items in the guise of pulp fiction and science fiction (SF). In 2010, Professor Fred Fastier gifted his entire SF Collection to Special Collections. Since then holdings in this field have grown considerably with the acquisition of the Hal Salive SF Collection, some 2400 titles kindly donated by Rachel Salive, and a near complete run of the Magazine of Fantasy and Science Fiction, donated by Trevor Agnew. ‘Pulps’ continue to be acquired as too the works by the Dunedin-born artist John Buckland Wright. Other books have been acquired because of their historical significance or because they fill a visible gap in the existing collection. Brief examples here include French language works by Racine and Corneille, and Robert Hooke’s Micrographia (1780)
It is by no means true that all rare books are old books. Recent purchases include important modern works that complement the older material. By this means Special Collections will continue to house significant examples of printing and publishing into the next century, will continue to provide an important forum for original research, and will retain its position as an important University-based rare book collection in New Zealand. These volumes are a selection of titles added to Special Collections between 2008 and 2013. Please enjoy.
Contributor
An entity responsible for making contributions to the resource
Special Collections - University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
Dr Esmond de Beer collected books by John Evelyn (1620-1706), diarist, gardener, and Fellow of the Royal Society. In 1983, de Beer gave to Special Collections his Evelyn Collection of some 1000 works, which included his own meticulously edited<em> The Diary of John Evelyn</em> (1955) and a first English edition of Roland Fréart’s <em>A Parallel of the Antient Architecture with the Modern</em> (1664), which was translated by John Evelyn. In October 2009, a third edition (1723) of this classic work by the French architectural theorist was donated to Special Collections. It arrived somewhat circuitously via a Canterbury bookseller, a Dunedin bookseller, and the Office of the Vice Chancellor. It is in superb condition.
Creator
An entity primarily responsible for making the resource
Roland Fréart
Publisher
An entity responsible for making the resource available
London: Printed by T. W. for D. Browne, [and six others]
Date
A point or period of time associated with an event in the lifecycle of the resource
1723
Identifier
An unambiguous reference to the resource within a given context
de Beer Ec 1723 F
Title
A name given to the resource
A Parallel of the Antient Architecture with the Modern: in a Collection of Ten Principal Authors. Third Edition
Architecture
-
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Title
A name given to the resource
Maths, Politics & Concrete: The Legacy of the Classical World. Online exhibition
Description
An account of the resource
The classicist Richard Hingley wrote ‘the Classical past retains a highly significant relationship to the present’. It is true that no cultural tradition develops in a vacuum and we are all influenced by those who have gone before us. The exhibition Maths, Politics and Concrete: The Legacy of the Classical World aims to highlight some of the influences that the ancient Greeks and Romans have had on western civilisation. Mathematics, democracy, medicine, literature, philosophy, law, architecture and engineering are just some of the areas where western cultural heritage owes much to classical Greece and Rome.
With the reintroduction of many ancient texts to Renaissance Europe, Classical Studies enjoyed a resurgence in the 14th century and consequently, in the 18th and 19th centuries it became central to, what was thought to be, a ‘good’ education. The latter part of the 20th century saw a decline in classical studies as part of mainstream education. Now, however, more than ever before, we have more resources and technology available that enable us to study and appreciate the ancient world of the Greeks and Romans and remind ourselves of some of our cultural roots.
From Homer’s Odyssey and the nascent secular intellectualism of the early Greek philosophers, to the recipe for concrete and the perfection of archway construction, the Classical World has left a legacy which we now take for granted. The exhibition features works by, among others, Ovid, Apollonius, Archimedes, Xenophon and Marcus Aurelius – names not necessarily familiar to all but ones which have definitely shaped the past and are still very important today. Please enjoy yourself as you view volumes from Special Collections and take time to discover how the ancient world has impacted on yours.
*Every effort has been made to contact copyright owners of the images displayed in this online exhibition. If any issues arise from their display, please contact Special Collections, University of Otago, special.collections@otago.ac.nz
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
Thomas Jefferson (1743-1826), third president of the United States and talented amateur architect, designed and built many buildings in neoclassical style. Jefferson had an extensive knowledge of and reverence for the classical world and was greatly influenced by the work of Italian architect, Andrea Palladio (1508-80) whose work was, in turn, influenced by the ancient Romans. Dominated by domes, colonnaded porticoes and pediments, Jeffersonian architecture is visible in Jefferson’s own home, Monticello and the Rotunda building at the University of Virginia, both in Charlottesville, Virginia. This neoclassical type of architecture was thought to reflect and reinforce the link between the ideologies and values of the republic of America and that of ancient Rome.
Creator
An entity primarily responsible for making the resource
Wayne Andrews
Publisher
An entity responsible for making the resource available
New York: Free Press of Glencoe
Date
A point or period of time associated with an event in the lifecycle of the resource
1964
Identifier
An unambiguous reference to the resource within a given context
Storage NA705 AJ822 1964
Title
A name given to the resource
Architecture, Ambition and Americans
Ancient Rome
Architecture
Neoclassical
Palladio
Thomas Jefferson
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Maths, Politics & Concrete: The Legacy of the Classical World. Online exhibition
Description
An account of the resource
The classicist Richard Hingley wrote ‘the Classical past retains a highly significant relationship to the present’. It is true that no cultural tradition develops in a vacuum and we are all influenced by those who have gone before us. The exhibition Maths, Politics and Concrete: The Legacy of the Classical World aims to highlight some of the influences that the ancient Greeks and Romans have had on western civilisation. Mathematics, democracy, medicine, literature, philosophy, law, architecture and engineering are just some of the areas where western cultural heritage owes much to classical Greece and Rome.
With the reintroduction of many ancient texts to Renaissance Europe, Classical Studies enjoyed a resurgence in the 14th century and consequently, in the 18th and 19th centuries it became central to, what was thought to be, a ‘good’ education. The latter part of the 20th century saw a decline in classical studies as part of mainstream education. Now, however, more than ever before, we have more resources and technology available that enable us to study and appreciate the ancient world of the Greeks and Romans and remind ourselves of some of our cultural roots.
From Homer’s Odyssey and the nascent secular intellectualism of the early Greek philosophers, to the recipe for concrete and the perfection of archway construction, the Classical World has left a legacy which we now take for granted. The exhibition features works by, among others, Ovid, Apollonius, Archimedes, Xenophon and Marcus Aurelius – names not necessarily familiar to all but ones which have definitely shaped the past and are still very important today. Please enjoy yourself as you view volumes from Special Collections and take time to discover how the ancient world has impacted on yours.
*Every effort has been made to contact copyright owners of the images displayed in this online exhibition. If any issues arise from their display, please contact Special Collections, University of Otago, special.collections@otago.ac.nz
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
Section-elevation of the Pantheon, Rome
Creator
An entity primarily responsible for making the resource
Francis D. K. Ching, et al
Publisher
An entity responsible for making the resource available
Hoboken, New Jersey: John Wiley and Sons
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
Identifier
An unambiguous reference to the resource within a given context
Central NA200 CH58
Title
A name given to the resource
A Global History of Architecture
Architecture
Pantheon
Rome
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Maths, Politics & Concrete: The Legacy of the Classical World. Online exhibition
Description
An account of the resource
The classicist Richard Hingley wrote ‘the Classical past retains a highly significant relationship to the present’. It is true that no cultural tradition develops in a vacuum and we are all influenced by those who have gone before us. The exhibition Maths, Politics and Concrete: The Legacy of the Classical World aims to highlight some of the influences that the ancient Greeks and Romans have had on western civilisation. Mathematics, democracy, medicine, literature, philosophy, law, architecture and engineering are just some of the areas where western cultural heritage owes much to classical Greece and Rome.
With the reintroduction of many ancient texts to Renaissance Europe, Classical Studies enjoyed a resurgence in the 14th century and consequently, in the 18th and 19th centuries it became central to, what was thought to be, a ‘good’ education. The latter part of the 20th century saw a decline in classical studies as part of mainstream education. Now, however, more than ever before, we have more resources and technology available that enable us to study and appreciate the ancient world of the Greeks and Romans and remind ourselves of some of our cultural roots.
From Homer’s Odyssey and the nascent secular intellectualism of the early Greek philosophers, to the recipe for concrete and the perfection of archway construction, the Classical World has left a legacy which we now take for granted. The exhibition features works by, among others, Ovid, Apollonius, Archimedes, Xenophon and Marcus Aurelius – names not necessarily familiar to all but ones which have definitely shaped the past and are still very important today. Please enjoy yourself as you view volumes from Special Collections and take time to discover how the ancient world has impacted on yours.
*Every effort has been made to contact copyright owners of the images displayed in this online exhibition. If any issues arise from their display, please contact Special Collections, University of Otago, special.collections@otago.ac.nz
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
As the city of Rome and its population grew so did the need for a constant supply of fresh water, free from contamination, for public baths, fountains, latrines, industry and some private dwellings. The first aqueduct supplying Rome was built in 300 BC and by 300 AD there were eleven aqueducts carrying in millions of litres of water a day. Aqueducts relied on gravity alone for water movement and Vitruvius posits a gradient of 1:4800 as optimal. In the 17th century, Italian antiquarian Raphael Fabretti wrote three dissertations on Rome’s aqueducts. This engraving of the Aqua Alexandrina, built in 226 AD and supplying the Baths of Alexander, describes some of the above ground parts of the 22.4 km long aqueduct. The aqueduct, still visible in Rome today, was thought to supply between 120,000 and 300,000 cubic metres of water a day.
(Key to Fabretti’s engraving
Page 8: A=the space or hollow through which the water flowed
Page 9 (top):A=the space or hollow through which the water flowed; B=the ventilation shaft to maintain freshness and allow
access; C=the ridge of the arch; D=the form of the arch upright
Page 9 (bottom): A settling tank where the water is carried through (A) and (B) into the tank (C), where the mud in the water remained. Purified water exited through (D) and (E) and continued its journey to the city.)
Creator
An entity primarily responsible for making the resource
Raffaele Fabretti
Publisher
An entity responsible for making the resource available
[Rome: Joannes Baptista Bussotti]
Date
A point or period of time associated with an event in the lifecycle of the resource
1680
Identifier
An unambiguous reference to the resource within a given context
de Beer Itb 1680 F
Title
A name given to the resource
De Aquis et Aquaeductibus Veteris Romae
Architecture
Roman aqueducts
Roman engineering
Rome
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Maths, Politics & Concrete: The Legacy of the Classical World. Online exhibition
Description
An account of the resource
The classicist Richard Hingley wrote ‘the Classical past retains a highly significant relationship to the present’. It is true that no cultural tradition develops in a vacuum and we are all influenced by those who have gone before us. The exhibition Maths, Politics and Concrete: The Legacy of the Classical World aims to highlight some of the influences that the ancient Greeks and Romans have had on western civilisation. Mathematics, democracy, medicine, literature, philosophy, law, architecture and engineering are just some of the areas where western cultural heritage owes much to classical Greece and Rome.
With the reintroduction of many ancient texts to Renaissance Europe, Classical Studies enjoyed a resurgence in the 14th century and consequently, in the 18th and 19th centuries it became central to, what was thought to be, a ‘good’ education. The latter part of the 20th century saw a decline in classical studies as part of mainstream education. Now, however, more than ever before, we have more resources and technology available that enable us to study and appreciate the ancient world of the Greeks and Romans and remind ourselves of some of our cultural roots.
From Homer’s Odyssey and the nascent secular intellectualism of the early Greek philosophers, to the recipe for concrete and the perfection of archway construction, the Classical World has left a legacy which we now take for granted. The exhibition features works by, among others, Ovid, Apollonius, Archimedes, Xenophon and Marcus Aurelius – names not necessarily familiar to all but ones which have definitely shaped the past and are still very important today. Please enjoy yourself as you view volumes from Special Collections and take time to discover how the ancient world has impacted on yours.
*Every effort has been made to contact copyright owners of the images displayed in this online exhibition. If any issues arise from their display, please contact Special Collections, University of Otago, special.collections@otago.ac.nz
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
With the aid of concrete the Romans built baths, amphitheatres, temples, aqueducts, bridges, basilicas, arches and roads, throughout their vast empire. Concrete enabled the Romans to build larger, more monumental buildings. Unlike stone, concrete did not need to be carved, it could be shaped when wet, and the materials needed to make it were easier to transport and it required less skill in construction. All in all, concrete was cheaper and quicker. Finished in 306 AD, Diocletian’s Baths were the largest imperial baths built in Rome. Of the three Greek orders of columns the Romans preferred the Corinthian, the most ornate, and as Fréart writes above ‘[the style] is not therefore to be employed but in great and publick Works…’ as it was in the Baths of Diocletian. The original of this engraving was drawn in 1574 by the Italian architect Pyrro Ligorio (1510-83).
Creator
An entity primarily responsible for making the resource
Roland Fréart
Publisher
An entity responsible for making the resource available
London: Printed by Tho. Roycroft for John Place
Date
A point or period of time associated with an event in the lifecycle of the resource
1664
Identifier
An unambiguous reference to the resource within a given context
de Beer Ed 1664 F
Title
A name given to the resource
A Parallel of the Antient Architecture with the Modern
Architecture
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Maths, Politics & Concrete: The Legacy of the Classical World. Online exhibition
Description
An account of the resource
The classicist Richard Hingley wrote ‘the Classical past retains a highly significant relationship to the present’. It is true that no cultural tradition develops in a vacuum and we are all influenced by those who have gone before us. The exhibition Maths, Politics and Concrete: The Legacy of the Classical World aims to highlight some of the influences that the ancient Greeks and Romans have had on western civilisation. Mathematics, democracy, medicine, literature, philosophy, law, architecture and engineering are just some of the areas where western cultural heritage owes much to classical Greece and Rome.
With the reintroduction of many ancient texts to Renaissance Europe, Classical Studies enjoyed a resurgence in the 14th century and consequently, in the 18th and 19th centuries it became central to, what was thought to be, a ‘good’ education. The latter part of the 20th century saw a decline in classical studies as part of mainstream education. Now, however, more than ever before, we have more resources and technology available that enable us to study and appreciate the ancient world of the Greeks and Romans and remind ourselves of some of our cultural roots.
From Homer’s Odyssey and the nascent secular intellectualism of the early Greek philosophers, to the recipe for concrete and the perfection of archway construction, the Classical World has left a legacy which we now take for granted. The exhibition features works by, among others, Ovid, Apollonius, Archimedes, Xenophon and Marcus Aurelius – names not necessarily familiar to all but ones which have definitely shaped the past and are still very important today. Please enjoy yourself as you view volumes from Special Collections and take time to discover how the ancient world has impacted on yours.
*Every effort has been made to contact copyright owners of the images displayed in this online exhibition. If any issues arise from their display, please contact Special Collections, University of Otago, special.collections@otago.ac.nz
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
In his work, <em>De Architectura</em>, Vitruvius (c. 80-15 BC) outlined what he thought was the ideal education for an architect and the principles of firmitas – durability; utilitas – usefulness; and venustas – beauty, in architecture. After his treatise resurfaced during the Renaissance it dominated architectural theory for the next 300 years. Andrea Palladio (1508-80) was heavily influenced by Vitruvius’s work. The above volume shows the Pantheon, which still stands in Rome 2000 years after it was first built and has the ‘largest unreinforced concrete dome’ in the world. The concrete was poured continuously, from the bottom of the dome to the top, so that it was seamless. The production, transport and distribution of all the concrete must have been a logistical nightmare.
Creator
An entity primarily responsible for making the resource
Andrea Palladio
Publisher
An entity responsible for making the resource available
[Rome]: Ex typographia Camera Apostolica, sumptibus Hieronymi Bonae
Date
A point or period of time associated with an event in the lifecycle of the resource
1618
Identifier
An unambiguous reference to the resource within a given context
de Beer Itb 1618 P
Title
A name given to the resource
Antiquitates Almae Urbis Romae
Ancient Rome
Architecture
Pantheon
-
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Title
A name given to the resource
Maths, Politics & Concrete: The Legacy of the Classical World. Online exhibition
Description
An account of the resource
The classicist Richard Hingley wrote ‘the Classical past retains a highly significant relationship to the present’. It is true that no cultural tradition develops in a vacuum and we are all influenced by those who have gone before us. The exhibition Maths, Politics and Concrete: The Legacy of the Classical World aims to highlight some of the influences that the ancient Greeks and Romans have had on western civilisation. Mathematics, democracy, medicine, literature, philosophy, law, architecture and engineering are just some of the areas where western cultural heritage owes much to classical Greece and Rome.
With the reintroduction of many ancient texts to Renaissance Europe, Classical Studies enjoyed a resurgence in the 14th century and consequently, in the 18th and 19th centuries it became central to, what was thought to be, a ‘good’ education. The latter part of the 20th century saw a decline in classical studies as part of mainstream education. Now, however, more than ever before, we have more resources and technology available that enable us to study and appreciate the ancient world of the Greeks and Romans and remind ourselves of some of our cultural roots.
From Homer’s Odyssey and the nascent secular intellectualism of the early Greek philosophers, to the recipe for concrete and the perfection of archway construction, the Classical World has left a legacy which we now take for granted. The exhibition features works by, among others, Ovid, Apollonius, Archimedes, Xenophon and Marcus Aurelius – names not necessarily familiar to all but ones which have definitely shaped the past and are still very important today. Please enjoy yourself as you view volumes from Special Collections and take time to discover how the ancient world has impacted on yours.
*Every effort has been made to contact copyright owners of the images displayed in this online exhibition. If any issues arise from their display, please contact Special Collections, University of Otago, special.collections@otago.ac.nz
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
The Romans were engineering innovators and over time they perfected the construction of the arch. By making use of arches in architecture they were not only able to save on building materials but they were able to construct buildings with wide open interior spaces. The Colosseum in Rome, completed in 80 AD, could seat between 50,000-80,000 spectators. It consisted of four floors with the first three storeys containing 80 arches each. The arches, made of uprights of limestone and archways of lightweight moulded concrete, added strength to the walls and ceilings of each floor. The Colosseum is still the largest amphitheatre in the world.
Creator
An entity primarily responsible for making the resource
Bernardo Gamucci
Publisher
An entity responsible for making the resource available
[Venice: Giovanni Varisco & Compagni]
Date
A point or period of time associated with an event in the lifecycle of the resource
1569
Identifier
An unambiguous reference to the resource within a given context
de Beer Itb 1569 G
Title
A name given to the resource
Le Antichità della Città di Roma
Ancient Rome
Architecture
Colisseum
Rome (Italy)
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Maths, Politics & Concrete: The Legacy of the Classical World. Online exhibition
Description
An account of the resource
The classicist Richard Hingley wrote ‘the Classical past retains a highly significant relationship to the present’. It is true that no cultural tradition develops in a vacuum and we are all influenced by those who have gone before us. The exhibition Maths, Politics and Concrete: The Legacy of the Classical World aims to highlight some of the influences that the ancient Greeks and Romans have had on western civilisation. Mathematics, democracy, medicine, literature, philosophy, law, architecture and engineering are just some of the areas where western cultural heritage owes much to classical Greece and Rome.
With the reintroduction of many ancient texts to Renaissance Europe, Classical Studies enjoyed a resurgence in the 14th century and consequently, in the 18th and 19th centuries it became central to, what was thought to be, a ‘good’ education. The latter part of the 20th century saw a decline in classical studies as part of mainstream education. Now, however, more than ever before, we have more resources and technology available that enable us to study and appreciate the ancient world of the Greeks and Romans and remind ourselves of some of our cultural roots.
From Homer’s Odyssey and the nascent secular intellectualism of the early Greek philosophers, to the recipe for concrete and the perfection of archway construction, the Classical World has left a legacy which we now take for granted. The exhibition features works by, among others, Ovid, Apollonius, Archimedes, Xenophon and Marcus Aurelius – names not necessarily familiar to all but ones which have definitely shaped the past and are still very important today. Please enjoy yourself as you view volumes from Special Collections and take time to discover how the ancient world has impacted on yours.
*Every effort has been made to contact copyright owners of the images displayed in this online exhibition. If any issues arise from their display, please contact Special Collections, University of Otago, special.collections@otago.ac.nz
Contributor
An entity responsible for making contributions to the resource
Various collectors
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Abstract
A summary of the resource.
Thomas Jefferson (1743-1826), third president of the United States and talented amateur architect, designed and built many buildings in neoclassical style. Jefferson had an extensive knowledge of and reverence for the classical world and was greatly influenced by the work of Italian architect, Andrea Palladio (1508-80) whose work was, in turn, influenced by the ancient Romans. Dominated by domes, colonnaded porticoes and pediments, Jeffersonian architecture is visible in Jefferson’s own home, Monticello and the Rotunda building at the University of Virginia, both in Charlottesville, Virginia. This neoclassical type of architecture was thought to reflect and reinforce the link between the ideologies and values of the republic of America and that of ancient Rome.
Creator
An entity primarily responsible for making the resource
Andrea Palladio
Publisher
An entity responsible for making the resource available
[Venice]: Bartolomea Carampello
Date
A point or period of time associated with an event in the lifecycle of the resource
1581
Identifier
An unambiguous reference to the resource within a given context
de Beer Itc 1581 P
Title
A name given to the resource
I Qvattro Libri dell'Architettura di Andrea Palladio
Architecture
Italian
Palladio
Thomas Jefferson
-
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Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The ruins of Balbec
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
The ruins of Balbec, otherwise Heliopolis in Coelosyria
Subject
The topic of the resource
Baʻlabakk (Lebanon)
Description
An account of the resource
This book documents the Roman monuments of Baalbek in present-day Lebanon. It was a result of Robert Wood and James Dawkins' 1750-53 trip to Asia Minor. Wood was a member of the Society of the Dilettanti These volumes exhibited mark the beginning of the rise of the British as explorers of antiquity. In his commentary Wood described the ruins in the Bekka Valley as ‘the remains of the boldest plan we ever saw attempted in architecture.' While he understood the sites to be of Roman origin, Wood acknowledged a local tradition that linked the buildings back to Solomon. The engravings were prepared by G.B. Borra in England after drawings that he made on site. The work proved to be a valuable source for the architects of the classical revival.
Creator
An entity primarily responsible for making the resource
Wood, Robert
Date Created
Date of creation of the resource.
1757
Type
The nature or genre of the resource
Illustrations
Identifier
An unambiguous reference to the resource within a given context
Ee/1757/W [de Beer Special Collections]
Antiquity
Architecture
Baalbek
Special Collections
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The antiquities of Athens, measured and delineated
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
The antiquities of Athens, measured and delineated. Volume 2
Subject
The topic of the resource
Architecture
Athens (Greece)
Antiquities
Description
An account of the resource
In 1742 James Stuart went to London where he met Nicholas Revett. With support from English travellers and residents in Rome, they raised funds and issued proposals for a ‘new and accurate description of the Antiquities &c. in the Province of Attica'. Like Fréart de Chambray, Stuart believed that Greece, not Rome, should be the paragon. Between 1751 and 1753 the two Englishmen painstakingly surveyed the buildings of Greece. This, the much awaited volume of 1762, describes minor buildings. Though it fell short of expectation it did have significant impact. Over the next fifty-four years three subsequent volumes were published fuelling the ‘gusto Greco'.
Published shortly after James Stuart's death, the acclaimed second volume of The antiquities of Athens … was devoted to the Acropolis. This is dealt with in the precise, if somewhat lifeless, neoclassical spirit. Both Stuart and Revett were members of the Society of the Dilettanti which had been formed in 1732 as a convivial meeting group for Englishmen on the Grand Tour. By the 1760s, the society sponsored archaeological expedition and publication. It produced the two volume Ionian Antiquities in 1769 and 1797.
Creator
An entity primarily responsible for making the resource
Stuart, James
Revett, Nicholas
Publisher
An entity responsible for making the resource available
Priestley and Weale: London
Date Created
Date of creation of the resource.
1825-1830
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
NA280 .SX35 (Special Collections Oversized)
Antiquity
Architecture
Athens
Special Collections
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tvtte l'opere d'archittetvra, et prospetiva
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Tvtte l'opere d'archittetvra, et prospetiva, di Sebastiano Serlio, Bolognese, dove si mettono in disegno tvtte le maniere di edificij, e si trattano di quelle cose, che sono piu necessarie a sapere gli architetti. Con la aggivnta delle inventioni di cinqvanta porte, e gran numero di palazzi publici, e priuati nella citta, & in villa, e varij accidenti, che possono occorrere nel fabricare. Diviso in sette libri. Con vn'indice copiosissimo con molte considerationi, & vn breue discorso sopra questa materia, raccolto da M. Gio. Domenico Scamozzi Vicentino.
Subject
The topic of the resource
Architecture
Illustrated books
Description
An account of the resource
In his seven-volume Tutte l'opere d'architettura that first appeared in 1584, Serlio aimed to provide a practical manual of architecture while avoiding explicit theory. As such the work became one of the most influential of all publications on architecture. The third book which is displayed here, was first printed in 1540. In it Serlio documents and discusses Roman and Renaissance architecture. He measured and reconstructed partial ruins. Serlio did not doubt the value of the lessons from antiquity. In acknowledging that the work of the Greeks was superior to the Romans, he prepared the way for debate in subsequent centuries.
Creator
An entity primarily responsible for making the resource
Serlio, Sebastiano
Publisher
An entity responsible for making the resource available
G. de' Franceschi: [Venetia]
Date Created
Date of creation of the resource.
1619
Contributor
An entity responsible for making contributions to the resource
Scamozzi, Giovanni Domenico
Franceschi, Giacomo de'
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Itb 1619 S [de Beer Special Collections]
Antiquity
Architecture
Renaissance
Roman
Ruins
Special Collections
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Roma aeterna Petri Schenkii
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Roma aeterna Petri Schenkii; sive, Ipsius aedificiorum Romanorum integrorum collapsorumque conspectus duplex
Subject
The topic of the resource
Architecture
Title pages
Illustrated books
Rome (Italy)
Description
An account of the resource
This publication by Amsterdam publisher and engraver Peter Schenk is typical of those that were appearing at the turn of the 18th century. The page shown depicts the ruins of the aqueduct the Aqua Marcia. It conveyed water to both the baths of Diocletian and to those of Caracalla.
Creator
An entity primarily responsible for making the resource
Schenk, Peter
Publisher
An entity responsible for making the resource available
s.n.: Amstelodami
Date Created
Date of creation of the resource.
1705
Contributor
An entity responsible for making contributions to the resource
Hume, Abraham
Type
The nature or genre of the resource
Engravings
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Lc 1705 S [de Beer Special Collections]
Antiquity
Architecture
Rome (Italy)
Special Collections
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Le terme dei Romani
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Le terme dei Romani / disegnate da Andrea Palladio ; e ripubblicate con la giunta di alcune osservazioni da Ottavio Bertotti Scamozzi giusta l'esemplare del Lord Conte di Burlingthon impresso in Londra l'anno 1732
Subject
The topic of the resource
Architecture
Baths
Rome (Italy)
Description
An account of the resource
This drawing of Diocletian's Baths can be traced to Andrea Palladio. The Bertotti-Scamozzi illustrations in this volume follow those included by the English architect, Lord Burlington, in his study of the Baths of the Romans, Fabbriche Antiche (1730). These in turn were based upon drawings by Palladio that the Englishman had acquired in Italy some years earlier. Bertotti-Scamozzi had earlier published several volumes documenting Palladio's buildings.
Creator
An entity primarily responsible for making the resource
Palladio, Andrea
Publisher
An entity responsible for making the resource available
Per Giovanni Rossi: In Vicenza
Date Created
Date of creation of the resource.
1797
Contributor
An entity responsible for making contributions to the resource
Bertotti Scamozzi, Ottavio
Burlington, Richard Boyle
Gaal de Gyula, Nico
Palladio, Andrea
Rossi, Giovanni
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Itb 1797 P [de Beer Special Collections]
Architecture
Baths
Romans
Special Collections
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The ruins of Pæstum
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
The ruins of Pæstum, otherwise Posidonia, in Magna Græcia
Subject
The topic of the resource
Numismatics
Architecture
Illustrated books
Description
An account of the resource
The Greek temples at Paestum in southern Italy were almost unknown until the 1750s. They became better known through publication. This book by Thomas Major was one of the first that enabled architects of Northern and Western Europe to study the three temples at this site. Along with the work of Stuart and Revett, these engravings were a valuable source for the Greek revival at the end of the 18th century. Piranesi later produced a series of twenty engravings of the ruins at Paestum in 1778.
Creator
An entity primarily responsible for making the resource
Major, Thomas
Publisher
An entity responsible for making the resource available
Published by T. Major ... printed by James Dixwell: London
Date Created
Date of creation of the resource.
1768
Contributor
An entity responsible for making contributions to the resource
Dixwell, James
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Ee 1768 M [De Beer Special Collections]
Antiquity
Architecture
Greek
Posidonia
Special Collections
Temples
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Aedificiorvm et rvinarvm Romae ex antiqvis atqve hodiernis monimentis liber primus
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Aedificiorvm et rvinarvm Romae ex antiqvis atqve hodiernis monimentis liber primus [-secundus] / summo cum studio incisus, ac delineatus a Jo. Maggio Romano ; egregio viro Ioanni van Santhen Flandro ultraiectensi Smi. D. N. Pauli V. architecto ingeniosiss[i]mo ; Ioseph de Rubeis Mediolanensis ob beneuolentiam et propensi animi ergo D. D. 1618.
Subject
The topic of the resource
Title pages
Engraving, Italian
Illustrated books
Rome (Italy)
Inscriptions
Description
An account of the resource
This book on the buildings and ruins of Rome by the 17th century artist and engraver, Giovanni Maggi, is typical of the works by which the ruins of antiquity became known outside Italy through that century. The remnant of the Temple of Jupiter Stator (Castor and Pollux) in the Roman Forum, shown here with its prominent and accessible columns and entablature, was the frequent subject of measured drawings by the visiting architects of the 18th century. The amphitheatre was at the Campus Martius. Maggi is now better known for an impressive twelve sheet perspectival map of Rome that was published after his death in 1725. A copy of an early 20th century reprint of Iconographia della citta di Roma is held in the Library's Special Collections.
Creator
An entity primarily responsible for making the resource
Maggi, Giovanni
Publisher
An entity responsible for making the resource available
[s.n.]: Romae
Date Created
Date of creation of the resource.
1618
Type
The nature or genre of the resource
Illustrations
Engravings
Text
Identifier
An unambiguous reference to the resource within a given context
Itc 1618 M [De Beer Special Collections]
Antiquity
Architecture
Rome (Italy)
Ruins
Special Collections
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A parallel of the antient architecture with the modern
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
A parallel of the antient architecture with the modern: in a collection of ten principal authors who have written upon the five orders
Parallèle de l'architecture antique avec la moderne
Subject
The topic of the resource
Architecture
Illustrated books
Bookplates
Inscriptions
Description
An account of the resource
Following a stay in Rome in 1650, Fréart de Chambray published this anthology of ten ancient and modern writers on the classical orders. He argues that the Greek orders (the Doric, the Ionic, and Corinthian) are perfect models for all architecture and he condemns the Roman orders (the Tuscan and the Composite) as being corrupt. Citing its use in the Temple of Solomon, he declares the Corinthian order to be the ‘flower of Architecture and the Order of Orders'. To Fréart de Chambray, Vitruvius and his translators were beyond reproach.
Creator
An entity primarily responsible for making the resource
Fréart de Chambray, Roland
Publisher
An entity responsible for making the resource available
Printed by Tho. Roycroft for John Place: London
Date Created
Date of creation of the resource.
1664
Contributor
An entity responsible for making contributions to the resource
Evelyn, John
Alberti, Leon Battista
Roycroft, Thomas
Place, John
Cecil, Hugh
Tubbs, Percy B.
Dunn, George
Spencer, Samuel
Shoppee, William
Wheatley, Thomas
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Ec/1664/F c.1 (de Beer Special Collections)
Antiquity
Architecture
Special Collections
Vitruvius
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The New Zealander in London
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
"The New Zealander" in London : a pilgrimage
Description
An account of the resource
In the 1870s the artist Gustave Doré depicted Macaulay's New Zealander visiting future London. In the accompanying text Jerrold wrote, ‘Macaulay's dream of the far future, with the tourist New Zealander ... contemplating "The glory that was Greece - The grandeur that was Rome".' This solitary philosopher-artist appears more akin to romanticised images of young English travelers, discovering and sketching the ruins of Palmyra a century earlier, than to New Zealanders who had recently been at war with Colonial and Imperial troops.
Creator
An entity primarily responsible for making the resource
Doré, Gustave
Publisher
An entity responsible for making the resource available
Grant & Co.: London
Date Created
Date of creation of the resource.
1872
Type
The nature or genre of the resource
Illustrations
Text
Architecture
London
Macaulay
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ruins of the palace of the Emperor Diocletian at Spalatro in Dalmatia
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Rvins of the palace of the Emperor Diocletian at Spalatro in Dalmatia
Subject
The topic of the resource
Palace of Diocletian (Split, Croatia)
Illustrated books
Description
An account of the resource
In 1754 Robert Adam left Scotland for France and Italy on a Grand Tour. In Italy he met the French architect, Charles Louis Clérisseau, and the Italian, Giovanni Battista Piranesi, who would both have a significant influence upon him and his later work. While abroad, Adam resolved to move to London and set about producing a volume for publication upon his return. The ruins of the palace at Spalatro (now known as Split, on the Dalmatian coast) were easily accessible from Italy but had not been satisfactorily documented. Over a period of five weeks Adam sketched and supervised the documentation of the ruins. He was accompanied by Clérisseau, who produced perspectives, and two German draftsmen who undertook the measured drawings. Most of the published drawings are believed to be the work of Clérisseau.
Creator
An entity primarily responsible for making the resource
Adam, Robert
Publisher
An entity responsible for making the resource available
Printed for the author: London
Date Created
Date of creation of the resource.
1764
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Ee 1764 A [de Beer Special Collections]
Antiquity
Architecture
Dalmatia
Emperor Diocletian
Palace
Special Collections
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
West Meets East
Description
An account of the resource
Images of China and Japan, 1570 to 1920.
West Meets East is based on a physical exhibition curated by Special Collections, that was on display from 10 February - 26 May 2006. It presents a selected number of written and photographic accounts by European travellers to China and Japan. The exhibition includes works held at Special Collections and the Hocken Collections, University of Otago.
Contributor
An entity responsible for making contributions to the resource
Various collectors
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Camps and trails in China [front cover].
Subject
The topic of the resource
Architecture, Chinese
Asiatic Zoological Expedition of the American Museum of Natural History to China (1916-1917)
Brick houses
Bridges
Causeways
Description and travel
Draw Bridges
Yunnan Sheng
Zoology
Description
An account of the resource
Roy Andrews (1884-1960) was an explorer, and long-time curator and director of the American Museum of Natural History. His Asiatic Zoological Expedition of 1916-17 was written up in his "Camps and Trails in China". The pagoda on the cover is found at Ta-Li, a town in the Yunnan province that was also visited by Marco Polo in the Thirteenth century Incidentally, it is said that the movie character Indiana Jones was modelled on Andrews.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Camps and trails in China; a narrative of exploration, adventure, and sport in little-known China, by Roy Chapman Andrews and Yvette Borup Andrews (New York, London, D. Appleton and company, 1918).
Publisher
An entity responsible for making the resource available
New York, London : D. Appleton and company.
Date Created
Date of creation of the resource.
1918
Contributor
An entity responsible for making contributions to the resource
Andrews, Roy Chapman, 1884-1960
Is Part Of
A related resource in which the described resource is physically or logically included.
Camps and trails in China.
Format
The file format, physical medium, or dimensions of the resource
Book covers
Covers (Illustration)
Extent
The size or duration of the resource.
220 mm
Language
A language of the resource
eng
Type
The nature or genre of the resource
Image
Still Image
Illustrations
Identifier
An unambiguous reference to the resource within a given context
University of Otago Library - DS 710 AJ74
s12
Spatial Coverage
Spatial characteristics of the resource.
China
Temporal Coverage
Temporal characteristics of the resource.
Twentieth century
Architecture
Book covers
Brick houses
Bridges
Causeways
China
Chinese
Covers (Illustration)
Description and travel
Draw Bridges
Illustrations
Image
Still Image
Twentieth century
Zoology
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
History of the University of Otago
Description
An account of the resource
A sample of images relating to the history of the University of Otago. This project was the result of a collaboration among the University of Otago History Department, the Digitisation Taskforce and University of Otago Library Staff.
Contributor
An entity responsible for making contributions to the resource
Various collectors
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Proposed Home Science Cottage for New Zealand and South Seas Exhibition (1925-1926), Logan Park, Dunedin.
Subject
The topic of the resource
Architecture
Arts and crafts movement
Buildings
Design
Description
An account of the resource
Designed in conjunction with the Home Science Department, the blueprint of a proposed structure for display at the South Seas Exhibition (1925-1926) includes floor-plans, various elevations and some details of furnishings. The plan shows the influence of the Arts and Crafts design philosophy.
Information on the blueprint indicates that the cottage was to be displayed in the 'Court of Education' section of the South Seas Exhibition.
Creator
An entity primarily responsible for making the resource
McDowell Smith, H.
Otago Branch NZIA Architects
Source
A related resource from which the described resource is derived
University of Otago Home Science School, Architectural Plans, AG-606/001
Date Copyrighted
Date of copyright.
c. 1925
Format
The file format, physical medium, or dimensions of the resource
Architectural drawings
Blueprints
Extent
The size or duration of the resource.
620.5 x 480 mm
Type
The nature or genre of the resource
Image
Still Image
Drawings
Art
Identifier
An unambiguous reference to the resource within a given context
Hocken Collections Archives - AG-606/001
d469
Spatial Coverage
Spatial characteristics of the resource.
Dunedin (N.Z.)
Temporal Coverage
Temporal characteristics of the resource.
Nineteen twenties
Architectural drawings
Architecture
Arts and crafts movement
Blueprints
Buildings
Design
Drawings
Dunedin (N.Z.)
Image
Nineteen twenties
Still Image
timeline
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
History of the University of Otago
Description
An account of the resource
A sample of images relating to the history of the University of Otago. This project was the result of a collaboration among the University of Otago History Department, the Digitisation Taskforce and University of Otago Library Staff.
Contributor
An entity responsible for making contributions to the resource
Various collectors
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Otago University drawing no. 8 [opened 1879].
Subject
The topic of the resource
Architecture
Gothic revival (Architecture)
University of Otago
Description
An account of the resource
An architectural cross-section of the exterior of the Clocktower Building, depicting in detail the "Elevation of the North Side of the Tower".
Upper left (u.l.) - l.r. in ink: Otago University. Drawing no 8. Elevation of north side of tower; through image: Scale 1/4 of an inch. Bell chamber. Clock chamber. Door to roof. Gutter,. Concrete arch. Arch in Registrar’s room, Arch in Porters-room. Ground line. Plan at AA. Half plan at BB & half plan at CC. Door from roof. Door to gutter. Gutter. Plan at DD. Plan at EE. Balcony; in ink throughout: [measurements]
Table Of Contents
A list of subunits of the resource.
Creator
An entity primarily responsible for making the resource
Bury, Maxwell, 1825-1912
University of Otago
Source
A related resource from which the described resource is derived
University of Otago Library Collection, D B 975, Drawing number 8
Date
A point or period of time associated with an event in the lifecycle of the resource
1877
Date Created
Date of creation of the resource.
[ca. 1877]
Is Part Of
A related resource in which the described resource is physically or logically included.
University of Otago Library Collection
Format
The file format, physical medium, or dimensions of the resource
Architectural drawings
Extent
The size or duration of the resource.
728 x 522 mm (lacunae)
Medium
The material or physical carrier of the resource.
pen & red & black ink & watercolour on oiled paper
paper soaked in fish oil
Type
The nature or genre of the resource
Image
Still Image
Drawings
Pen works
Art
Identifier
An unambiguous reference to the resource within a given context
Hocken Pictorial Collections - ?
a1600
Spatial Coverage
Spatial characteristics of the resource.
Dunedin (N.Z.)
Temporal Coverage
Temporal characteristics of the resource.
Nineteenth century
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
November 1993: ca 1966 Miller White & Dalziel deposited this and 12 other plans (mostly Bury
Deposited by the University of Otago & Miller White & Dunn, Dunedin, 1966.
Architectural drawings
Architecture
Drawings
Dunedin (N.Z.)
Gothic revival (Architecture)
Image
Nineteenth century
Pen works
Still Image
timeline
University of Otago
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
History of the University of Otago
Description
An account of the resource
A sample of images relating to the history of the University of Otago. This project was the result of a collaboration among the University of Otago History Department, the Digitisation Taskforce and University of Otago Library Staff.
Contributor
An entity responsible for making contributions to the resource
Various collectors
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Otago University drawing no. 7 [opened 1879].
Subject
The topic of the resource
Architecture
Gothic revival (Architecture)
University of Otago
Description
An account of the resource
An architectural cross-section of the staircase housed within the Clocktower Building. Depicting in detail the "Section Thro Hall".
Upper left (u.l.) - l.r. in ink: Otago University. Drawing no 7. Section thro hall shewing staircase; through image in ink: Scale 1/4 of an inch. Purlins. Sunk for mat. Tiles. Arbroath flagging. Stone chips. Concrete. Section thro staircase; through image in ink: [measurements]
Table Of Contents
A list of subunits of the resource.
Creator
An entity primarily responsible for making the resource
Bury, Maxwell, 1825-1912
University of Otago
Source
A related resource from which the described resource is derived
University of Otago Library Collection, D B 975, Drawing number 7
Date
A point or period of time associated with an event in the lifecycle of the resource
1877
Date Created
Date of creation of the resource.
[ca. 1877]
Is Part Of
A related resource in which the described resource is physically or logically included.
University of Otago Library Collection
Format
The file format, physical medium, or dimensions of the resource
Architectural drawings
Extent
The size or duration of the resource.
494 x 690 mm (lacunae)
Medium
The material or physical carrier of the resource.
pen & red & black ink & watercolour on oiled paper
paper soaked in fish cartridge
Type
The nature or genre of the resource
Image
Still Image
Drawings
Pen works
Art
Identifier
An unambiguous reference to the resource within a given context
Hocken Pictorial Collections - ?
a1599
Spatial Coverage
Spatial characteristics of the resource.
Dunedin (N.Z.)
Temporal Coverage
Temporal characteristics of the resource.
Nineteenth century
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
November 1993: ca 1966 Miller White & Dalziel deposited this and 12 other plans (mostly Bury's) of the university in Hocken. Some were placed in archives, but this one was placed in pictures. In 1994 M W & D still held at least two of Bury's originals and displayed them in Glenroy Auditorium.
Deposited by the University of Otago & Miller White & Dunn, Dunedin, 1966.
Architectural drawings
Architecture
Drawings
Dunedin (N.Z.)
Gothic revival (Architecture)
Image
Nineteenth century
Pen works
Still Image
timeline
University of Otago
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
History of the University of Otago
Description
An account of the resource
A sample of images relating to the history of the University of Otago. This project was the result of a collaboration among the University of Otago History Department, the Digitisation Taskforce and University of Otago Library Staff.
Contributor
An entity responsible for making contributions to the resource
Various collectors
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Otago University [opened 1879].
Subject
The topic of the resource
Architecture
Gothic revival (Architecture)
University of Otago
Description
An account of the resource
We can assume that this work, by being one of two elevations of the west wall of the clocktower building, was effectively commissioned by the University in 1877 when they asked Bury, the winner of the competition for a new university building, to provide a gothic Design The final contracts for which Maxwell Bury was employed were let in 1884, after which Bury no longer maintained a practice in Dunedin and so it looks as though, from the mid-1880s until until ca 1908, this drawing, along with the other Bury drawings, was the property of the University. In 1908 Edmunde Anscombe was contracted to design the School of Mines and by degrees became the University architect. Besides being commisioned to design new buildings, he also designed the Oliver and Physics wings of the clocktower building. It seems likely that while he was in charge of the university buildings and thought of as the University architect, he and his associates (H. McDowell Smith & L.D. Coombs), came into possession of these drawings. The firm of Miller and White inherited one half of Anscombe's practice (the McDowell Smith half was inherited by the firm that is now Oakley Grey but was for a while Pinfold, Oakley & Turvey). Miller & White became, post WW2, Miller, White & Dunn, then Miller, White & Dalziel, and finally Dalziel Architects It seems that this work was retained by these firms as part of their property, and lent to the University of Otago in 1969 for 100 years celebrations.
Upper left (u.l.) in pencil: E. Bury, Architect; l.c. in ink: Otago University; l.r. in pencil: Architect Bury.
Table Of Contents
A list of subunits of the resource.
Creator
An entity primarily responsible for making the resource
Bury, Maxwell, 1825-1912
University of Otago
Date
A point or period of time associated with an event in the lifecycle of the resource
1877
Date Created
Date of creation of the resource.
[ca. 1877]
Format
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Architectural drawings
Extent
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745 x 1545 mm (irreg); on paper: 845 x 1675 mm (attached to calico)
Medium
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ink & watercolour on paper
Type
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Image
Still Image
Drawings
Ink drawings
Art
Identifier
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Hocken Pictorial Collections - ?
a1597
Spatial Coverage
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Dunedin (N.Z.)
Temporal Coverage
Temporal characteristics of the resource.
Nineteenth century
Provenance
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Deposited by the University of Otago & Miller White & Dunn, Dunedin, 1966 in Hocken, placed initially in archives and then in pictures - claimed by and returned to Dalziel Architects, 1995; deposited with archives of Dalziel Architect Ltd April 1997.
Deposited by Dalziel Architects Ltd, 1997.
Architectural drawings
Architecture
Drawings
Dunedin (N.Z.)
Gothic revival (Architecture)
Image
Ink drawings
Nineteenth century
Still Image
timeline
University of Otago