From Richard A. Gregory: "Note-book No. 2: Notes and Observations Taken at St. Sophia" [MSBZ004-02-01-177]
Tuesday. July. 18th
North Tympanum Wall, Recess. No. 4.
Reset the gold tessellae that were removed to allow setting of invisible cramp, and now completed the cramping of the weak area at right of the Upsilon in Chrysostom. 13 tessellae had been taken out, and they were re-set in the following manner. First the plaster was smoothed with a chisel, and then the tracing of each tessellae was transferred on to the surface of the plaster. Each tessellae was then replaced as the plaster was cut away to fit its position, and temporarily set with plaster and a great amount of borax. When all tessellae had finally been set, the interstices were cleaned of the plaster and borax so that neat plaster could be replaced and so hold to-gether the mosaics. This then set hand, and one cannot see any noticable disturbance of the tessellae except for white new plaster set in the interstices continued then to remove some more of the cover plaster, and completely revealed section 9. A sigma was revealed in this section, and now completes the inscription at left hand side, it now reading IOANNIS.
Also the top part of decoartive ground of panel was revealed, and is of 4 rows of silver tessellae, set paralell to the gold of the ground. Condition continues to be good, and no cramping is needed. The lower part of tracing on the Angel, South of Soffit Arch, was completed to-day, and now continue to trace upper section. M. Kluge is already at work on this upper section, but E. Hangst as just finished below - so will now be on the upper section.
G. H. Flockton commenced to put up a cover for the North Tympanum Wall scaffolds, so as to form dark room in which movie photography of the mosaics there will be taken.
More Exhibit Items
Gregory documents the technical specifications employed during filming, including the distance of the camera, the aperture of the lens, the number of lamps, and their distance from the subject. He also states that the film used is Kodachrome 16 mm for "artificial lightning."
Gregory documents the distance, speed, and aperture employed during filming, as well as the varying light conditions.
Gregory documents the distance, speed, and aperture employed during filming, as well as the use of natural light.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents that a new electric lighting system for the films was installed.
Gregory documents that installation of the new electric lighting system for the films was completed.
Gregory describes technical difficulties that arose due to mismatched lamps and adapters that postponed filming.
Gregory documents that a dark room was constructed to facilitate filming on the northern tympanum wall in Hagia Sophia.
The unknown author of this notebook documents the light conditions employed to film the Virgin and Child in the apse of Hagia Sophia.
The unknown author of this notebook documents the light conditions employed to film the Virgin and Child in the apse and the angel in the soffit arch in Hagia Sophia.
Hawkins documents the speed and length of film used to film the Virgin in the apse and the angel in the soffit arch in Hagia Sophia.
The unknown author of this notebook documents the speed and length of film used to film the Virgin in the apse and the angel in the soffit arch in Hagia Sophia.
Hawkins documents that a dark room was constructed on the scaffold to facilitate filming on the northern tympanum wall in Hagia Sophia.