From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #14472 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, August 17 2024 Volume 14 : Number 14472 Today's Subjects: ----------------- Transform Your Cooking Experience ["Haarko knife" Subject: Transform Your Cooking Experience Transform Your Cooking Experience http://xetinaxe.shop/YHmnCxeH6HSrbMW_HPCQefTXDpmFyaU99nH_Zmruqk3sjkFNkg http://xetinaxe.shop/_YcAb1UK85GXPbIlUMimeM4iq6YluTMbsEXBdbZvC5CaQdceag el altars emerged in Italy during the 13th century, and until the Renaissance were generally the largest and most significant type of panel painting. In the 13th century, it was not uncommon to find frescoed or mural altarpieces in Italy; mural paintings behind the altar served as visual complements for the liturgy. These altarpieces were influenced by Byzantine art, notably icons, which reached Western Europe in greater numbers following the conquest of Constantinople in 1204. During this time, altarpieces occasionally began to be decorated with an outer, sculptured or gabled structure with the purpose of providing a frame for individual parts of the altarpiece. Vigoroso da Siena's altarpiece from 1291 (pictured) is an example. This treatment of the altarpiece would eventually pave the way for the emergence, in the 14th century, of the polyptych. The sculpted elements in the emerging polyptychs often took inspiration from contemporary Gothic architecture. In Italy, they were still typically executed in wood and painted, while in northern Europe altarpieces were often made of stone. In the early 14th century, the winged altarpiece emerged in Germany, the Low Countries, Scandinavia, the Baltic region and the Catholic parts of Eastern Europe. They spread to France, but remained rare in Italy. By hinging the outer panels to the central panel and painting them on both sides, the subject could be regulated by opening or closing the wings. The pictures could thus be changed depending on liturgical demands. The earliest often displayed sculptures on the inner panels (i.e., displayed when open) and paintings on the back of the wings (displayed when closed). With the advent of winged altarpieces, a shift in imagery also occurred. Instead of being centred on a single holy figure, altarpiece ------------------------------ End of alt.music.moxy-fruvous digest V14 #14472 ***********************************************