Alternatives of Monetary System Case Study Example | Topics and Well Written Essays - 250 words

Alternatives of Monetary System - Case Study Example Such systems are vulnerable to inflation since there are no clear regulations on supply of exchange commodities (McEachern, 2012). Furthermore, the system would be subject to â€Å"double coincident of wants† whereby buyers not only search for commodities that they want but also people who are ready to accept their commodity. Valuable commodities such as precious metals would also be used as a medium of exchange in countries with broken monetary systems. Communities in the affected countries can also designate certain products to replace money. Such products would be selected according to their portability and availability. Preferred commodities should be portable, scarce, and relatively durable. In the case of a prison environment, cigarettes were the preferred currency due to their scarcity and portability. Virtual money can also be used in place of local currency. In a world supported by technology, virtual money can provide a suitable medium of exchange if the system is ad ministered by independent bodies (Bade, & Michael, 2002). Postage stamps can also be used as a currency since they have currency value printed on them. Thus, the choice for a medium of exchange would depend on the concerned society and the immediate economic/monetary  needs.

Inside's Coke's Diversity Story Case Study Example | Topics and Well Written Essays - 2000 words

Inside's Coke's Diversity Story - Case Study Example Discrimination on the basis of color and gender is not new to the U.S. But laws and social feeling has contributed much to see that racial discrimination is non existent at least in the near future. This is a care where the Judiciary directed and supervised the erring company to make amends and diversify its policies to end discrimination. The law suit Ingram, et al. v. The Coca-Cola Company (Case No. 1-98-CV-3679 (RWS) was filed by the plaintiffs for "Four named plaintiffs, (Linda Ingram, Kimberly Gray Orton and Elvenyia Barton-Gibson.), represented a class of 2200 current and former salaried, African-American employees of Coca-Cola in this class action filed April 1999 in the Northern District of Georgia. The case involved race discrimination in promotions, compensation and evaluations. Among other things, the plaintiffs alleged a substantial difference in pay between African-American and white employees; a "glass ceiling" that kept African-Americans from advancing past entry-level management positions; "glass walls" that channeled African-Americans to management in areas like human resources and away from power centers such as marketing and finance; and senior management knowledge of these problems since 1995 and a failure to remedy them."1i The allegation was that there was... The court heard the matter which was taken up for settlement. "The plaintiffs claimed Coke discriminated against black salaried employees in pay, promotions and performance evaluations. The settlement covers black salaried employees in the United States who worked at Coke at any time between April 22, 1995, and June 14, 2000." The Plaintiffs counsel on their website further comment on the case as under: "In early 2000, the Court ordered both sides into mediation. The parties reached agreement on a Settlement-In-Principle on June 14, 2000. A final Settlement Agreement, valued at $192.5 million and designed to ensure dramatic reform of Coca-Cola's employment practices, was officially approved by the Court on June 7, 2001. Since the Settlement Agreement went into effect, the court-appointed task force chaired by Alexis Herman, former Secretary of Labor has issued annual task force reports highlighting the progress the Coca-Cola Company has made in complying with the Settlement Agreement."2 The views expressed on the issue by the news media and the website of major organizations of Human Rights welcomed the settlement move. For example the Interfaith Centre for Corporate Responsibility (ICCR) called it laudable and its post at the site on the day says: "On November 16th, The Coca-Cola Company agreed to pay more than $192 million in cash and equity payments in the largest racial discrimination lawsuit in U.S. history. The settlement resolved a federal class action lawsuit brought by African American employees against the company in April of 1999 and mandates major changes unprecedented in corporate history. Coke's Chairman Doug Daft has made it clear that he intends to root out discrimination at the company and restore the trust of the

Historical Cost Accounting: Criticisms and Alternatives

Historical Cost Accounting: Criticisms and Alternatives Introduction Accounting is a measurement and communication of financial information about economic activities to interested persons.  [1]  The primary role of accounting is to provide an effective measurement and reporting system which is also accounting information system for decision making. The corporate form of a large business has created separation of business ownership and control. Outsiders of an organization, usually, dont possess first-hand knowledge of the day-to-day running and condition of the business, which makes them dependant, to some extent, on accounting reports for information. Management is considered to be a company insider, who has access to the important information about a company that can affect its stock prices or might influence investors decisions. This creates conflict of interest as company insiders are in a position to exploit a professional or official capacity in some way for their personal or corporate benefit. International Accounting Standards Committee (IASC) view that investors need information on risk and return; employees are interested in their stability and profitability; lenders are concerned with loans and interest to be paid when due; suppliers and other traders want to know whether owed amount will be paid or not; and customers are interested in continuance of the enterprise.  [2]  Information is needed by various users to be able to decide when to buy, hold or sell equity of investment; or to access the stewardship or accountability of management. Creditors and suppliers use information to assess security for the amount lent to the enterprise. However, not all users of information have interest or confidence in the information provided by the management. Due to separation of ownership and control; and managements ability of exploiting outsiders for their own benefits, many investors have no interest or confidence in analyzing a companys financial statements. Instead, they rely on market analysis by other specialists about the psychology of the market and its effect on share prices. This report is focused on the historical cost accounting adopted by most of the countries and why, even though has many problems associated with it, have governments accepted this system even with availability of alternative accounting systems. This report details the benefits and criticism of historical cost accounting along with alternatives to historical cost accounting and their criticisms. 2. Historical Cost Accounting The historical cost accounting values an asset for balance sheet purposes at the price paid for the asset at the time of its acquisition.  The historical cost accounting is the situation in which accountants record revenue, expenditure and asset acquisition and disposal at historical cost: that is, the actual amounts of money, or moneys worth, received or paid to complete the transaction.   Historical cost is based on actual transaction rather than forecasts. There are supporting records for all the figures provided in the financial statements. It is also relevant in making economic decisions, as past data transactions are needed for making future decisions. Another defense of historical cost is that historical cost has been used throughout history as financial statements which use historical cost are found to be useful. Profit is the excess of selling price over historical cost. Profit is a very well accepted concept of measure of performance. It is the difference between revenue and cost that determines on decision to continue a product line or division. Historical Cost Accounting is very much based on this concept of profit and loss. Others, in defense of Historical Cost Accounting argue that historical cost is less subject to manipulation of data than other forms of accounting such as Current Cost. The use of current cost or exit price opens the door to manipulation of these numbers. In other words, how are current costs to be determined and how can accountants determine which value is true and fair? More importantly accountants must guard the integrity of their data against internal modification. Criticisms of Historical Cost Accounting Overtime, criticisms of historical cost accounting have been raised by number of notable scholars, particularly in relation to its inability to provide useful information in times of rising prices.  [3]  Historical Cost Accounting record all assets at an original cost and continue to use these historic figures throughout the assets life, while time-value of money is completely ignored. Across time these criticisms appear to have been accepted to a certain degree by accounting regulators. In recent years various accounting standards have been released that require the application of fair values when measuring assets. For example AASB 116 gives financial statement preparers a choice between the cost model and the fair value model in measurement of property, plant, and equipment. Financial Instruments (AASB 139), investment properties (AASB 114), and biological assets (AASB141) are required to be valued at fair value as opposed to historical cost. Chambers in 1966 argued that the historical cost accounting information suffers from problems of irrelevance in times of rising prices. It is also questioned whether it is useful to be informed about something that cost a particular amount many years ago whereas its current value might be considerably different. It has been argued that there is a real problem of additivity.  [4]  The matter at issue is whether it is logical to added together assets acquired at different periods when those assets were acquired with amounts of different purchasing power. Alternatives to Historical Cost Accounting Current Cost Accounting Current Cost Accounting (CCA) attempts to provide more realistic book values by valuing assets at current market buying prices. It takes into account time-value of money and inflation. It is more complex than the traditional accounting, and it has created controversy about what adjustments are appropriate. Unlike Historical Cost Accounting, there is no need for inventory cost flow assumptions such as last-in-first-out and weighted average. The business profit in CCA shows how the entity has gained in financial terms the increase in cost of its resources, which is ignored by historical cost accounting. Differentiating operating profit from holding gains and losses has claimed to enhance the usefulness of information being provided by CCA. Holding gains are different from trading income as they are due to market-wide movements which are beyond the control of the management.  [5]  Therefore, CCA doesnt rewards managers for profits from holding gains and losses which isnt an actual profit and also gives useful information to investors. Supporters of CCA are convinced that it provides more useful information than conventional accounting but still they do not agree on all issues. There is one group who believe in the financial capital concept in which the holding gains is included in the profit and the other group is those who believe in the physical capital concept. Under physical capital concept, holding gains and losses are not included in the profit and are supported by the theory of optimal resource usage that uses current costs as a measure of input opportunity cost. Criticisms of Current Cost Accounting Measurement errors may have reduced the usefulness of current-cost and replacement-cost data. Replacement-cost valuations of plant and equipment often include the cost of technological advances and often these advances would reduce operating costs below the level reported by historical cost. As a result, when replacement-cost depreciation is substituted for historical-cost depreciation, the cost of doing business includes the high capital cost of the advanced technology as well as the high operating costs of the older technology in use, which creates measurement errors.  [6]   The supporters of Historical Cost Accounting criticize CCA because it violates the traditional revenue recognition principle by recognizing increases in the value of the assets, both current and non-current, before they are sold. This is irrelevant as changes in market price dont mean anything until the assets are sold. A non-current asset isnt more valuable to a business just because its current cost has increased. Another problem is the subjectivity of determining the amount of the increase in cost. There are some non-current assets that dont have a second-hand market because it was specifically built or made for that business only. So the basis of determining the current cost must be the new asset expected to replace the old one. CCA also involves a mathematical problem of additivity. This is because the figures generated from CCA arent of the same nature because it involves a variety of measurement models. Exit Price Accounting Exit Price Accounting (EPA) also known as Continuously Contemporary Accounting (CoCoA) has been proposed by researchers such as McNeal, Sterling, and especially Raymond Chambers. Its an accounting theory that prescribes that assets should be valued at exit prices and that financial statements should function to inform about an organizations capacity to adapt.  [7]  Chambers described the entitys capacity to adapt as the cash that could be obtained if the entity sold its assets. Chambers believed that economic survival of the entity depends on the amount of cash it can command and the balance sheet is crucial to these decisions. Chambers used the term current cash equivalents to refer to the amount that was expected to be generated through the orderly sale of assets. He believe that the information about current cash equivalent were fundamental to effective decision making. Chambers stated that the accounting rules used were so different in effect that comparison between companies was often quite misleading.  [8]  One of the main arguments for EPA is that it provides useful information to the users. They believe that EPA reports all profits and losses and values as determined in competitive markets and provides a true and fair financial statement that serves the purpose of the shareholders. Other arguments that support EPA is the additivity function. EPA values all elements in the balance sheet and income statement at their exit prices, which, therefore, provides one consistent rule that could be applied by all or any company. It involves references to real-world examples because untestable assertions arent made such as depreciation. Criticism of Exit Price Accounting According to Chambers model of CoCoA, if assets cant be sold separately, they are deemed to have absolutely no value for the purpose of determining organizations financial position. This is considered to be too extreme by many accounting practitioners and researchers. Assets such as goodwill and work-in-progress have no selling value therefore will be have no value at all in the financial statements. Other criticisms of CoCoA are that it doesnt consider the value in use. An asset that is held rather than sold out must be worth more to its owner than its exit price, otherwise, it would be sold. In case of specialized resources such as a blast furnace has positive value in use, but cannot be sold separately, for the purpose of CoCoA has no value.  [9]  Even though proponents of EPA argue for the additivity of exit prices, the concept of current cash equivalent doesnt recognize the possibility of selling assets as one package. Some assets sold as a package are worth more than when sold individually in the market. This concept has been ignored in the exit price accounting. CoCoA has also been criticized on the basis that exit prices are determined by the price that could be achieved in an orderly sale.  [10]  The sales might be at different times and wont necessarily reflect values at balance date. Therefore, the financial statements based on these values might not be useful for monitoring the companys management. Positive Accounting Theory and Efficient Markets Hypothesis Milton Friedman was the one who strongly supported and backed the positive theories in economics. He stated that the ultimate goal of a positive science is the development of a theory or hypothesis that yields valid and meaningful predictions about phenomena not yet observed. Watts and Zimmerman also stated that the objective of positive accounting theory is to explain and predict accounting practice which was consistent with the views of Friedman. The beginning of positive accounting theory is the Efficient Markets Hypothesis (EMH). The EMH is based on the assumption that capital markets react in an efficient and unbiased manner to publicly available information. The main strengths of Positive Accounting Theories over Normative Accounting Theories are the facts that hypothesis are framed in such a way that they are capable of falsification by empirical research. Also, these theories aim to provide an understanding of how the world works rather than stating how the world should work. Moreover, PAT tries to understand the relationship and connection between various accounting information, managers, firms, and markets; and also analyze these relationships within an economic framework. There are several assumptions made in development of positive accounting theory. The first is that the firm is a nexus of contracts. In relation to PAT, because there is a need to be efficient, the firm will want to minimize costs associated with contracts. Contract costs involve accounting variables as contracts can be stipulated in terms of accounting information such as net income, and financial ratios.  [11]  The firm will choose the accounting policies that best acknowledge the need for minimization of contract costs. PAT recognizes that changing circumstances require managers to have flexibility in choosing accounting policies which brings forward the problem of opportunistic behavior. This occurs when the actions of management are to better their own personal interests. The other assumption is that the managers are rational economic decision makers and will act to maximize their own profit and not the profit of the company. Under PAT, firms want to maximize their prospects for survival, so they organize themselves efficiently. Criticisms of Positive Accounting Theories One of the main criticisms of PAT is that it doesnt provide prescription for accounting and therefore doesnt provide any means of improving accounting practice.  [12]  This, therefore results in alienation of practicing accountants. It is argued that simply explain and predicting accounting practice is not enough. There is no guidance on what people should do, as there is a general absence of prescription. The other criticisms of PAT relate to the fundamental that all action is driven by a desire to maximize wealth. Many researchers find this statement very negative in nature. They believe that PAT promotes a morally bankrupt view of the world. The concept of positive theory is drawn from an obsolete philosophy of science and is in any case a misnomer, because the theories of empirical science make no positive statement of what is.  [13]  And also of course, Watts and Zimmerman do say, We do not contend that all issues are settled, but rather encourage others to pursue, correct, and extend our analysis. Conclusion Quite clearly the several limitations and flaws of the traditional historical costs method have been highlighted and picked upon from time to time. Still historical costs are the standard form of accounting due to its unique features and conventions that make it better than most available alternatives. Historical cost accounting has and is still been widely recognized and accepted by corporations across the world. There hasnt been any development of better alternatives to Historical Cost Accounting. The alternative accounting such as current cost accounting and exit price accounting carry more problems in them than historical cost accounting. For examples countries like Unites States and United Kingdom have tried to adopt current cost accounting system but later withdrew as there were many complexities in using current cost accounting. Even if accounting bodies simply pick an existing method to form the standard of accounting, it will definitely not be better than historical cost accounting. However, in my opinion, the current use of historical cost accounting by many firms have been a contributing factor in masking the true and fair value of their assets. As investors are the primary users of financial statements, priority must be given to the needs and wants of the shareholders. Empirical evidences show that investors want both measurements i.e. historical cost and current cost accounting.  [14]  I believe a process should be created where historical cost and current cost operate side-by-side, which will enhance relevance, reliability, and comparability. Rather than debating between different approaches, focus should be given to implement an accounting system which reports all assets and liabilities at their true value without eliminating the benefits of historical cost accounting.

Much Ado About Nothing: Love And Marriage Essay -- essays research pap

Even though love and marriage was a major ideal in Shakespearean England, we can get views from Much Ado about Nothing which oppose this idea. From the two main ‘couples’ in this play we can understand their different views on commitment throughout and because of this we as readers and viewers can learn about each relationship separately and watch the thoughts and ideas change throughout the play. From the scene given we can make many assumptions on the Beatrice and Benedick relationship and how it may have grown throughout the previous acts and scenes. We can tell from this small passage that Beatrice and Benedick have a love/hate relationship which may have come from past relationship let downs†¦ Beatrice: indeed my lord, he lent it me awhile, and I gave him use for it, a double heart for his single one. Marry, once before he won it off me with false dice, therefore your grace may well say I have lost it. The two seem to have the same ideas on marriage even though we learn through the play that this is not true, they both know it is important to get married but have different viewpoints on the matter, they both appear to want their individuality. We can see this idea in the passage provided and many other parts of the play†¦ Beatrice: just, if he send me no husband; for the which blessing I am at him upon my knees every morning and evening. Lord, I could not endure a husband with a beard on his face I had rather lie in the woollen†¦ Benedick: the savage bull may; but i...

Descriptive Example Essay

While working in a fine dining restaurant, I got to sample some of the best foods I’ve ever tasted in my life. Working in a restaurant of any kind is hard work from start to finish. I used to say, â€Å"If I’ve walked one step today, I’ve walked a thousand.† My feet would feel like they were going fall off. Heavy plates, customer satisfaction and perfection of plate presentation were all stresses that a server would have to deal with in a night, just to name a few. I have to say though that one of the things that made it all worthwhile was a meal made especially for you by the Chef. It didn’t matter how tired he was after his night, our Chef showed his appreciation to us by feeding us something off menu, something creative. He would come out of that kitchen just as proud as a child at what he created, no matter what it was. He never made anything less than perfect. I will never forget the kitchen with something that was so heavenly, so decadent that the memory of it is engraved in my memory forever. The aroma hit us before we ever saw it, intoxicating. I assumed that it smelled so beautiful because I was famished. Then we saw it, simultaneous gasps came from all of the servers. He called it Boursin Stuffed Filet, short name that was not short on character. This was not just any filet mignon, this was art. A 12 ounce grilled filet perfectly juicy, stuffed with Boursin Cheese, wrapped in applewood smoked bacon. Resting atop creamed potatoes and topped with a demi glace and grilled asparagus. Sounds simple? Looks can be deceiving. The moment I cut into mine it was like an out of body experience. The filet was 12 ounces of the finest cut of beef tenderloin available anywhere. It is the opinion of any great Chef that a filet be prepared rare, as was this one; perfectly blue-red in the core and brazed at its perimeter. When you cut into it the Boursin, a soft cheese similar to cream cheese with a light hint of garlic, oozed out to mingle with the creamed potatoes. With every bite you had the smokiness of the applewood smoked bacon with a hint of creamy garlic. The demi glace and asparagus rounded everything out with an elegant richness which cannot be described but only experienced. I took my time with every decadent bite, knowing that our Chef truly did love food.  How else could someone create magic with simple ingredients found in every grocery in the city. That experience still haunts me to this day. I don’t believe anything can live up to it. That Boursin Stuffed Filet will always be an apparition o f what food can be.

Art History Study Notes

Art Hist. Review Ancient Greek Art and Arch. (600 BCE-30 BCE) The Early Classical Period 480-450 BCE 5. 23 KRITIOS BOY Acropolis, Athens 480 BCE -Marble -He is self confident and serious looking -He is a sculpture in the round -The artist is believed to be KRITIOS -The statue has an S-curve to him and is in the contrapposto pose, which is when artists use tension and relaxation around the central axis of the body to increase to muscular tension and enhance the musculature of a body. It is shown here because his weight is all on the left foot, causing his hip to jut out.His right knee is slightly bent and he has a slight drop in his shoulders. -The artist also made a point to have his head slightly turned to hint that the viewer should take in the entirety of the piece. High Classical Period 450-400 BCE 5. 29 ACROPOLIS, ATHENS 447-432 BCE -In the High classical period which only lasted a half-century and set the standards for art and architecture. There was also turmoil between the Sp artans and the Athenians in this time period which was referred to as the Peloponnesian War. -â€Å"Acro† means high and â€Å"polis† means city. The Acropolis of Athens was once considered a fortress and sanctuary but was later turned into a religious and ceremonial centre for Athena the cities patron and protector. -It was destroyed by Persian troops in 480 BCE and was going to be left and a memorial site of ruins but Perikles convinced them to rebuild it. 5. 31 Parthenon, Acropolis Athens 447-432 BCE -KALLIKRATES AND IKTINOS -Pantelic Marble -Has the pediment, frieze, triglyph, metope, architrive, abacus, mechinus and necking -Athens, Corinth and Sparta. Depicted gods and goddesses who they believed were immortal and supernatural -Sanctuaries for gods and goddesses in form of outdoor alters—replaced by temples integrated into natural site -temples decorated with ceramic sculptures -mathematical proportions which artists use to convey structure and order 4:9 r atio 4Ãâ€"2+1 -human values of truth virtue and harmony -High classical period -plain capital -temple dedicated to Athena -stylobate floor columns rest on and stereobate foundation itself -post and lintel system -entasis columns slightly swell in the middle -Doric order plain capitals peace, prosperity and power through the building projects -transport wood, gold, marble and ivory -sculptures celebrate the Greek victory over Persians 5. 32 EAST PEDIMENT OF THE PARTHENON 447-432 BCE (ATHENS) – High Classical period 450-400 BCE -Sculpture in the round filled both pediments of the Parthenon -illustrated the birth of Athena, fully grown and clad in armor, from the brow of her father Zeus. -The statues from the west pediment are the best preserved of the two. -besides Zeus and the newborn Athena are three goddesses followed by a single reclining male figure who could be Diomysos or Herakles. In the left corner was Helios (sun god) in his horse-drawn chariot rising from the sea an d to the right the moon god Selene descends in her chariot to the sea. -The running female figure in the center is Iris the messenger of the gods. P. G. 134 SPEAR BEARER (DORYPHOROS) 450-440 BCE (NAPLES) -POLYKLEITOS -Marble -developed canon of proportions system of measurement used to determine the proportions of the body -contropposto pose is balance and counterbalance one foot bearing weight and one not bearing the weight.In this case his right foot is the one bearing all the weight of his body while the left foot is relaxed. -It is said to be the hero Achilles -Theorists believed that the basic unit was the length of the figures index finger or the width of the figures hand across the knuckles; others think it was the height of the head from chin to hairline. -S-curve -High classical period -spear bearer, idealized, exaggerated The Late Classical Period 400-323 BCE 5. 46 MAN SCRAPING HIMSELF (APOXYOMENOS) 350-325 (VATICAN) -LYSIPPOS -Marble sculpture -Done in the late classical period male nude athlete, which is a typical Classical subject -This is a sculpture in the round that depicts a young athlete after his workout removing dirt and oil from his body with a tool called a strigil. -Has a different canon of proportions than The Spear Bearer. -His head is smaller in proportion to The Spear Bearer and his legs are spread further apart to counterbalance his outstretched arms. -There is a pronounced S-curve to his posture. -The arms break free into the surrounding space inviting the viewer to take in the entirety of the piece. The Early Roman Empire 27 BCE-96 CE P. G. 76-177 ARA PACIS AUGUSTAE 13-9 BCE -Ancient roman art -Dedicated to Augustus’ triumphant return from the capital after three years of establishing Roman rule in Gaul and Hispania. -It was aligned with a giant sundial. -it contained propoganda of portraiture and allegory, religion and polotics and the private and the public. -on the inside of the alter there are foliate garlands suspended in swags from ox skulls, which symbolize sacrificial offering at the alter during annual commemorations and garlands signify the continuing peace and prosperity brought to the Roman world by Augustae. Augustae’s Imperial Family is depicted on the south side of the Ara Pacis and represent his extended family, possibly Marcus Agrippa (far left) who might have been his successor. The child pulling at Agrippa’s robe is possibly Agrippa’s son Gaius Caesar. The women next to Agrippa on the right may be Augustus’ wife, Livia who grasps her younger sons hand (Germanicus) who is in beside Tiberius (the next emporer). Behind Tiberius is Antonia, Augusts’ niece who looks at her husband Drusus (Livia’s younger son). -Pax Romana — Roman Peace -pointifex maximus—high priest 6. 34 & 6. 5 FLAVION AMPITHEATER (COLOSSEUM) 70-80 CE (ROME) -Tuscan bottom -Ionic middle -Corinthian on top -It was called the colosseum because the statue of Nero call ed the colossus stood next to it. -seating was by rank lower the rank higher you sat -Early Roman Empire -Flavion dynasty -begun under Vespasian finished under Titus -soldiers would fight animals -tiered seating with good sight lines from where you sit. -Top level covered by and onning -top story in referred to as attic -cartouche —shield shaped ornaments -look at Roman arches High Imperial Art of Trajan and Hadrian 6. 38 MODEL OF IMPERIAL ROME 324 CEColosseum, Temple of Venus and Rome, Arch of Titus, Basilica of Maxentius and Constantine, Rorum of Vespasian, Forum of Augustus, Forum of Julius Ceasar, Rostrum, Forum of Trajan, Basilica Ulpia, Colmn of Trajan, Patheon. 6. 45 THE PANTHEON 118-128 CE (ROME) -It was built for the â€Å"all the gods† -built by Marcus Agrippa son in law of Augustus -it has a giant rotunda surmounted by a huge, bowl-shaped dome. -the oculus that allows light into the rotunda building shows a pattern-like formation when looking up at the coffe rs in the dome’s ceiling. -Corinthian columns -optimus is a skylight or opening in dome corticoid of columns -Exadraie niche for the statues rectilinear and rounded arches -made out of brick and concrete (powdered lime, small rocks, pebbles, rubble) -produced during high imperial period -Hadrian oversaw building of this he admired Greek art and arch. -podium or steps in front of building that lead to porch -Rotunda and dome -Pantheon means all the gods Early Christian Art P. G. 228 OLD ST. PETER’S BASILICA 320-327 (ROME) -It is a longitudinal-plan churches are characterized by a forecourt, the atrium, leading to an entrance porch, the narthex, which spans one of the building’s short ends. The nave can be lit by windows along its upper level just under the clerestories, called a clerestory above the aisles roof. -At the opposite end of the nave from the narthex is a semicircular projection, the apse, which functions as the building’s focal point where the alter, raised on a platform. -plan is known as the Latin cross CHURCH OF SANTA COSTANZA 350 (ROME) -This church is a central-plan church, which were first used by the Christians. -Central planned churches have an atrium, a narthex, and an apse. It has a central more vertical axis from the center up through the dome, which may have functioned as a symbolic â€Å"vault of heaven†. 7. 15 ORATORY OF GALLA PLACIDIA 425-426 (RAVENNA) -It is one of the earliest surviving Christian structures in Ravenna is an oratory, which is a small chapel). -Its named after Honorius’ half-sister Galla Placidia. -Galla Placidia was the daughter of Western Roman Emperor, the wife of a Gothic King and the mother of Emperor Valentinian. -This small building is cruciform, which means cross-shaped. -Each arm is covered with a Barrel vault and a pendentive dome covers the square base at its center. it is designed to make you feel as though you are walking from the real world to the supernatural wo rld as you walk into the interior of the church. -the upper walls are filled with standing apostles, gesturing like orators. Eternal life in heaven is symbolized by doves flanking a small fountain between the apostles. -The Marter caries a cross over his shoulder like a trophy gesturing towards the fire-engulfed grill he was roasted on martyrdom. The Gospels are to the left signifying the faith for which he gave his life. 7. 16 THE GOOD SHEPARD 425-426 (RAVENNA) Jesus is an adult emperor wearing purple and gold royal robes. He wears a golden halo and carries a golden staff that ends in a cross to represent his imperial majesty. -Christianity was the official state of religion for the 45 years this is why the artist chose to depict Jesus in the mosaic. Early Byzantine Art 7. 17 CHURCH OF HAGIA SOPHIA 532-537 (ISTANBUL) -ANTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS -means Holy Wisdom -It was rebuilt after a devastating revolt that killed 30,000 people set fire to the old church burnin g it to the ground. -Anthemius and Miletus rebuilt the church in just 5 years longitudinal and central architectural planning -flanking conches-semi domes-extend the extend central space into longitudinal nave with the narthex on one end and the half dome of the sanctuary apse on the other. The core called the naos is flanked by side isles and galleries overlooking the naos. 7. 20 CHURCH OF SAN VITALE 520 (RAVENNA) -Ecclesius bishop of Ravenna commissioned two new churched one for the port and one the city. -A martyrium is a church built over a grave was dedicated to 4th-century Roman martyr St. Vitalis in the 520’s -central domed octogon with circular rooms flanking the apse. the church and palace are joined by a separate oval narthex and access to second floor gallery. -It has a double set of doors leading into the church. 7. 21-7. 22 CHRIST ENTHRONED, FLANKED BY ANGELS, ST. VITALIS AND BISHOP ECCLESIUS 547 ( RAVEENA) -Early Byzantine Art -Christ is flanked by St. Vitalis a nd Bishop Ecclesius. -Christ appears dressed in imperial purple and enthroned on an orb of paradise, which is evident because of the 4 rivers that flow beneath him. -two winged angels flank him, like imperial bodyguards or attendants. -Christ holds a scroll with 7 seals at his Second Coming at the end of time. he offers a crown to martyrdom (far left) labeled by St. Vitalis. -Bishop Eucclesius holds a model of the church offering it to Christ. 7. 23 EMPEROR JUSTINIAN AND HIS ATTENDANTS, NORTH WALL OF APSE 547 (RAVENNA) -Early Byzantine Art -Justinian carries a large golden paten that will be used to hold the Eucharitic Host and stands beside Maximianus, who holds a gold jewel encrusted cross. The priests to the right hold carry the Gospels, in a golden jeweled book that symbolizes the coming of Word, and a censer with burning incense to purify. 7. 24 EMPRESS THEODORA AND HER ATTENDANTS, SOUTH WALL OF THE APSE 547 (RAVENNA) -Early Byzantine Art Theodora wears a golden halo and elabor ate crown while she stands under a fluted shell canopy, she carries a jeweled golden chalice. -The rulers present these gifts as offerings to Christ -At the bottom of Theodora’s cloak the three Magi who brought gifts to Jesus are depicted. -Revolves around themes of offering -They stand beside a fountain and the open doorway and curtain are space-creating devices. 7. 35 CHRIST PANTOKRATOR AT CREST OF CENTRAL DOME, WITH SCENES FROM THE LIFE OF CHRIST IN THE PENDENIVES, (GREECE) LATE 11TH CENTURY -Early Byzantine Art The image of the Pantokrator is at the centre of the dome like a divine surveyor. -Christ blesses the segregation with one hand and clutches a massive book in the other. -In the corners piers are four signal life episodes: Annunciation, Nativity, Baptism and Transfiguration. 14. 13 14. 14 PALACE CHAPEL OF CHARLEMAGNE 792-805 (GERMANY) -The Carolingian Empire – Was Charlemagne’s private place of worship. -central octagonal plan with a monumental wester n entrance block. -It used westwork, which is a structure combined with a ground-floor narthex and an upper level throne room that opened onto the chapel interior. It also opened outside into a large walled forecourt. – The core of the chapel is surrounded by and ambulatory and a gallery on the second floor which rises to a clerestory under the dome and above the gallery. -There are Corinthian columns on the gallery level. -This chapel was clearly inspired by Byzantine Architecture with the mosaics and patterned multi-colored stone. 14. 16 SAINT GALL PLAN 817 (SWITZERLAND) -The Carolingian Empire -At the center of the Saint Gall Plan is the cloister, which is an enclosed courtyard which opens all the buildings that are most central to the lives of the monks. the large basilican church to the north of the cloister is where monks would gather for communal prayer throughout the day and night. -on the north side of the church there were public buildings. -the monks living quarter s were off to the southern and eastern sides of the cloister with the dormitory, refectory and work rooms. – the kitchen, brewery and bakery were attached to the refectory and a huge cellar was on the west side. -Along the East edge there is a hospital, cemetery, and an educational center. 14. 24 DOORS OF BISHOP BERWARD 1015 (GERMANY) -Bronze doors are more than 16 feet tall. Ottonian Europe -cast in the lost wax process -the left side depicted scenes from the Hebrew bible and the right was scenes from the new testament. -It depicts life in paradise, the fall, life in the new world and Eve’s children on the left and Promise of Return to Paradise, The passion, Infancy of Jesus and Mary’s child on the right. -all depicted in low relief Romanesque Art : in the Roman manner P. G. 458 THE PILGRIMAGE ROUTES TO SANTIAGO DE COMPOSTELA -In the 11th and 12th centuries religious pilgrimage became very popular in Western Europe. 15. 7-8 THE ABBEY AT CLUNY 1088-1130 (FRANCE) in the 2nd half of the 11th century there were 200 monks in residence. -The cloister is at the center of the monastic community joining the church with domestic buildings and workshops. -it had elaborately carved capitals and relief sculptures on the piers. -it may have been to direct and inspire the monks thoughts and prayers. -Cluniac monks observed the traditional 8 hours of the Divine Office spread over the day and night. -The church was a basilica with five aisles, double transept with chapels and an ambulatory and radiating chapels around the alter. The nave had a three part elevation -it had pointed arches with Classical ornaments. -there were clerestory windows in each bay and a pointed barrel vault with transverse arches. 15. 9 -10 NAVE, ABBEY CHURCH OF NOTRE-DAME, FONTENAY 1139-1147 – founded by St. Bernard of Clairvaux – no interior decoration because he believed it would be a distraction to the monks – Cistercians led a very austere simple life â₠¬â€œ Romanesque means in the Rome manner – Feudalism lords owned lands loaned to Basils and bellow Basils were Peasants – Building has simplicity, austerity Windows symbolize the holy trinity- father, son and the holy ghost – Cloister is where the monks gathered – Simple geometric plan with a long bay-divided nave, rectangular chapels off the square ended transept arms and a shallow choir. – There are pointed barrel vaults over the nave and pointed arches in the nave arcade and side isle bays. 15. 22 SOUTH PORTAL AND PORCH, SHOWING CHRIST IN MAJESTY, PRIORY CHURCH OF SAINT-PIERRE, MOISSAC 1115 (FRANCE) -Christ in Majesty dominates the tympanum and is a visual of the Second Coming in chapters 4 and 5 of the Revelation. He is enclosed by a mandorla and a halo rings his head -the four winged creatures symbolize the evangelists, Matthew the man, Mark the lion, Luke the ox and John the eagle. -rippling bands may represent waves in the â€Å"sea of clas s like crystal† THE LAST JUDGMENT TYMPANUM AT AUTUN 1120- 1130 (FRANCE) -GISLEBERTUS -Inscription in Latin on Christ -Mary is enthroned as Queen of heaven and St. Peter bellow is shown with the large keys slung over his shoulder as heavenly gatekeeper. -angel pushes the saved into open archway and into heaven another figure stands beside the angel impatiently waiting to be hoisted up as well. cross and scallop shell identify two bottom figures as former pilgrims and will be a factor in their favor at the last judgment. -hell is represented as a Basilica with the devil emerging capturing sinners for eternal torment -he uses a sharp hook to capture luxuria who is the personification for lust. Gothic Art of the 12th and 13th Centuries 16. 6 WEST FACADE, CHARTERS CATHEDRAL 1134-1260 (FRANCE) -dedicated to the virgin Mary its main treasure is a piece of cloth said to have been worn by the Virgin Mary when she gave birth to Jesus. -It was a gift from Byzantine Empress Irene to Charl emagne surrounding the three doors is the Royal Portal used for important ceremonial entrances -the middle tympanum Christ enthroned in majesty returns at the end of time surrounded by 4 evangelists. The apostles in 4 groups of 3 fill the litel while 24 elders of the Apocalypse line the archivolts. -The right portal is dedicated to the Incarnation and shows Mary in the early life of Christ -in the left portal is the Ascension where Jesus floats up in a cloud supported by angels. -On the top of the three portals Jesus’ life on earth is depicted in a series of narrative scenes. Kings, Queens and prophets from the Hebrew bible are what give the Royal Portal its name. 16. 10-11 NAVE & PLAN,CHARTERS CATHEDRAL 1194 (FRANCE) -Romanesque pilgrimage plan -became typical Gothic structure -it used pointed arches, ribbed groin vaults and flying buttresses. -upper level was now a triform rather than a gallery -the large clerestory windows are formed with lancets that have small circular r ose windows done by plate tracery-holes cut in wall replaced with stained glass 16. 12 THE GOOD SAMARITAN WINDOW 1200-1210 (CHARTERS CATHEDRAL) -On sin and salvation and is Gothic narrative art -Jesus told his followers to teach a moral truth it is a parody for Jesus’ redemption for humanity’s sins -Adam and Eve’s fall introduce sin into the world and Christ rescues humanity from sin -figures characterize gothic figures because of their dancelike postures 16. 13 ROSE WINDOW AND LANCETS (CHARTERS CATHEDRAL FRANCE) 1230-1235 -quatrefoils are four lobed designs within the rose itself – The North Rose and its five lancet windows were a gift from Queen Blanche of Castille in 1230. -The rose window depicts the Glorification of the Virgin: Virgin and Child surrounded by doves and angels, then Old Testament kings and Old Testament prophets. Lancets, from left to right: Melchizadek and King Saul; King David and King Jeroboam; St Anne and the infant Mary with the a rms of the Royal House of France; King Solomon and King Nebuchadezzar; Aaron and Pharaoh. 16. 14-17 THE CATHEDRAL OF NOTRE-DAME IN REIMS 1211-1428 (FRANCE) -finished under Philip the Fair -five master masons directed the work over a century. -Mary is featured in the central portal, because of the growing popularity of her cult. -Christ crowns her as queen of heaven in the central gable. -â€Å"the gallery of kinds is the only horizontal element of the facade.WEST FACADE -It depicts Visitation and Mary on the left and Elizabeth pregnant with St. John the Baptist on the right. -the figures are in contrapposto pose because their weight is shifted to one foot as they turn towards each other. -Villard highlighted an innovation that was the development of bar tracery, where thin stone bars called mullions are inserted into the wall to form a lacy framework for the stained glass. 16. 31-32 PULPIT 1260 (ITALY) -NCOLA PISANO – Corinthian columns -elevated and are carved in design of animals -gothic trefoil arch and 6 sided pulpit enunciation angle of Gabriel announces that Mary is pregnant with Christ -classical and naturalistic style -New Testament Subjects -Each panel narrates several continuous scenes such as : Annunciation, Nativity and Adoration of the Shepherds. 16. 33 NATIVITY 1302-1310 (PISA) -GIOVANNI PISANO – deeply carved setting -Mary gazing at her baby as the midwife below her prepares the bath for the child. -Sheep, shepherds and angels spiral up towards the trees to the right -it is as dynamic as Nicola’s is static. Fourth Century Art in Europe 17. 5 VIRGIN AND CHILD ENTHRONED 1280 (FLORENCE) -CIMABUE -tempera and gold on wood panel the Virgin and Child are surrounded by angels and places a row of Hebrew prophets below them. -Mary is depicted in hierarchy and holds Jesus on her lap. – she looks at the viewer while gesturing at her son. -her throne is bronze with enamels and gems inset and provides framework for the figures. H e uses thin gold lines to highlight the drapery of the figures to give them a sense of divinity. -he gives naturalistic warmth and dimension to his human figures. 17. 6 VIRGIN AND CHILD ENTHRONED 1305-1310 (FLORENCE) -GIOTTO DI BONDONE – tempera and gold on wood panel -painted for the church of Ognissanti figures are in a symmetrical composition and use the hierarchy scale like Cimabue’s Virgin and Child Enthroned. -Mary takes up a large amount of space and overwhelms her Gothic throne. -the halos also overlap the faces of the figures in the background -she holds her child’s leg instead of pointing to him. -he has created a better sense of dimension compared to Cimabue’s -the angels are foreshortened and project towards us. 17. 7 SCROVEGNI (ARENA) CHAPEL 1305-1306 (PADUA) -GIOTTO DI BONDONE -fresco -he covered the entrance wall with The Last Judgment and the sanctuary wall with 3 scenes from the life of Christ. The Annunciation spreads over two painted ar chitectural frameworks on either side of the opening to the sanctuary. -below and to the left of this is the scene of Judas getting payment for betraying Jesus and to the right the scene of Visitation where Mary pregnant with God is with Elisabeth who is pregnant with John the Baptist. -Colors complement each other, which is supposed to make the viewers relate them to each other -there is a grisaille which is a painting done in all grays -paint replicated marble and carved medallions on vertical bands -portrait disks float like glowing moons in the blue sky. 17. MARRIAGE AT CANA, RAISING OF LAZARUS, LAMENTATION AND RESURRECTION/NOLI ME TANGERE 1305-06 (PADUA) -GIOTTO DI BONDONE -fresco -scene from Christ’s life -top left Jesus performs his first miracle, at the wedding feast at Cana turning water to wine and the wine-steward sips it. -to the right is the Raising of Lazarus where figures twist in space using gestures they react to the drama by pleading for the help of Jesus. J esus’ eyes are locked on Lazarus. -on the lower left register is Jesus’s followers grieving over his dead body in a circle of grief. Mary holds her dead son and John flings his arms back in despair and hunches over the corps. 7. 9 KISS OF JUDAS SCROVEGNI (ARENA) ITALY 1305-06 -GIOTTO DI BONDONE -fresco – the mark of betrayal that shows the first step to Crucifixion for Jesus. -they are slightly off-center in the foreground. -Judas wears the same outfit as in the scene of payment for his betrayal and looks as though he completely swallows Christ’s body. -faces glare from all directions -Jesus is calm unlike the figures in the rest of the scene. -Peter is seen lunging forward to cut off the ear of a member of the arresting retinue. -The scenes of cloth compress the chaos into the picture as if to protect the viewer.