Monday 29 November 2010 7:57 pm UK housing slump continues Share More From Our Partners Brave 7-Year-old Boy Swims an Hour to Rescue His Dad and Little Sistergoodnewsnetwork.orgKiller drone ‘hunted down a human target’ without being told tonypost.comPolice Capture Elusive Tiger Poacher After 20 Years of Pursuing the Huntergoodnewsnetwork.orgRussell Wilson, AOC among many voicing support for Naomi Osakacbsnews.comMark Eaton, former NBA All-Star, dead at 64nypost.comAstounding Fossil Discovery in California After Man Looks Closelygoodnewsnetwork.orgFlorida woman allegedly crashes children’s birthday party, rapes teennypost.comA ProPublica investigation has caused outrage in the U.S. this weekvaluewalk.comNative American Tribe Gets Back Sacred Island Taken 160 Years Agogoodnewsnetwork.org MORTGAGE approvals reached an eight-month low in October, according to official data released yesterday.The Bank of England’s lending figures showed that only 47,185 mortgages were approved. A healthy UK housing market would record closer to 80,000 mortgages per month.The news pours more misery on the housing market, after recent figures showed a similar decline. On Sunday the property website Hometrack reported a 4.3 per cent fall for November in the number of new buyers registered with agents.Their survey also showed a fall in house prices for the fifth consecutive month, as prices dropped by 0.8 per cent on October.And last week the British Bankers’ Association (BBA) announced a 19-month low in mortgages approvals for October, mirroring the Bank’s figures.“House prices will trend down to lose around 10 per cent from their peak 2010 levels by the end of 2011,” said Howard Archer of IHS Global Insight. However, the data held some positive news, as net mortgage lending increased to £1bn from £0.2bn. And according to Richard Sexton of chartered surveyors e.surv, this reflects a tiered housing market in which wealthy people are continuing to buy.“Approvals are actually up for the most expensive properties,” he explained. “Wealthy buyers are using large deposits to side-step lending restrictions.”The Bank also revealed that consumer credit picked up in October, rising to £287m from £72m in September. While the rise appears positive, it had been forecast by economists and is still well below long-term levels. Tags: NULL whatsapp by Taboolaby TaboolaSponsored LinksSponsored LinksPromoted LinksPromoted LinksYou May LikeMisterStoryWoman Files For Divorce After Seeing This Photo – Can You See Why?MisterStoryTotal PastThe Ingenious Reason There Are No Mosquitoes At Disney WorldTotal PastMoneyPailShe Was The Dream Girl In The 90s, This Is Her NowMoneyPailPeople TodayNewborn’s Strange Behavior Troubles Mom, 40 Years Later She Finds The Reason Behind ItPeople TodaySerendipity TimesInside Coco Chanel’s Eerily Abandoned Mansion Frozen In TimeSerendipity TimesElite HeraldExperts Discover Girl Born From Two Different SpeciesElite HeraldZen HeraldNASA’s Voyager 2 Has Entered Deep Space – And It Brought Scientists To Their KneesZen Heraldmoneycougar.comThis Proves The Osmonds Weren’t So Innocentmoneycougar.comWanderoamIdentical Twins Marry Identical Twins – But Then The Doctor Says, “STOP”Wanderoam Show Comments ▼ KCS-content whatsapp
RELATED ARTICLESMORE FROM AUTHOR 3rd ODI– BAN vs SL 3rd ODI, May 28Sher-e-Bangla, 12:30 PMBangladesh vs Sri Lanka Series SquadsSri Lanka squadKusal Perera (C), Kusal Mendis (VC), Danushka Gunathilaka, Dhananjaya De Silva, Pathum Nissanka, Dasun Shanaka, Ashen Bandara, Wanindu Hasaranga, Isuru Udana, Akila Dananjaya, Niroshan Dickwella, Dushmantha Chameera, Ramesh Mendis, Asitha Fernando, Lakshan Sandakan, Chamika Karunaratne, Binura Fernando, Shiran FernandoBangladesh squad: Tamim Iqbal (capt), Liton Das, Shakib Al Hasan, Mushfiqur Rahim, Mohammad Mithun, Mahmudullah, Afif Hossain, Mehidy Hasan Miraz, Mohammad Saifuddin, Taskin Ahmed, Mustafizur Rahman, Soumya Sarkar, Mosaddek Hossain, Mahedi Hasan, Shoriful Islam Sher-e-Bangla, 12:30 PM Cricket CricketSrilanka tour of Bangladesh 2021 by Taboolaby TaboolaSponsored LinksSponsored LinksPromoted LinksPromoted LinksYou May LikeGrammarlyImprove Your Spelling With This Helpful Browser ExtensionGrammarlyIPL 2020: Bad news for Sunrisers Hyderabad’s Jonny BairstowShahid Afridi’s daughter Aqsa to marry Pakistan quick Shaheen AfridiHow do I watch live streaming of Bangladesh vs Sri Lanka 2nd ODI?FanCode to Live series Bangladesh vs Sri Lanka 2nd ODI live in India, you can also Catch all the Sri Lanka tour of Bangladesh, 2021 live score, ball-by-by commentary and Sri Lanka tour of Bangladesh, 2021 live updates on InsideSport.co.Where will Bangladesh vs Sri Lanka 2021 2nd ODI be held?Bangladesh vs Sri Lanka 2021 2nd ODI will take place in Bangladesh from May 25, 2021.When will Bangladesh vs Sri Lanka 2nd ODI be Started? – DateBangladesh vs Sri Lanka 2nd ODI will start from May 25, 2021.What Time Bangladesh vs Sri Lanka 2nd ODI Will begin? TimeBangladesh vs Sri Lanka 2nd ODI Will begin at 12:30 PM ISTWhat are the venues for Bangladesh vs Sri Lanka 2nd ODI? – VenueBangladesh vs Sri Lanka 2nd ODI will be played at Sher-e-BanglaBangladesh vs Sri Lanka ODI Full Schedule 1st ODI – BAN vs SL 1st ODI, May 23Sher-e-Bangla, 12:30 PM Cricket BAN vs SL 2nd ODI: Bangladesh vs Sri Lanka 2nd ODI Full Schedule, squads, Live Streaming, Date, Time, Venues – All you need to know Cricket BAN beat SL 3rd ODI: Kusal Perera, Dushmantha Chameera shine as Sri Lanka beat Bangladesh by 97 runs, avoid whitewash BAN vs SL 2nd ODI: Bangladesh vs Sri Lanka 2nd ODI Full Schedule, squads, Live Streaming, Date, Time, Venues – All you need to know – Bangladesh all-rounder Mehidy Hasan picked four-wicket haul as hosts registered 33 runs victory over Sri Lanka in the first ODI here at the Sher-e Bangla Stadium on Sunday. Sri Lanka’s Wanindu Hasaranga scored counter-attacking but in the end, his knock went in vain. FanCode, India’s premier digital sports destination for all fans, will be exclusively live streaming Sri Lanka tour of Bangladesh 2021 in India After the tour of West Indies, Sri Lanka Cricket Team is all set for its tour of Bangladesh with a three-match ODI series starting Sunday, May 23 at the Sher-e-Bangladesh National Cricket Stadium at Mirpur. India Tour of Sri Lanka: From books to gym, Sanju Samson shares story of his quarantine life ENG W vs IND W: Mithali Raj says We’ll carry the confidence in pink-ball Test against Australia Freight & Shipping Quotes | Search AdsResearch & Compare Freight & Shipping QuotesEnjoy Affordable Freight & Shipping Services With These Service ProvidersFreight & Shipping Quotes | Search Ads|SponsoredSponsoredSenior Living | Search AdsNew Senior Apartments Coming to Scottsdale (Take A Look at The Prices)Senior Living | Search Ads|SponsoredSponsoredPost FunThese Twins Were Named “Most Beautiful In The World,” Wait Until You See Them TodayPost Fun|SponsoredSponsoredTaonga: The Island FarmThe Most Relaxing Farm Game of 2021. No InstallEnjoy farming, stock up and make friends. Taonga is a whole world full of adventure!Taonga: The Island Farm|SponsoredSponsoredMoneyPailShe Was A Star, Now She Works In ScottsdaleNow she has a normal job.MoneyPail|SponsoredSponsoredDaily FunnyFemale Athlete Fails You Can’t Look Away FromDaily Funny|SponsoredSponsored 2nd ODI – BAN vs SL 2nd ODI, May 25 WTC Final Day 3 LIVE Score: Virat Kohli & Ajinkya Rahane ready to battle Kiwi bowlers, follow IND-NZ Day 3 Live Updates Cricket WI vs SA 2nd Test Day 2 Stumps: West Indies bowled out for 149 runs in 1st innings, SA lead by 149 runs ENG W vs IND W Test: Sneh Rana, Shafali Verma shine as one-off Test ends in draw Facebook Twitter ICC WTC Final: 10 years of Virat Kohli’s Test career, 10 best moments of India’s greatest Test skipper Happy Father’s Day: ‘We Miss You’, Hardik Pandya pens emotional message for his father IND vs NZ in WTC Final: India batting coach says, ‘score above 250 on Day 3 would be good’, Kyle Jamieson feels it won’t… Cricket Cricket By Kunal Dhyani – May 25, 2021 Cricket Cricket TAGSBan vs SLBAN vs SL 2nd ODIBAN vs SL squadsBangladesh vs Sri Lanka Live SHARE Share on Facebook Tweet on Twitter Previous articleBAN vs SL 2nd ODI Dream11 Prediction, Fantasy Tips, Playing11, Captain, Vice-Captain, BAN vs SL Match Preview, LIVE at 12:30 PM, 25 May on InsidesportNext articleFrench Open 2021: From Simona Halep to Denis Shapovalov, 5 big players who pulled out of Roland Garros 2021 Kunal DhyaniSports Tech enthusiast, he reports on Sports Tech industry and writes on sports products. Cricket WTC final LIVE broadcast: ICC’s mega broadcast plan, India vs New Zealand live streaming starts today in 195 countries Cricket WTC Final LIVE Day 3: Weather forecast again not good, rain & bad-light all set to impact India vs New Zealand Day 3
AddThis Sharing ButtonsShare to TwitterTwitterShare to FacebookFacebookShare to LinkedInLinkedInShare to EmailEmailShare to WhatsAppWhatsAppShare to MessengerMessengerShare to MoreAddThis Howard Lake | 5 September 2006 | News 29 total views, 1 views today AddThis Sharing ButtonsShare to TwitterTwitterShare to FacebookFacebookShare to LinkedInLinkedInShare to EmailEmailShare to WhatsAppWhatsAppShare to MessengerMessengerShare to MoreAddThis The Alzheimer’s Society is launching a new fundraising campaign this month entitled ‘Million Memories’.The campaign – created by dm agency Cascaid – will capture a million of the nation’s most precious memories online, while raising money for the charity and support for its annual Memory Walk which this year takes place on 24 September.Richard Turner, new campaigns director at Cascaid, said it is a campaign that attracts people and explained: “When you upload your memory you are asked to share it with 10 friends who, in turn, are encourage to take part.”The memory is written, but people are also asked to upload a photo of the memory. You can click on the photos on the home page which takes you to that particular memory. Corporate support for the campaign comes from online photo provider PhotoBox and Women’s Weekly magazine and it will be supported by print and viral emailings.The Memory Walk is promoted alongside the Million Memories. This is the first year there have been ‘diy’ walks. In previous years, the events have been held by the Alzheimer’s Society’s 250 branches, but now individuals are being encouraged to organise and run their own walks, with money raised – either through sponsorship or registration fees – going to the main charity rather than branches.www.alzheimers.org.uk Tagged with: Digital The Good Agency Million memories campaign launched for Alzheimer’s Society About Howard Lake Howard Lake is a digital fundraising entrepreneur. Publisher of UK Fundraising, the world’s first web resource for professional fundraisers, since 1994. Trainer and consultant in digital fundraising. Founder of Fundraising Camp and co-founder of GoodJobs.org.uk. Researching massive growth in giving.
By Andy Eubank – Nov 27, 2014 Home Energy Oil Sinks Below $68 as OPEC keeps Output Target Unchanged Previous articleAfter the Turkey it’s on to the Christmas TreeNext articleMorning Outlook Andy Eubank Oil Sinks Below $68 as OPEC keeps Output Target Unchanged Facebook Twitter Crude oil prices sank to a four-and-a-half year low on Thursday, on news that OPEC has kept its production levels unchanged. Hopes for a cut in output had all but faded after a Saudi Arabian oil minister’s comments a day prior.Extending losses on the New York Mercantile Exchange, light, sweet crude futures for delivery in January sank to as low as $67.75 a barrel during European afternoon trading hours, touching the lowest level since May 2010. The contract was down $4.58, or 6.2%, at $69.11 a barrel at the latest.January Brent crude on London’s ICE Futures exchange fell $4.71, or 6.1%, to $73.04 a barrel.U.S. physical trading for oil markets was closed for the Thanksgiving holiday, but products resumed trading at 6 p.m. Eastern Time.The Organization of the Petroleum Exporting Countries met in Vienna, with the members deciding to keep the group’s production target unchanged. In the runup to the decision, there was speculation the organization might cut production to remove some of the glut in supply in global markets and boost oil prices.Hopes for an output cut faded on Wednesday, however, when Saudi Arabian oil minister Ali al-Naimi said he expects the market “to stabilize itself eventually,” hinting he wouldn’t push for a cut in OPEC’s production targets.The 12-member oil cartel typically steps in to adjust output when prices move sharply due to excess or insufficient supply. It currently has an oil production ceiling of 30 million barrels a day and has been producing in excess of this level in recent months. Crude-oil prices have plummeted this year, losing around 30% of their value since June. This is mainly due to rising U.S. oil production, driven by the shale boom, and slowing demand growth in Asia and Europe.Analysts say that OPEC would have needed to cut oil production much lower than its current ceiling for prices to make a significant recovery. The decision on production cuts is likely to set the tone for oil prices for the next few months and well into 2015.Elsewhere in the energy complex, gasoline for January tanked 5.6% to $1.90 a gallon, while heating oil for the same month slid 4.4% to $2.22 a gallon.Source: www.marketwatch.com SHARE Facebook Twitter SHARE
Letterkenny Town Council want Bonagee link road included in NRA strategy document Man arrested on suspicion of drugs and criminal property offences in Derry Dail to vote later on extending emergency Covid powers Twitter News WhatsApp Pinterest WhatsApp HSE warns of ‘widespread cancellations’ of appointments next week Facebook Twitter Facebook By News Highland – June 15, 2011 Google+ Previous articleCouncil to crack down on those who litter beachesNext articleGarda fears trial will not go ahead because of tech problems at Letterkenny Court News Highland Letterkenny Town Council is going on the offensive in a bid to have the Bonagee Link Road included in a key NRA Strategy Document.The document, which lays out priorities for the next 10 to 15 years did not include the new road, which would include a bridge over the Swilly and effectively act as a Letterkenny Relief Road.Cllr Dessie Larkin highlighted the omission when the Secondary Roads Report was published a fortnight ago, and has already had a series of meetings about the road.However, he says another NRA document does mention Letterkenny, and that will give the council ammunition in future discussions:[podcast]http://www.highlandradio.com/wp-content/uploads/2011/06/1dessi1pm.mp3[/podcast] RELATED ARTICLESMORE FROM AUTHOR Pinterest Man arrested in Derry on suspicion of drugs and criminal property offences released 365 additional cases of Covid-19 in Republic PSNI and Gardai urged to investigate Adams’ claims he sheltered on-the-run suspect in Donegal Google+
Council members oppose recreational pot smoking as well as marijuana sales in Ocean City. By Donald WittkowskiTwo marijuana advocates urged City Council on Thursday night to consider allowing a cannabis dispensary in Ocean City, but immediately faced strong opposition from members of the governing body.“I’ll die before I’ll vote for recreational marijuana in Ocean City,” Councilman Michael DeVlieger said.DeVlieger noted he does not oppose medical marijuana patients using the drug in the privacy of their own homes, but made it clear he is against having a pot dispensary in town.“It’s a very slippery slope, and I don’t want it here,” he said. “And that goes for dispensaries as well.”Agreeing with DeVlieger, Councilman Bob Barr insisted there was “no way” he would support the recreational use of marijuana or a dispensary in Ocean City.“I don’t want a dispensary here or anything like that,” Barr said.Barr expressed fear that marijuana users would simply begin smoking pot in popular tourist areas of town, such as the boardwalk and beaches, if the city did not block dispensaries from opening up.DeVlieger and Barr’s opposition came in response to public comments from two medical marijuana advocates who argued that Ocean City should consider allowing a pot dispensary so that chronically ill patients and recreational customers would have easy access to cannabis while visiting or vacationing in the beach town.“You don’t realize that you have the power of life and death in your hands,” said Edward “Lefty” Grimes, an activist who wants medical marijuana patients to have the right to smoke pot in public.Grimes, who lives in East Hanover, N.J., said he drove two hours to Ocean City to attend the City Council meeting and to “beg you for our lives.”Union representative Hugh Giordano argues that a marijuana dispensary could be a source of jobs and tax revenue for Ocean City.Hugh Giordano, a representative of Local 152 of the United Food and Commercial Workers Union, told Council that a marijuana dispensary could serve Ocean City’s tourist market and also generate tax revenue.“This is tax revenue that could go back to the town and create good jobs,” he said.The UFCW, which represents union employees at the Acme supermarkets in Ocean City, also has medical marijuana workers in New Jersey as union members.“It’s something we think is important to the union,” Giordano said.Medical marijuana is legal in New Jersey, but Grimes accused former Gov. Chris Christie of creating “many roadblocks” that prevented patients from obtaining the drug for chronic pain or illness.Noting that only a few medical marijuana dispensaries currently exist in the state, Grimes hopes that a new one will open up in Ocean City or perhaps another community at the Jersey Shore.Newly inaugurated Gov. Phil Murphy made it a campaign promise to legalize recreational use of marijuana, prompting intense debate among New Jersey towns whether they want stores or dispensaries to sell the drug within their borders.In January, Mayor Jay Gillian and members of City Council said they had no interest in allowing marijuana dispensaries in Ocean City. They also voiced concerns that recreational pot smoking, if allowed, would harm the city’s family-friendly image.Gillian told Council in January that he has directed Ocean City’s solicitor, Dorothy McCrosson, to look into ways to possibly ban marijuana sales. McCrosson said every version she has reviewed of proposed state legislation to legalize recreational marijuana would allow local municipalities to opt out of pot sales. In the process, they would not be able to share in the tax revenue generated by those sales.Gillian and some Council members said they have no interest in benefiting from a “sin tax” on the drug.David Breeden, an Ocean City resident who regularly speaks at the Council meetings, urged the governing body to ban marijuana sales.“Ocean City does not need to chase that dollar,” Breeden said of marijuana tax revenue.Murphy made marijuana legalization part of his campaign platform. He pledged to sign a marijuana bill within the first 100 days of his Jan. 16 inauguration.Although Ocean City is considering the possibility of banning marijuana sales, other Jersey Shore towns have already taken action. Point Pleasant Beach and Berkeley Township, both in Ocean County, have approved ordinances to prohibit pot sales.The likelihood that Ocean City will formally ban pot sales prompted Grimes and Giordano to appear before Council at Thursday night’s meeting to lobby on behalf of medical marijuana patients and pot dispensaries.Giordano, after listening to Council’s comments, said he will continue to advocate for marijuana dispensaries, despite the city’s opposition.“I think there’s a lack of education about this issue,” he said in an interview after the meeting.Founded in 1879 as a Christian resort by a group of Methodist ministers, Ocean City has always been a “dry” town. The ban on alcohol sales is a centerpiece of the city’s image as a safe, family-style summer vacation retreat.Gillian and members of Council argued that a ban on marijuana dispensaries would be consistent with the town’s laws prohibiting the sale of alcohol.In other business Thursday, Council heard a presentation on Gillian’s proposed $79.9 million municipal budget from Chief Financial Officer Frank Donato.The 2018 spending plan would add a penny to the local tax rate while financing an array of construction projects that address the city’s critical infrastructure needs.The owner of a $500,000 home would pay an extra $50 annually in local taxes under the budget, Donato said.Frank Donato, the city’s chief financial officer, outlines the proposed 2018 municipal budget during a presentation to Council.Council will scrutinize the budget as it prepares to formally introduce it on March 22 during the first of two votes required for the spending plan. A final vote and public hearing are tentatively scheduled for April 26.Council members reacted favorably after hearing Donato’s presentation. They called it a “lean budget” that places tight controls on spending, but promised to return with detailed questions for Donato.
The National Weather Service is warning about the possibility of flash flooding in Ocean City through Friday morning. Photo is of flooding from March 2018. The National Weather Service has issued a Flash Flood Watch in effect for Ocean City from 4 p.m. Tuesday through 2 a.m. Wednesday, according to a statement by Ocean City officials. While flash flooding is a condition that typically occurs near rivers, Ocean City can experience conditions similar to flash flooding if heavy rain coincides with high tide. The latest forecast calls for 1 to 3 inches of rain to fall Tuesday evening with higher amounts possible. A new moon high tide on the bay side of Ocean City (at the Ninth Street Bridge) will come at 9:08 p.m. Tuesday.Residents and guests are asked to closely monitor the forecast and weather conditions. Numerous rounds of strong storms are expected through the end of the week, and similar watches may be issued by the NWS. Some of the storms could include strong winds and hail.Residents should be prepared to move vehicles. Please don’t be caught off-guard. Flash flooding can impact parts of the island that don’t typically experience tidal flooding. Parking will be available at the Trinity United Methodist Church at 20 North Shore Road in Marmora (please read letter from Trinity if you take advantage of this service).High tides at the Ninth Street Bridge include:9:08 p.m. Tuesday, May 159:39 a.m. Wednesday, May 169:54 p.m. Wednesday, May 1610:29 a.m. Thursday, May 1710:44 p.m. Thursday, May 17For your safety and the protection of your vehicle and neighboring properties, never attempt to drive through flood waters, and do not drive around barricades.For police and fire department emergencies call 911. For non-emergencies call 609-399-9111.
Irwin’s Bakery in Portadown has announced a deal to supply Sainsbury’s in Northern Ireland with its pancakes and soda farls, as part of the retailer’s new core range of ’By Sainsbury’s’ own-label products.The contract, worth over £250,000 a year to the Northern Irish bakery, will see its products sold in all 13 Sainsbury’s stores in Northern Ireland. Irwin’s already supplies the supermarket with four million products a year, and the new deal looks set to strengthen this relationship, said the firm.Michael Murphy, commercial director at Irwin’s Bakery, said: “We are particularly proud to be producing traditional local products, such as pancakes and soda farls, for inclusion in the ’By Sainsbury’s’ range.”David McMahon, Northern Ireland fresh and frozen buyer with Sainsbury’s, added: “The ’By Sainsbury’s’ range, now being launched in Northern Ireland, is an important part of our business and we are glad to be working with Irwin’s to deliver these popular local breakfast goods.”
A bakery in Cambridgeshire is closing one of its seven shops due to a steady decline in business in the town it is based in.Norths Bakery, which trades as Boswell & Son, has announced that its shop in Littleport will close on Christmas Eve, with the loss of four jobs.Philip Boswell, owner of the business, said: “The lease on the shop runs out in 2016 and it has not been trading very well for a number of years. We decided not to renew the lease and to concentrate on the other six shops and the wholesale business.”He said that business on the High Street of the town had steadily declined after the Co-op built a store on the edge of the Littleport, and slowly businesses had declined with a branch of Barclays bank and a pharmacy closing recently.Boswell said there had been a bakers shop on the site for many years with Norths Bakery acquiring the business just over a decade ago, and that sales no longer warranted keeping it open.He said only one of the company’s other shops, the one in Ely, was near to Littleport, and as that was fully staffed it was not possible to relocate any of the Littleport staff so they would have to be made redundant.The business comprises a family run craft bakery with shops in Sawston, Linton, Willingham, Waterbeach, Chatteris and Ely.It also offers a sandwich and buffet service in the Cambridgeshire area, and makes wholesale deliveries to the areas of Saffron Walden, Haverhill, Royston, Cambridge, Ely and Huntingdon.
Museums reopen, reimaginedSitting on the third-floor of the Harvard Art Museums’ arcade last spring, as sunshine spilled in from the new giant skylight above, architect Renzo Piano discussed a quality near to his heart: beauty.“The frontier between beauty and civic life … is not strong,” said the Italian “master of light and lightness” during a break from touring the renovated Harvard Art Museums, an inspired reimagining of the University’s home for its imposing collection. Musing further, Piano said that museums can help to bridge that divide. “Beauty,” he proposed, “may save the world.”Architect Renzo Piano (left) tours the museums’ renovation and expansion project with Thomas W. Lentz, the Elizabeth and John Moors Cabot Director of the Harvard Art Museums. Stephanie Mitchell/Harvard Staff PhotographerWith revamped and expanded galleries, conservation labs, art study center and public spaces, the new museums, which open to the public on Nov. 16, aim to provide visitors with closer, more direct, and more sustained engagement to beautiful works of art. The result of six years of work, the 204,000-square-foot building has two entrances, five floors above ground and three below, a café, a museum store, a 300-seat theater, lecture halls, and teaching galleries.Perhaps not surprisingly, the ambitious project wasn’t without early critics. Thomas W. Lentz, the Elizabeth and John Moors Cabot Director of the Harvard Art Museums, pushed back against doubters who feared that Harvard was simply “rebuilding a very beautiful, static treasure house.” Treasures through time Complementing the color In the paintings lab, conservator Teri Hensick adds touches of color to the 19th-century painting “Phaedra and Hippolytus” by Pierre-Narcisse Guérin. Stephanie Mitchell/Harvard Staff Photographer <a href=”https://www.youtube.com/watch?v=oZgpv1Z6P7A” rel=”nofollow” target=”_blank”> <img src=”https://img.youtube.com/vi/oZgpv1Z6P7A/0.jpg” alt=”0″ title=”How To Choose The Correct Channel Type For Your Video Content ” /> </a> Working with curators, frame conservator Allison Jackson removed a coating of black paint that covered the original frames surrounding “The Actors,” a triptych of paintings by German artist Max Beckmann. The picture above shows the frames with the black paint (left) and after the treatment (right). Max Beckmann, The Actors, 1941–42. © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeAn example is “The Actors,” an evocative triptych from the early 1940s by German painter Max Beckmann. While studying a series of old photos of the work, Lynette Roth, Daimler-Benz Associate Curator of the Busch-Reisinger Museum, realized the shiny black frame she always thought looked “out of place” on the work was actually the original frame that had at some point been painted black. Jackson’s fix was simple. She gently stripped off the dark paint, returning the wood to its original light brown.Roth admitted she was “quite taken” with the refurbished Beckmann work. “The three canvases, designed to stand in a complex and deliberate relationship to one another, now feel more of a piece than when you had this very stark, slightly shiny black frame around each. … It’s gorgeous.”She called the restoration of more than 20 frames in the Busch-Reisinger’s collection (19 of which were either recreated to replicate the artists’ original frame choices or were made from resized historical frames from the appropriate period) “one of the most important parts of the preparation of our new installation.” Knowing that most visitors likely won’t ever notice the frame work means “we did a good job,” she said. A frame should never detract from or overwhelm a painting, Roth added. It should simply “bolster the overall experience.”For Jackson, the job of making a frame look like she “didn’t do anything to it” is challenging ― especially when starting from scratch, as with the 17th-century Italian painting by Paolo Finoglia called “Joseph and Potiphar’s Wife.”Frame conservator Sue Jackson (left) works with her daughter Allison Jackson, also a frame conservator, gilding a recreated frame for the 17th-century Italian painting by Paolo Finoglia called “Joseph and Potiphar’s Wife.” Stephanie Mitchell/Harvard Staff PhotographerAcquired by the museums in the ’60s, the Baroque painting depicting a moment of attempted seduction came edged by a slim black frame more suited to a modern work. After the painting spent years in storage, Wolohojian chose to hang it in the museums’ second-floor arcade. But the odd frame had to go.After studying other works from the same period, Jackson, Wolohojian, and Danielle Carrabino, Cunningham Curatorial Research Associate in the division of European art, determined the painting’s original frame would have been much wider and far more elaborate. They worked with local craftsman Brett Stevens to design a profile for the frame, which he milled off-site. Once art preparator and handler Steve Mikulka assembled the painting’s new poplar molding, Jackson began making it glow.Research indicated that a gilded frame likely would have surrounded Finoglia’s striking, 7½- by 6-foot canvas. Before applying the gleaming strips of precious metal, Jackson treated the surface with layers of gesso, a mixture of glue and calcium carbonate, and a layer of bole, a combination of glue and red clay. After sanding those coatings smooth, she began the painstaking process of laying the small leaves of 23.75-karat gold 1/250,000 of an inch thick onto the new frame. It’s delicate work, often done in a confined space to reduce the chances of a draft or an excited exhale carrying away the prized pieces of paper.Harvard’s frame conservator Allison Jackson gently gilds a new frame with leaves of 23.75-karat gold that are 1/250,000 of an inch thick. Jackson first rubs the brush called a gilders tip against her cheek. The oils from her skin help the gold stick to the brush.“You don’t want to breathe at the wrong time,” joked Jackson’s helper ― her mother, Sue, a longtime frame conservator and veteran of previous projects whom the museums hired to help add the gold leaf and additional layers of paint and shellac to make the frame “look like it’s been around since 1640.”Watching the process unfold before her, Carrabino smiled. The new frame will complement the painting perfectly, she said. “This is going to sing for the first time in our collection’s history.”Shadow paintingsIn addition to allowing conservators time to restore works, the museums’ temporary closing offered staffers an extended chance to study and research the collection in detail. That rare window of opportunity proved particularly revealing for one of its most beloved holdings, the Wertheim Collection.Maurice Wertheim, a 1906 graduate of Harvard College, had a long and varied list of accomplishments: investment banker, philanthropist, amateur chess player, environmentalist, theatergoer and patron. At Harvard, he is perhaps best remembered as a passionate art collector who bequeathed his precious trove of 43 paintings, drawings, and sculptures to the Fogg in 1950. Among the gifts were several French Impressionist, post-Impressionist, and contemporary masterpieces.But Wertheim stipulated that his collective gift always be displayed together. When the works came off view in 2011, said Cunningham Assistant Curator of European Art Elizabeth Rudy, “It was just an amazing chance to learn anything new about them.” A gallery of Buddhist works from the collection of the Arthur M. Sackler Museum includes 6th-century cave temple sculptures from Tianlongshan, China. Stephanie Mitchell/Harvard Staff Photographer “Self-Portrait in Tuxedo,” 1927, by Max Beckmann is part of the Busch-Reisinger Museum’s collection. Stephanie Mitchell/Harvard Staff Photographer Careful conservation Tony Sigel, conservator of objects and sculptures, examines delicate, unfired clay sherds from an Asian sculpture. Stephanie Mitchell/Harvard Staff Photographer A sketch of the Harvard Art Museums’ renovation and expansion project by architect Renzo Piano, superimposed on a blueprint of the design. Photos: Courtesy Renzo Piano Building Workshop. Animation: Joe Sherman/Harvard University“My message is this is going to be a very different kind of art museum,” said Lentz. “The experience for viewers is going to be much more dynamic.”Indeed, dynamism flows from the new design itself, which unites the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum under Piano’s stunning roof. This “glass lantern” showers the Calderwood Courtyard with light, dispersing sunshine into the adjacent arcades and galleries. When the doors open, visitors will enjoy more than 50 new public spaces and galleries containing artworks that have been arranged chronologically, starting with modern and contemporary works on the ground floor and working back through time on the upper floors. About 2,000 works will be on display, many for the first time.In planning the renovation, Lentz and his team members were determined to maintain each museum’s identity, while ensuring lively dialogue among them. Early planning took into account the institution’s place in the greater Boston museum landscape, its role as an integral component of one of the world’s leading universities, and its commitment to the constituencies it serves, including faculty, students, and the larger community. The art of conservation View of “Griffin Protome from a Cauldron,” c. 620-590 BCE, in front of “Hydria (water jar) with Siren Attachment,” c. 430-400 BCE, from the collection of the Arthur M. Sackler Museum. Stephanie Mitchell/Harvard Staff Photographer The sculptures in a Busch-Reisinger Museum gallery include “Kneeling Youth with a Shell,” 1923, by George Minne (foreground/right). Works by Renée Sintenis, Ernst Barlach, Max Beckmann, and Käthe Kollwitz are also on view. Stephanie Mitchell/Harvard Staff Photographer “Summer Scene,” 1869, by Jean Frédéric Bazille is part of the Fogg Museum’s collection. Stephanie Mitchell/Harvard Staff Photographer A delicate touch Paintings conservator Kate Smith gently restores a work in the center’s paintings lab. Photos by Stephanie Mitchell/Harvard Staff Photographer How it works The Straus Center’s director, Henry Lie, discusses the delicate work that takes place in the four labs on the museums’ top floors. Stephanie Mitchell/Harvard Staff Photographer A series of prints titled “The Bath,” created between 1890 and 1891 by Mary Cassatt, are in the Fogg Museum. Stephanie Mitchell/Harvard Staff Photographer Paper precision Conservation technician Barbara Owens meticulously mats works on paper. Stephanie Mitchell/Harvard Staff Photographer Nearby at another table, Chang gently dusted cobwebs from a large black plastic train engine, one of a series of quirky items from the studio of Nam June Paik, the Korean-American artist considered the founder of video art, which will be displayed in the museums alongside his artwork. Across the room, objects conservator Tony Sigel clicked through the detailed digital documentation of his restoration of an ancient, cracked Greek terracotta kylix, or drinking cup.Across the hall, paper conservator Penley Knipe readied another delicate work for a bath. Over the years, a non-museum-grade mat had gradually yellowed the recently acquired 1944 black-and-white print “Encounter” by Dutch graphic artist M.C. Escher. Surprisingly, one effective way to clean prints, explained Knipe, is to gently wash them in specially conditioned water.People don’t believe it, she said, but “you really can float paper, or even immerse paper into water.” Such a bath will rinse out the acidic material that discolored the Escher print, returning some “health and lightness to the paper,” and making the image “pop a lot more,” she said.Paper conservator Penley Knipe prepares a work on paper for a bath in the Straus Center’s paper lab. Stephanie Mitchell/Harvard Staff PhotographerAround the corner in the paintings lab, paintings conservator Teri Hensick gently added touches of color to the 19th-century work “Phaedra and Hippolytus” by Pierre-Narcisse Guérin. As with any restoration, making sure the new changes are reversible is critical, said Hensick, who covered a series of fine scratches on the surface with an easily removable paint.During construction, many of the museums’ paintings were treated to some kind of aesthetic facelift. Some works required nothing more than a good cleaning with hand-made, oversized cotton swabs covered in one of the best fine-art cleaning fluids available: human saliva. Its slightly viscous consistency, pH-neutral balance, and natural enzymes make it “a really effective, very gentle way of releasing grime from the surface of some paintings,” said paintings conservator Kate Smith. Other, more involved treatments included the removal of non-original varnishes that darkened over time and altered some paintings’ original appearances.“Each treatment was revealing in a different way. Sometimes taking off an amazing yellow varnish just revealed a whole new poetry in a painting,” said Landon and Lavinia Clay Curator Stephan Wolohojian. Like all of the museums’ curators, Wolohojian worked closely with conservators to develop an individualized plan for each painting in his domain. But much of the restoration work didn’t involve the actual paintings at all.Framing the issueSince 2012, Allison Jackson, the museums’ first frame conservator, has repaired and refurbished more than 100 frames, ranging from medieval to modern. Jackson’s treatments, from basic cleanings and simple touch-ups to total reconstructions, were completed with a careful eye toward historical accuracy. Conservation cleaning The Straus Center’s assistant director, Angela Chang, carefully dusts off bits of cobweb and insect casings from an item in the artist Nam June Paik’s collection. Stephanie Mitchell/Harvard Staff Photographer Canopy of lightThat kind of beauty can often be found in the details. Anyone familiar with Piano’s renowned portfolio knows that his go-to building ingredients include glass, steel, and light. In 2013, the architect told an interviewer that he likes to use “the same material to tell a different story.”At the Harvard Art Museums, that story unfolds under his massive, six-hipped glass rooftop that pulls light down through the central circulation corridor’s arcades and galleries and splashes it onto the bluestone tiles of the courtyard five floors below.“There was always going to be light in some way, shape, or form because that’s what Renzo does,” said Peter Atkinson, the museums’ director of facilities planning and management, on a sunny rooftop tour.The bird’s-eye view from five floors up offers a unique look at Piano’s glass crown and his meticulous attention to detail, such as a row of steel grommets rising up the louvered glass in a perfect line, and a functional yet elegant network of ladders and catwalks erected so workers can regularly clean the panes.Peter Atkinson, director of facilities planning and management for the Harvard Art Museums, examines the new rooftop designed by architect Renzo Piano. Jon Chase/Harvard Staff PhotographerUnderstanding the roof at the Harvard Art MuseumsPeter Atkinson, director of facilities planning and management for the Harvard Art Museums, discusses the ‘fly-bys,’ angular points of glass that extend the rooftop’s design skyward. Edited by John McCarthy/Harvard UniversityThe panorama of Harvard’s myriad rooftops also reminds visitors that Piano’s creation is a dramatic addition to the University’s eclectic skyline, “something he spent a long time thinking about,” said Atkinson, who recalled the hours that the 77-year-old architect spent circling the building during construction. “When he would come here, he’d spend more time outside the building than in it. He would walk around; he’d walk all over. He would look down the streets, because he wanted to make sure his building fit the scale of the neighborhood.”To figure out how to piece the complex roof together, Piano turned to a team of German engineers. The final design was the product of various modifications and alterations because often what looked good on a model “just wasn’t workable” in real life, said Atkinson. “Form” he added, quoting design’s enduring maxim, “follows function.”Any roof’s most critical function, of course, is to keep the outside outside. In Germany, engineers blasted a small mockup of the roof with wind and water, using an aircraft propeller engine to test its durability. Happily, it passed.German engineers used an aircraft propeller engine to test the durability of a model section of the roof. Rob Mulligan/SkanskaPiano’s roof is also central to the climate in the building. Exterior panes of louvered glass protect an outside layer of shades that help to control the interior temperature and relative humidity. Six pyranometers, small saucer-shaped machines that measure sunlight levels, indicate whether the shades should be raised or lowered to help keep the temperature steady. The roof design is also key to important conservation work. A series of interior shades beneath a second layer of glass can be lowered or raised with a tap on a tablet computer by conservators eager to examine their work in natural light.This elegant, efficient system, said Atkinson, “was not conceived or designed or built on the fly. It took a long, long time.”Restore, repeatThrough the years of building restoration and construction, conservators and curators have been carefully examining, repairing, and restoring much of the museums’ extensive collection.This detailed, delicate work unfolded in the Straus Center, an 80-year-old institution that was the first in the nation to use scientiﬁc methods to study artists’ materials and techniques. Piano’s design returns the labs to the building’s uppermost floors, where they can take advantage of the natural light offered by the “glass lantern.” On the museums’ fifth and top level, a suite of sun-drenched, open rooms contains areas for the study and conservation of objects, works on paper, and paintings. One floor down in the Straus Center’s analytical lab, experts determine the chemical compositions of works of art. (The lab includes a vast collection of vivid pigments started by Edward W. Forbes, the center’s founder and former Fogg Museum director.)In keeping with the museums’ drive for greater transparency, work that once took place behind closed doors is now partially visible through the giant glass windows that look out onto the museums’ new circulation corridor. “We think people will like having a glimpse of our space as much as we like being able to see the galleries and the rest of the museum,” said Angela Chang, the center’s assistant director and conservator of objects and sculpture.Curious members of the public who knocked on the Straus Center’s door in the past were politely turned away. Now visitors will be able to observe the work from a distance without disturbing those inside. “We have a long history of teaching and presentation, and it makes sense for us to be visible,” said Henry Lie, the center’s director and conservator of objects and sculpture.On a recent afternoon, Lie carefully looked over a 20th century copy of an item in the museums’ collection, a first-century statuette of the Greek orator Demosthenes. While it isn’t an original and isn’t part of the museums’ collection, a close examination of the convincing replica, bought earlier this year by a museum staff member out of sheer curiosity, revealed important information, said Lie. “It establishes that the copy was made from the work in our collection, which helps to authenticate the museums’ statuette. It’s didactic for the types of technical questions that we have.” “We asked Renzo to design a new kind of laboratory for the ﬁne arts that would support our mission of teaching across disciplines, conducting research, and training museum professionals, and strengthen our role in Cambridge and Boston’s cultural ecosystem,” said Lentz.The single glass roof symbolizes the coming together of these potent concepts. Lentz said that to accomplish this grand transformation, “We had to take everything apart and put it back together again.”Directly below the roof sits the Straus Center for Conservation and Technical Studies, where the public can glimpse conservators preserving masterworks and making discoveries for future generations. Floor to ceiling glass panes offer visitors insights into how experts gently piece back together a work of ancient Greek pottery, return a 16th century Ottoman dish to its original splendor, or carefully reframe a vivid painting by Georgia O’Keeffe.Light from the “glass lantern” fills the iconic Calderwood Courtyard. Stephanie Mitchell/Harvard Staff PhotographerThere’s a dynamic beauty too in the gallery configurations, and in the imaginative juxtaposition of the artworks within them. Paper, prints, and drawings are now displayed side-by-side with paintings, sculptures, and decorative art. American pieces stand alongside European and Native American material, and ancient classical sculptures depicting the human form recline or stride alongside their 20th century counterparts, creating connections and crosscurrents between collections.On the third floor, Harvard faculty will engage with art objects, arranging their own visual arguments to support their courses in the museums’ University galleries, which are open to the public. Nearby, in art study centers for each of the three museums, visitors can make appointments to inspect myriad items, including Greek bronzes, Japanese prints, Persian illustrated manuscripts, Rembrandt etchings, and photographs by Diane Arbus. The museums’ renovation and restoration gave conservators and curators the chance to study many of the works in the collections in even greater detail, including a number of paintings in the Maurice Wertheim Collection that have earlier paintings hidden beneath the existing works. Museum officials have long known that Pablo Picasso’s “Mother and Child” covers a portrait of a friend, French poet Max Jacob.Left: Pablo Ruiz Picasso “Mother and Child,” c. 1901. © Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Harvard Art Museums/Straus Center for Conservation and Technical Studies, © President and Fellows of Harvard College. Right: “Mother and Child” (X-radiograph). © Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeTaking advantage of the latest scientific advances, conservators updated and augmented earlier technical analyses. They scanned Xradiographs of some of the collection’s paintings into a computer, creating a detailed digital roadmap. Other paintings were X-rayed for the first time, including the late 19th-century painting “Poèmes Barbares” by Paul Gauguin. The investigation revealed that the mythological portrait of a winged female figure standing next to a small animal had been keeping a secret: another work painted underneath.“I must have seen that painting thousands of times over the years, looked at it, conditioned it,” said Hensick of the work completed during Gauguin’s sojourn in the South Pacific. “And while we’d always thought it does have a really odd, textured surface, we’d always chalked that up to it having been folded or rolled, possibly by him to send back from Tahiti.”At first, the images were almost impossible to decipher — “a kind of a scramble of different brushwork,” said Hensick. But gradually the ghost-like X-rays revealed the faint rise of a mountain, the outline of a horse, and the profile of a person. Ultimately, the staffers determined that the painting underneath was a landscape with a dark and a light horse, each carrying a rider on its back.,“Our systematic technical examination of the Wertheim paintings revealed that Gauguin re-used another painting for ‘Poèmes Barbares.’ Using X-radiography, we discovered a landscape with two riders on horseback, oriented at a 90-degree rotation from the portrait underneath the female portrait. Seeing them is a bit like solving a ‘Where’s Waldo’ game,” said paintings conservator Teri Hensick. “New digital imaging techniques (layering, rotating in Photoshop) helped us see the covered image more clearly.” Above, Gauguin’s “Poèmes Barbares,” is pictured (left) next to the X-radiograph image taken by Harvard conservators (center) and a similar Gauguin painting, “Flight,” (right) painted in 1901 and in the collection of the Pushkin State Museum of Fine Arts in Moscow. (left) Paul Gauguin, “Poèmes Barbares,” 1896. Photo: Harvard Art Museums, © President and Fellows of Harvard College. (middle) “Poèmes Barbares” (X-radiograph). Photo: Harvard Art Museums/Straus Center for Conservation and Technical Studies, © President and Fellows of Harvard College (right) Wikimeida CommonsThe team tracked down a series of similar paintings that Gauguin had made around the same time, depicting riders on horseback. They also read letters from his island oasis in which he pleaded for more materials, which suggests that a simple shortage of blank canvases may have led him to cover the first work.“To find another firmly attributed painting to Gauguin is just tremendous,” said Rudy. “You also get more insight into his working method.”Echoes of RothkoIt seems fitting that the restored museums’ inaugural special exhibition features a series of sprawling, carefully restored murals by the abstract expressionist painter Mark Rothko. It also seems fitting that light, so central to the museums’ vision, is key to the murals’ recent restoration.But the light that revives the original rich hues of Rothko’s giant swatches of color doesn’t come from the sun. When visitors enter the Special Exhibitions Gallery on the third floor for “Mark Rothko’s Harvard Murals,” they will see his works as they would have looked more than 50 years ago, color corrected with the help of tinted light cast from five overhead projectors.In a demonstration of the digital camera-projection system earlier this year, a camera shoots pictures of one of the murals in the gallery. The image is then compared to the restored photograph of the original painting. The information is fed into a computer that uses custom-made software to generate a “compensation image,” which is sent to a projector that then illuminates the mural and restores the color, so it looks as it would have more than 50 years ago. Stephanie Mitchell/Harvard Staff PhotographerOver several years, a team of conservators, scientists, and curators allied sophisticated computer software with determined detective work to restore the appearance of the murals. The Harvard team first analyzed Rothko’s paints and pigments and studied restored Ektachrome photos of the murals to assess their original color. Next, the team enlisted scientists at the Massachusetts Institute of Technology to help develop custom-made software that could isolate the paintings’ affected areas and tell the projectors which colored light to emit, pixel by pixel, to augment the missing color.“This exhibition is fundamentally propositional in nature; it’s really intended to inspire discussion and debate on this new conservation and approach,” Lentz told the Gazette earlier this year during a preview of the new show.Rothko, known for creating immersive environments for his art, crafted the murals for a special events room on the 10th floor of Harvard’s Smith Campus Center. (The Center was designed by Jose Lluís Sert, then dean of the Harvard Graduate School of Design.) Installed in 1964, the giant panels were soon overwhelmed by Sert’s floor-to-ceiling windows, and the colors faded in the sunlight. Officials removed the murals in the late ’70s. They were displayed only a few times in the ensuing decades, and were returned to storage.John Coolidge, former director of the Fogg Museum, and Mark Rothko (right) in front of “Panel Two” and “Panel Three” of the Harvard murals on the tenth floor of Harvard’s Holyoke Center, 1963. © 2009 Kate Rothko Prizel and Christopher Rothko / Artists Rights Society (ARS), New York. Elizabeth H. Jones, ©President and Fellows of Harvard CollegeIncluded in the new exhibition will be a series of studies on paper and canvas for the mural series, as well as a sixth mural painted for the commission — brought to Cambridge for installation by Rothko but ultimately not included — on view for the ﬁrst time.As with any fine-art restoration, preventing further damage to the work and ensuring that any changes are easily reversible are paramount. The soft light won’t further fade the paintings, said museums’ officials, and the virtual restoration can be undone with the flip of a switch.The projectors shining light on each of the paintings will be turned off periodically during the exhibition, allowing visitors to see the murals without augmented color. “I think that it’s important to make this distinction,” said Lentz. “We are not restoring the paintings; we are restoring the appearance of the paintings.”Classics in clayPiano’s giant jewel box core floods light into the museums. So do two glass galleries on either side of the building’s new Prescott Street facade. In Piano’s winter gardens, windows double as walls. Sun shines in on evocative works, not sensitive to light, that include a collection of terra cotta “sketches,” or bozzetti, by Gian Lorenzo Bernini, the great Baroque architect and artist largely responsible for defining the look of 17th-century Rome.In the small glass box adjacent to Le Corbusier’s Carpenter Center for the Visual Arts are a series of delicate small clay statues by the celebrated Italian sculptor. The 13 intricate bozzetti include those made to depict the massive marble angels adorning the Ponte Sant’Angelo, the bridge that spans the Tiber River near the Vatican, and the bronze statues kneeling at the Altar of the Blessed Sacrament in St. Peter’s Basilica.Gian Lorenzo Bernini’s “sculptural handwritingObjects conservator Tony Sigel discusses Bernini’s “sculptural handwriting.” Edited by John McCarthy/Harvard UniversityA treasure of the Fogg and the largest collection of Bernini’s terra cottas in the world, the sketches were included in a larger Bernini exhibition, co-curated by Sigel, that traveled to New York’s Metropolitan Museum of Art in 2012 and to the Kimbell Art Museum in Fort Worth, Texas, last year. At the Kimbell, where Piano last year added a wing, he was struck by the bozzettis’ display. They were bathed in natural light and surrounded by the vaulted concrete that architect Louis Kahn — Piano’s mentor — so revered.Sculptor Gian Lorenzo Bernini’s “Head of Saint Jerome,” c. 1661, part of the Fogg Museum’s collection, is one of 13 terra cotta models on view in one of the museums’ two winter garden galleries. Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeSeeing the exhibition, Piano apparently told the museum’s director: “I am building a building at Harvard for these.” That comment got Harvard’s curators thinking.Back in Cambridge, the sketches fit perfectly in Piano’s winter garden facing the Carpenter Center, where light and Le Corbusier’s concrete architecture reign. Look down and you see a master at work four centuries ago. Look up and across at the Carpenter Center studios and you see new creations coming to life.In the Art Museums’ intimate glass gallery, cases containing the sketches are arranged at various levels, as they might have appeared in Bernini’s workshop 400 years ago. The sunshine helps to illuminate the sculptor’s prominent hand.For scholars and art lovers alike, the bozzetti are not simply beautiful works, they are lasting teaching tools that shed important light on Bernini’s motives and methods.“They chart Bernini’s use of these models to develop his ideas from the earliest conception through to perhaps the final version,” said Sigel, who was part of an extensive research project in the late ’90s to examine the bozzetti in detail.Look closely, and you can see the artist’s “sculptural handwriting,” preserved in the clay, said Sigel, pointing to a small crescent-shaped mark on the back of the neck of a kneeling angel. The fingernail impression was left when Bernini gave the clay “a pinch between his thumb and forefinger.”At the base of another sketch, a series of tiny pin marks are trapped in the terra cotta. A compass-like tool, used to gather measurements that would help Bernini and his assistants enlarge the sketches into full-sized sculptures, left the markings behind.“Kneeling Angel,” 1672, by Gian Lorenzo Bernini is one of several terra cotta sketches in the Harvard Art Museums’ winter garden gallery that reveal the artist’s “sculptural handwriting.” Photo: Harvard Art Museums, © President and Fellows of Harvard CollegeElsewhere, the sculptor’s fingerprints are clearly visible.“As you push your finger through the clay, when you pick it up, that’s where the fingerprint is deposited,” said Sigel, who studied clay sculpture at the Art Institute of Chicago. “That signals the end of the stroke rather than the beginning.”In keeping with the museums’ mission of teaching and research, two of Bernini’s precious sculptures have been left out of the display. “It’s critical that we keep some in reserve for the classroom and other projects,” said Wolohojian.Sigel called the chance to work with and study Bernini’s models so closely “life changing.”“In some sense,” he said, “I feel as if I’ve been able to look over Bernini’s shoulders as he’s gone about his work.”Now, visitors can observe the master at work, too.Art for everyonePiano’s inviting design allows art lovers and passersby to wander freely through the building’s ground-floor public piazza — which now runs from Prescott to Quincy Street — without an admission ticket. Museum officials are confident that many people will stop along the way. A series of evocative works beckons strollers to explore further.“One of the things we are hoping will happen, almost just by the contagion of curiosity, is that people will be led to follow different pathways as they experience the art in public spaces,” said Debi Kao, the museums’ chief curator. “They can just have that singular experience, and that will be quite powerful and important. But if it’s really doing its work, the art on view in public spaces will lead visitors into the galleries as well as to other means of gaining expertise about great original works.”After encountering a work in the Calderwood Courtyard, a visitor might head up a few flights to investigate a corresponding exhibition, find out more about the materials used in a particular installation in the materials lab on the lower level, or examine an artwork up close in the fourth-floor art study center, said Kao.The great artworks positioned just footsteps away from any entryway also showcase the knitting together of the three component museums. An eclectic selection of art greets visitors who pass through the Quincy Street entrance, including the newly remounted series of intricately carved medieval Romanesque capitals long associated with the Fogg Museum. Nearby, an imposing, sixth-century Chinese stone leonine sculpture invites visitors to take in the Sackler Museum’s rich collection of Asian art in the gallery directly behind. In another corner, “The Crippled Beggar,” German artist Ernst Barlach’s haunting ceramic statue of a frail figure gazing skyward, is an example of the vivid modern and contemporary works on view in the adjacent Busch-Reisinger Museum.An imposing, 6th-century Chinese stone leonine sculpture invites visitors to delve into the Arthur M. Sackler Museum’s rich collection of Asian art in the gallery directly behind it. Stephanie Mitchell/Harvard Staff PhotographerVisitors entering the building from Prescott Street will encounter a group of recent acquisitions that highlight the museums’ increased commitment to collecting time-based and new-media works. “That’s a real focus of our move forward with collection building,” said Roth, “to collect more heavily in those areas and feature artists who are working in a range of media.”A site-specific work by German artist Rebecca Horn animates one of two double-story walls flanking a pedestrian bridge that leads into the museums. Commissioned for the Busch-Reisinger, Horn’s “Flying Books Under Black Rain Painting” activates the space with a blend of performance and kinetic sculpture. Harvard students soon will watch Horn’s quirky “painting machine” splash black ink on a blank wall as well as on three opening-and-closing books: Fernando Pessoa’s “The Book of Disquiet,” Franz Kafka’s “Amerika,” and James Joyce’s “Ulysses.” Those paint-splattered books will continue to flutter periodically when viewers pass by, activated by motion detectors.Roth hopes Horn’s work will invite visitors to venture into the University Research Gallery to explore “Rebecca Horn: Work in Progress,” an exhibition of her early performances on film and in photographs, as well as a number of her editioned artworks.On the adjacent wall, social media takes center stage. In “258 Fake,” 12 video monitors display more than 7,000 rotating images compiled by Ai Weiwei, the contemporary Chinese artist and activist. The photos were originally featured on his popular blog from the 2000s that included his commentary on everything from restaurants to art to architecture to Chinese politics. Eventually, the site proved too provocative for the Chinese government, which shut it down. The intrepid artist quickly found another life for the blog’s visual content with this meditative montage.But walls and galleries aren’t the only places suited for public art in the new Art Museums. Officials are also considering using the vaulted space above the courtyard to showcase installations that could hang from the intricate interior system of king posts anchoring Piano’s steel and glass roof.“The courtyard is such a stunning space,” said Kao. “At its center, people can look up and see works of art in the arcade galleries, and the idea of extending that experience into the space above is really exciting.”Above all, the museums’ driving goal is aligned with Piano’s notion of creating a civic space that acts as a vital bridge connecting the University, the community, and beautiful works of art.Officials envision the museums becoming a place “of gathering and discourse and discussion and wonder,” said Kao. “We do have this fervent belief in the power of art to be a driver of great ideas of cultural history and cultural memory. And in the end, that’s what it’s really all about.”