18th Century Art

Cet article interroge l’apparition de la date au jour près sur les dessins de paysage au XVIIIe siècle. Alors que de telles dates sont auparavant très rares, toutes iconographies confondues (avec de célèbres exceptions comme le Paysage du val d’Arno de Léonard), elles se multiplient au XVIIIe siècle sous l’effet de phénomènes d’ateliers (Nicolas Vleughels transmet cette pratique à ses élèves) et d’une redéfinition de la temporalité de l’image. Le paysage devient ainsi le lieu privilégié de la date, dans une quête croissante d’instantanéité. L’article se termine en singularisant les significations de cette inscription, qui place l’œuvre à la fois dans une temporalité cyclique ou saisonnière (tel dessin est du 12 mars) et linéaire (du 12 mars 1762, moment unique de l’histoire).

Entre 1724 & 1728, Joseph FAUCHIER, qui a perdu ses meilleurs ouvriers (Louis CARBONEL, qui partira à Gardanne, Sébastien CARBONEL, Joseph OLERYS, Antoine GRAS, Pierre MARIZI qui partiront pour Alcora) va s’installer à son compte et recruter de nouveaux faïenciers pour remplacer ceux partis.

_ 1727. Il va se tourner vers Moustiers.

the burlington magazine | 166 | september 2024 984 landscape of ideas and inventions, bringing many fresh insights into individual paintings and taking seriously the effort to make history painting coherent, effective and moving. Readers of this book will relish fresh and engaging readings of works loved and unloved, familiar and strange. However, a history of history painting as a series of encounters of texts and images, as brilliant and erudite as this one is, does not fully capture the complexity of history painting as practice and as a human and social endeavour.

Assiettes creuses, circulaires, à bordures à 6 pointes
intercalées d'accolades à centres plats,
à fonds plats, et bordures plates. D = 25,5cm
en faïence de grand feu, dont une avec dorure 
& 
Assiettes à 6 accolades à bordures plates
de l’atelier de FAUCHIER.

This chapter examines the eighteenth-century English poet, Alexander Pope’s Twickenham Villa, in relation to his preoccupation with death. Pope’s design evoked a ritualised itinerary taking the form of a descent through a subterranean passage (the famous grotto) leading to an ascent into an Elysium-like space (the garden proper) which culminated in a reverential processional approach to the obelisk which he had erected in memory of his mother. Zhuang argues that Pope modelled the itinerary upon the landscapes of the ancients and necrotopography (described in classical and Renaissance literature) through which the souls of the dead journeyed and the sacred sites (such as Eleusis) where neophytes were initiated into Arcadian mysteries. Zhuang suggests that, together, the grotto and the garden become a sanctuary which Pope re-invested with esoteric meaning, both re-vitalising the Christian concept of death and re-enchanting the garden as a place where to dwell, asking us to revise our ideas about the value of mystery in the so-called age of Enlightenment.

Cet ouvrage issu de ma thèse de doctorat examine l'itinéraire de trois graveurs sur cuivre actifs à Lyon entre les années 1520 et 1565, le Maître JG, Georges Reverdy et le Maître CC. À travers le parcours et la production gravée de ces artistes, il s'agit d'examiner l'histoire d'une émergence, celle d'une technique particulière, la gravure en taille-douce, dont les premières manifestations apparaissent à Lyon dans un contexte socioéconomique particulier. Proches des officines d'imprimeurs et de libraires, les ateliers des graveurs bénéficient de leurs réseaux de diffusion, du large brassage d'hommes de lettres, mais aussi de modèles dessinés et gravés provenant de l'Europe entière. Lyon étant un véritable creuset des idées nouvelles, notamment réformées, les estampes de ces trois graveurs témoignent de ce foisonnement et de l'évolution confessionnelle qui se fait jour dans la ville. Les trajectoires s'interrompent néanmoins dans les toutes premières années des guerres de Religion.

Cette étude propose une édition du feuilleton que le jeune Jules Fleury consacre à Arsène Houssaye, en 1844, dans les colonnes du "Journal de l'Aisne" publié à Laon. Pareille entreprise menée par le futur Champfleury ressortit à un double enjeu: il s'agit d’un côté de célébrer le talent d'Houssaye; de surcroît, il faut rapprocher l'écrivain portraituré du signataire en créant des ponts symboliques susceptibles de ménager une prochaine rencontre et de favoriser la camaraderie littéraire.

Raziskovanje zbirateljskih praks Edvarda in Karla vitezov pl. Strahl ter provenience in usode posameznih slik in predmetov iz njune zbirke v Stari Loki je izjemnega pomena za študij zgodovine umetnostnih zbirk in zbirateljstva na Slovenskem v 19. in prvi polovici 20. stoletja. Poglobljen študij arhivskega gradiva, zlasti korespondence, zapuščinskih inventarjev, spominov, katalogov in številnih drugih popisov, ter sistematična analiza in pregled načinov pridobivanja umetnin, pohištva in drugih predmetov so dali vpogled v posamezne časovne in prostorske kontekste zbirke ter omogočili sestavo njenega historiata od leta 1833, ko je Edvard Strahl skupaj s sestro Henriko postal lastnik starološke graščine, prek javne dražbe v Stari Loki leta 1930 vse do danes, ko še vedno odkrivamo poti, po katerih je slike in predmete vodila usoda. V luči naštetih podatkov in ugotovitev pa se razkrivajo tudi pogledi na pomen, delo in delovanje nekaterih sodobnic in sodobnikov Edvarda Strahla. Strastni zbiratelj je namreč kazal zanimanje za njihovo umetniško delo, z njimi sodeloval in jih podpiral. Posledično je v starološki zbirki poleg slik Mihaela Stroja, Matevža Langusa in Antona Karingerja hranil tudi dela nekaterih manj znanih - tako poklicnih kot ljubiteljskih - slikark in slikarjev svoje dobe.

ESP: Este trabajo analiza críticamente la Galería Regional de Palazzo Abatellis en Palermo, centrándose en su arquitectura, evolución histórica y el proyecto de restauración museográfica llevado a cabo por Carlo Scarpa en los años 50. Tras reconstruir la historia del palacio, construido en el siglo XV como residencia privada y posteriormente transformado en convento y museo, se examinan las intervenciones de restauración, con especial atención al enfoque de Scarpa, quien supo combinar la conservación del edificio histórico con soluciones museográficas innovadoras. El documento explora también las principales salas expositivas, su diseño y la interacción entre el espacio arquitectónico y las obras de arte. Finalmente, se abordan los problemas actuales de gestión del museo, destacando las deficiencias en comunicación, servicios al visitante y acceso al patrimonio, y se sugieren estrategias para mejorar su accesibilidad y valorización. El estudio concluye con una reflexión sobre el papel de Palazzo Abatellis en la escena cultural contemporánea y los desafíos futuros para su conservación y promoción.

ITA: Il presente lavoro analizza criticamente la Galería Regional di Palazzo Abatellis a Palermo, con particolare attenzione alla sua architettura, alla sua evoluzione storica e al progetto di restauro museografico realizzato da Carlo Scarpa negli anni '50. Dopo una ricostruzione della storia del palazzo, costruito nel XV secolo come residenza privata e successivamente trasformato in convento e museo, si esaminano gli interventi di restauro, soffermandosi sul contributo di Scarpa, che ha saputo coniugare la conservazione dell’edificio storico con soluzioni museografiche moderne. Il documento esplora inoltre le principali sale espositive, il loro allestimento e la relazione tra lo spazio architettonico e le opere d'arte. Infine, vengono affrontate le problematiche legate alla gestione attuale del museo, evidenziando le criticità relative alla comunicazione, ai servizi per i visitatori e alla fruizione del patrimonio, suggerendo possibili strategie per migliorare l'accessibilità e la valorizzazione della collezione. Il lavoro si conclude con una riflessione sul ruolo di Palazzo Abatellis nella scena culturale contemporanea e sulle sfide future per la sua conservazione e promozione.

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Réattribution des deux services ‘Maçonniques à fond jaune de Marseille’, à la Veuve PERRIN.
Les deux formes de plats;
_ En grand feu & petit feu sont typiques de la production de La Veuve PERRIN.
Des exemples marqués ont été retrouvés.
Joseph FAUCHIER n’a pas utilisé ces deux types de formes !

In Western politics and philosophy of the 18 th century, concepts of balance, equality, and democracy experienced a groundbreaking contouring that continues to have an impact until today (see McMahon 2023). These issues were negotiated not least in the arts. Our thesis is that the parallelism and simultaneity of opposing views and ideologies led to a striving for equilibrium and harmony, and was articulated, for example, within the ideas of social justice and political equality, or the goal of levelling extreme economic and financial differences, an idealistic balance that ultimately paved the way for new concepts of societal order, respectively democracy.

From 1729 the Palace in Podhorce was the residence of Grand Crown Hetman Waclaw Rzewuski (1706-1779). Hetman arranged a magnificent Old Polish magnate residence in the Podhorecki palace, having souvenirs of representatives of the Sobieski family and the Ko-niecpolski family, as well as a gallery of works of art, an armory and a library. This article is an attempt to present the functioning of the Podhorce residence in the light of the guidance kept in the Book of inventory and instructions of the Podhorce castle from 1745-1754. Among the preserved guidelines, one can distinguish instructions concerning various areas of the functioning of the Podhorce residence, namely: welcoming guests, the kitchen and the table of residence, security, heating and lighting of the palace, as well as the Podhorce stables.

RAGAČ, Radoslav. Neznáme maliarske objednávky príležitostnej heraldickej reprezentácie pri pohreboch cirkevných hodnostárov do polovice 18. storočia vo fonde Súkromný archív Bratislavskej kapituly

Autor na základe doposiaľ neznámych archívnych dokumentov, najmä účtovného charakteru, z archívneho fondu Súkromný archív Bratislavskej kapituly uloženého v Slovenskom národnom archíve opisuje jednotlivé prvky heraldickej reprezentácie pri pohreboch cirkevných hodnostárov do od prvégo známeho prípadu z roku 1638 až do polovice 18. storočia. Išlo najmä o početné papierové a textilné mortuáriá, ktoré boli dielami miestnych umelcov z Bratislavy a ďalšiu smútočnú výzdobu interiérov tunajších kostolov. Opisuje aj spôsoby ich používania počas smútočných obradov spolu so sviecami, ich umiestňovanie na zaužívané miesta v Bratislave a ďalšie detaily.

Entre 1691 y 1793 las superficies de las iglesias y de los palacios del territorio valenciano fueron sometidas a las exigencias del mensaje que se procuró transmitir a través de ellas. Se convirtieron, pues, en soportes para discursos de carácter visual que, como sus equivalentes retóricos, fueron el resultado de una invención previa de contenidos y tipos iconográficos, de su disposición en el espacio y de su trasmisión al público. El objetivo de este libro es analizar este fenómeno de manera diacrónica, ahondando en las personalidades que pensaron estos mensajes, en las distintas técnicas artísticas que fueron empleadas para materializarlos y en el significado que adquirieron para los observadores de la época. Todo ello revelará el carácter elocuente de los programas decorativos de esta centuria durante la cual las arquitecturas mudas fueron capaces de hablar y persuadir.

Lorsque c'est l'été aux pays du Kangourou, c'est l'hiver sur la côte d'azur. Pourtant, cet arbre a su conserver son "calendrier génétique" d'origine et donc il n'hésite pas à dévoiler ses boules jaunes à la Saint-Valentin ou l'Epiphanie, pour les variétés plus précoces.
Sur un superbe bouillon de la Veuve PERRIN dernier 1/3 18éme, un bel exemple d' Acacia farnesiana, Mimosa de Farnèse, Cassier. (Mimosa variété sauvage).

The study examines the mirror cabinet in a courtly retreat, the Hermitage near Bayreuth. What kind of relationship existed in the 18th century between a ceremonial cabinet with luxury materials such as mirrors and a place of spiritual seclusion?

y Real, constituye uno de los puntos cruciales de articulación entre el conjunto del Palacio Real y la ciudad y, asimismo, uno de los primeros trazados para un espacio público ajardinado en España, a excepción de los diversos salones arbolados creados con anterioridad. Localizado al sudeste del Palacio Real, el jardín se apoya en la calle de las Infantas, la vía meridional de las tres que componen el tridente que surge del Jardín del Parterre. Contigua a la

Niche reliquaire abritant  un moulage du  visage de la Vénérable Sœur Anne Madeleine de REMUZAT.
Hauteur : 0,45 m. Grand feu camaïeu de bleu. Décor de godrons et de lambrequins fleuris, avec deux personnages représentant la Foi et l'Espérance. Le décès de Madeleine de Remuzat le 15 Février 1730 permet de dater cette pièce.
Attribution : Joseph Fauchier, Marseille après le 15 Février 1730.
Œuvre de Sébastien CARBONEL, mouleur modeleur âgé de 35 ans (né en 1695).

The article shows the main trends in the art of the 18th century and also analyzes some paintings of this period. New conditions of social and ideological life determine the formation of a new large stage in the history of artistic culture. In the 18th century, a process of decisive changes
in the relationship between types and genres of art began, which reached its completion in the next century. The uniqueness of the striking contribution that European art of the 18th century made to the history of world artistic culture, in the fine arts, artistic progress was an important process. The best masters of the 18th century created art that was a step forward not only to their predecessors but also in the development of world artistic culture as a whole. They created an individual, refined
art that comparatively analyzed the subtlest nuances of feelings and moods. Graceful intimacy, restrained lyricism, and polite, merciless, analytical observation are the characteristic features of this art (especially in the portrait genre). An accurate sense of a subtly captured or wittily “staged” plot situation is the essence of the qualities, characteristic of both the remarkable portraiture of this century (Latour, Gainsborough, Houdon) and the best multi-figure genre compositions, be it gallant festivities and everyday scenes of Watteau and Fragonard, modest everyday motifs of Chardin or urban landscapes of Guardi.

the human soul, which remained in manuscript. He did complete a few treatises that were connected to this major project, including a Trattato de' Fantasmi poetici. Here he took up and developed the approach of Addison, addressing mental images, illusions, and imagination in general as well as their role in poetic invention. In keeping with his own definition of poetry as a "chain of phantasms," he conceived his main poetic work Il globo di Venere as "il sogno" ("dream"). It was in complex dialogue with the "free-thinker" Conti that the Italian Catholic intellectual star Ludovico Antonio Muratori composed his own tract Della forza della fantasia umana, published in Venice in 1745. 28 In this book the paradox of the impossibility of knowing whether one is dreaming or awake was explained using metaphors of prison and confinement. This tract represented a significant shift in his outlook. In his earlier Riflessioni sopra il buon gusto (1708) he had characterised fantasy as the least desirable mental faculty, close to frenzy. In Forza della fantasia he operated in a more pronouncedly Cartesian and dualistic mode. He placed the spiritual and rational soul at the centre of cognitive activity, while describing all the various brain processes that serve the soul as material "fantasy." This material force, in his view, was a wondrous power that nonetheless had to be controlled by reason, lest it become harmful. Yet it had an indispensable cognitive function: the soul comes to know objects of the external world solely by means of contemplating their phantasms in the brain. Muratori's descriptions of fantasy employed metaphors that expressed his now ambivalent feelings towards it. He framed his discourse as a rhetorical praise of human cognition as the perfect architectural structure of God-a metaphor that ultimately derived from pre-modern literature. Architectural metaphors for the cognitive apparatus, such as "turret" or "house of memory," had been characteristic of medieval and post-medieval writings. However, in all medieval allegories of cognition these "turrets," even if their rooms were "painted by fantasy," had featured external senses as their windows. When combined with Cartesian scepticism about sense perception, however, human cognition became literally confinement in the conception of Muratori:

Sexpartite vaults constitute one of the most interesting chapters in European Gothic architecture.  Originally, the use of the square cross-ribbed vault was limited to relatively small spaces, but when the need arose to cover spaces of considerable size, a new vault with very peculiar characteristics appeared. This new vault was a cross-ribbed vault that was reinforced in the centre by a rib that was parallel to the transverse ribs which effectively divided the vault in half. This configuration breaks the side arch into two fragments, creating a pair of windows on each side. The volumetrics of these vaults is extremely complex and the difficulties involved in their construction perhaps explain why they were abandoned in favour of the simple cross ribbed vault, now with rectangular sections. The existence of the sexpartite vault barely lasted more than fifty years, from the end of the XII century and the beginning of the XIII.

Towards the end of the 19th century Viollet-le-Duc  gave a succinct explanation of this type of vault. A. Choisy also, later, devotes some pages to the French sexpartite vault; since then, the subject has only been broached in a few references in later studies on Gothic architecture. However, despite its short period of existence, the sexpartite vault spread throughout Europe and was used to build important vaulting. Viollet-le-Duc's sexpartite vault could be considered to be the prototype of them all, while it is true that the studies that we have conducted so far lead us to affirm that there is a wide variety of vaults, with different volumetric spaces and different construction strategies. Therefore, we believe that this chapter of international Gothic deserves further study applying the knowledge and resources that are available today.

This paper has been written to explore the most significant European sexpartite vaults. New measurement technology has led to a revolution in research into the history of construction, allowing studies to be conducted that were hitherto impossible.  Thorough data collection using total station and photogrammetry has enabled us to identify the stereotomy of the voussoirs, tas-de-charges and keystones, as well as the bonding of the surfaces of the severies. A comparison of the construction techniques employed in the different vaults studied reveals common construction features and aspects that are specific to each country. Thus we are able to establish the relationship between sexpartite vaults in different European countries and their influence on each other.

In the 25th chapter of their art world novel, Manette Salomon (1867), the Goncourt Brothers fictively imagine the process by which a 19th-century artist, obsessed with the mime Jean Gaspard Deburau, produces a painting that recalls Antoine Watteau's famed Pierrot (now in the collection of the Louvre).  Peppered with real-world details, the Goncourts' narrative, set in the year 1846, documents mid-19th century preoccupation with the artist, the character, and the picture, and encapsulates varied dimensions of Pierrot’s "reframing" in the years just prior to its donation to the Louvre.

Si esaminano le principali botteghe di intagliatori che hanno operato tra la fine del Seicento e la prima metà del Settecento nella Sicilia Occidentale. Sono ateliers che, talvolta con la magistrale guida di noti architetti o pittori isolani, hanno divulgato manufatti in legno con complessi intarsi, talvolta pure in madreperla, secondo la pertinente corrente culturale. Ad una produzione ancora vincolata alla temperie tardo manierista, ancora in auge allo scadere del XVII secolo, si sovrappongono opere barocche o tardo barocche, di matrice romana, prossime all’esuberante stile francese del rococò. Siffatti intagli - nello specifico armadi, cantorie, custodie, cori, paliotti, tabernacoli e tavoli - destinati ad ambienti chiesastici, attestano l’infiltrazione del barocco romano in Sicilia grazie a figure di spicco attive nel Città dei Papi, come quella dell’architetto crocifero Giacomo Amato. Questi, autore di un notevole corpus di disegni custodito nei depositi della Galleria Regionale della Sicilia di Palermo, Palazzo Abatellis, fu affiancato dal pittore Antonino Grano e dal più anziano marattesco Pietro Aquila (de Aquila). Le opere lignee, per le quali sono state avanzate ipotesi attributive, furono approntate per chiese o oratori palermitani ove, come confermano gli studi, risultano attestati non solo architetti ma anche pittori, scultori, marmorari, argentieri, orafi, corallai, ricamatori, tessitori e stuccatori, spesso in stretta sintonia tra loro. Si tratta, infatti, di équipe di artisti documentate nei più noti cantieri siciliani tra la fine del Sei e la prima metà del Settecento. Congiuntamente agli atelier palermitani operarono in Sicilia le botteghe locali, in particolate quelle agrigentine e trapanesi, le quali, lungi dall’essere estranee alle principali novità che diramarono gli intagliatori di Palermo, eseguirono intagli dal complesso programma iconografico, di sicuro suggerito da teologi o dai committenti. Significativa, a riguardo, è l’attività dei frati francescani, abili nella produzione di pregevoli intagli. Maggiore attenzione è riservata, infine, alle panche dell’oratorio di San Lorenzo di Palermo, costituite da 22 micro sculture in bosso eseguite tra il 1702 e il 1703 dal trapanese Leonardo Bongiorno, per le quali un inedito documento conferma l’ideazione di Giacomo Serpotta, il più noto stuccatore isolano, attivo, spesso, accanto al citato Amato.

Le 4 Novembre 1659, 10 potiers à terre demandent au Seigneur de la Palud, Louis de DEMANDOLX, le droit d’exploiter l’argile du dit terroir.
« Le 4 novembre 1659, Antoine CLERISSY , Guillaume ROUBION , Francois CHAIS, André TRONQUET , Jacques PIERRE, Honoré BERTRAND, Pierre FERRAT , Jacques ROUX , Jean et Antoine BOUSQUET , potiers de terre de Moustiers, donnent
procuration à François CHAIS, Pierre BERTRAND  et Jean BOUSQUET et leur concèdent le pouvoir de traiter avec le seigneur de La Palud  et obtenir de lui la faculté « de tirer du terrain dudit La Palud de terre servant à l'usage desdits mètres potiers durant le temps et terme de cinq ans pour et moyennant la somme qui sera entre eux accordée et soulz les pretz qui seront convenues par leurs dits procureurs et payer au temps et termes qui seront par eux prins,… et de consentir au barrement et consellation du precedant (acte) resceu par moy notère »
Le droit perçu par le seigneur était de 5 livres par an et par potier.

Source ; (Minutes de François CARBONEL notaire à Moustiers, 1659-60, f°339.Voir aussi dans les mêmes minutes 1665-6, f°44 ; 1667-8, f°222 ; 1686-90, f°1042).

It is widely recognized that F. Goya’s development of a picturesque manner is in the vein of his great predecessors — El Greco and D. Velázquez. However, with all the importance of the experimental novelty of this Spanish master’s technique, the uniqueness of his creativity should be sought elsewhere. Goya managed to decidedly push the established boundaries of the European art expanding its range with the themes and problems that had previously been rarely and poorly represented. Anticipating an existential and anthropological shift that was evident back in the last decades of the 19th century and being almost a century ahead of it, those themes, plots, and problems were aimed at exteriorizing the inner world of man on the scale that appears to have never existed before. Goya systematically examines the human psyche in extreme existential situations when the conscious and the subconscious intertwine in a whimsical way. The specific feature of this perspective is an interest not in the individual and individuality but in the collective consciousness and the collective unconsciousness, as C. Jung would later justify it. The master’s true goal is to break through to where the archetypal components of the psyche, thinking, and behaviour rest.
In this sense, the images of the mentally disturbed and the imprisoned become semantically significant, the atmosphere of madhouses and prisons, the world of human imagination that engendered the sphere of the irrational. Goya seeks the truth about man scrutinizing him in extreme situations and critical states. The artist often approaches the visualization of all this through a theatrical element — through masks, role-playing, and games. He is interested in that harsh inversion where a person, put into inhuman, unbearable conditions, can no longer to remain rational and turns into a dreadful, meaningless human mask. The main characteristics of the artist’s approach are explored in comparison with thematically similar works by William Hogarth, Henry Fuseli, and Théodore Géricault. / Общепризнано, что развитие живописной манеры Ф. Гойи находится в русле его великих предшественников — Эль Греко и Д. Веласкеса. Но при всей значимости экспериментальной новизны техники испанского мастера, уникальность его творчества следует искать в другом. Гойе удалось решительно отодвинуть установившиеся горизонты и границы европейского искусства, включив в его сферу темы, которые до этого лишь редко и робко там проявлялись. Предвещая экзистенциально-антропологический поворот в искусстве с последних десятилетий XIX века, эти темы были направлены на экстериоризацию, невиданной глубины и масштаба, внутреннего мира человека. Гойя систематически изучает человеческую психику в экстремальных ситуациях экзистенции, когда сознание и подсознание причудливым образом переплетаются. Специфической чертой этого ракурса является интерес не к индивиду и индивидуальности, но к коллективному сознанию и коллективному бессознательному, как это позже обосновал К.Г. Юнг. Подлинная цель мастера — пробиться туда, где покоится архетипическая составляющая психики, мышления, поведения.
В этом плане семантически значимыми становятся образы умалишенных и заключенных, атмосфера сумасшедших домов и тюрем, мир человеческого воображения, породившего иррациональную сферу. Истину о человеке Гойя ищет, всматриваясь в него, когда тот переживает крайние, пороговые состояния. Часто художник приближается к визуализации всего этого с помощью театрального начала — через маски, ролевые воплощения и игры. Его интересует та жесткая инверсия, когда человек, брошенный в нечеловеческие условия, теряет способность оставаться разумным существом и превращается в жуткую человеческую маску. Основные характеристики подхода художника исследуются в сравнении со схожими по тематике произведениями У. Хогарта, Г. Фюсли, Т. Жерико.

Antoine-Louis-Henri Polier (1741–1795) is one of the most prominent collectors of late-eighteenth-century muraqqaʿs. When he arrived in his hometown of Lausanne in 1788 after having spent thirty years in India, he brought with him at least twenty-five Indian albums that had been assembled in his own workshop, headed by the artist Mihr Chand. Twenty-one of these have been tracked down so far, of which sixteen can be considered muraqqaʿs consisting of pages with mostly Mughal-style painting and calligraphy, surrounded by elaborately illuminated margins. This article seeks to put Polier’s surviving albums into tentative chronological order, as related to his stays in Faizabad, Delhi, and Lucknow—based on dedications, dated calligraphic pieces, inscribed volume numbers, and a recently discovered, undated sale offer, preserved in the Bibliothèque nationale in Paris, that lists twenty-five numbered albums from Polier’s collection. It also aims at shedding light on the motivation behind Polier’s album gifts to friends during his last years in Lucknow. Moreover, this essay will examine more closely album I. 4598 (Museum für Islamische Kunst, Berlin), which displays an innovative feature of most of Polier’s muraqqaʿs: the juxtaposition of a calligraphic piece on the left and a painting on the right of each double-spread page, allowing to view these albums from both ends, either in the European or in the Persian manner.

The article presents a study of sacred dances in ancient culture. The origins of dance and their connection with the mysteries are considered. The approach to dance as a language born in the infancy of mankind and closely related to myth allows identifying the semantic units of dance which express the mythological foundations of the creation of the universe and the birth of order from chaos. The procedure of understanding mythological meanings is based on the identification of symmetry structures. The authors of the article analyse the forms of dance compositions as systems of non‐verbal semantic constructs and study the image of the Labyrinth in the choreographic ancient tradition as a symbol of mastering and accumulating experience with subsequent transformation and comprehension of a new development stage of the soul. / Статья посвящена исследованию сакральных танцев в античной культуре. Рассмотрены истоки танца и их связь с мистериями. Подход к танцу как к языку, рожденному на заре становления человечества и тесно связанному с мифом, позволяет выделить семантико‐смысловые единицы танца, в которых выражены мифологические основания сотворения универсума, рождение порядка из хаоса. Процедура понимания мифологических смыслов осуществляется на основании выделения структур симметрии. Анализируются формы танцевальных композиций как системы смысловых невербальных конструкций. Исследуется образ Лабиринта в хореографической античной традиции как символ освоения и накопления опыта с последующей трансформацией и осознанием новой ступени развития души.

Revisioni veronesiane. Note sulla storia collezionistica del Marte e Venere con Cupido e un cavallo della Galleria Sabauda . . . . . . . » F G , Ancora sul palazzetto del cardinale Odoardo Farnese: il ritrovamento di un amorino dormiente "dei Carracci" dal camerino della Notte . .

В искусстве России, Франции и Британии второй половины XVIII - начала XIX века есть ряд похожих исторических сюжетов. Близость одних обусловлена сходством отдельных событий истории разных стран, важных для государственной идеологии, других - подобием образа поведения действующих лиц, которые представлены как exemplа virtutis. Настоящая статья фокусируется на последних, а именно на таком частном случае, как полководцы, в том числе венценосные. Выявлены произведения русского и западноевропейского искусства, а также программы, не воплощенные в жизнь, в которых военные герои истории России, Франции и Британии, средневековые и современные, действуют, подобно великим античным: «Прощание воина с женой» («Прощание Гектора с Андромахой»), «Великодушие полководца» («Великодушие Александра Македонского/Сципиона Африканского»), «Полководец отказывается утолить жажду» («Александр Македонский отказывается испить воду, ибо ее не достаточно для всех воинов»). Сопоставление репрезентации событий в произведениях русского искусства со сведениями из доступных их создателям источников и исторических трудов позволило определить, в чем именно проявляется связь с античными прообразами (в отборе из разнообразного материала тех сюжетов или того варианта описания событий, что напоминают античные, в обращении к литературным сюжетам на темы истории, сочиненным как калька с античных). Рассмотрены визуальные способы акцентировать уподобление (рядоположение античных и отечественных сюжетов в одном пространстве или в одном заказе, заимствование иконографических мотивов).
There are similar subjects from the history of different countries in Russian, French and British art. Similarity of some of them
rests on likeness of events of the history of different countries important to state ideology. Similarity of other subjects is predestined by
likeness of the way of behavior of heroes who are presented as exemplа virtutis. The paper focuses on the latter and on such a case as
military heroes in particular. It reveals Russian and European artworks and unrealized programs for artworks in which military heroes of
Russia, France and Britain, medieval and contemporary, behave like the great ancient ones: “Warrior’s Farewell to his Wife” (“Hector’s
Farewell to Andromache”), “Military Commander’s Continence” (“Alexander the Great’s/Scipio’s Continence”), “Military Commander
Rejects to Quench his Thirst” (“Alexander Refuses to Drink Any Water until It Was Available for Everyone”). Comparison of representation
of events in Russian 18th-century art works with the information from sources and books on history available to the artists revealed how
exactly they were connected to their ancient counterparts (the choice of particular subjects or particular variant of account of events
resembling ancient ones from rich material, the choice of subjects on historical themes from fiction invented as calques from ancient
ones). The paper also examines visual ways to accentuate collation of ancient and modern (juxtaposition of ancient subjects and subjects
from national history in one space or in one commission, borrowing of iconographic motives).

He was not, as has previously been suggested, a 'younger son of the family of the earl of Salisbury' (Jones, 159), a confusion which arose because of his later close friendship with Charles Boyle, fourth earl of Orrery, who married Lady Elizabeth Cecil, sister of John, the sixth earl of Exeter, of whom William Cecil was once thought to be a brother. He was in fact a descendant of a di erent branch of the Cecil family, his father being 'a near Relation of the Right Honourable the Earl of Salisbury' and 'lineally descended from Lord Burleigh, Earl of Exeter' (monument inscription in the Westbrook chapel, Church of St Peter and St Archives Royal Arch., Stuart papers

ließen bereits die geophysikalischen Untersuchungen vor Beginn der Schachtarbeiten erkennen. Die St.-Petri-Kirche ist durch Schriftquellen seit dem Mittelalter belegt und während ihrer mehr als 700jährigen Geschichte wenigstens fünfmal um-bzw. neu gebaut worden. Seit sie im Jahr 1964 von der Erdoberfläche verschwand, entfiel sie auch dem allgemeinen Stadtgedächtnis. So war die Überraschung der Bürger und der Presse groß, als der alte Standort durch die Ausgrabungen wieder sichtbar gemacht wurde. Dass sich an und unter einer der meist befahrenen Straßen Berlins das Zentrum einer mittelalterlichen Stadt befand, löste Faszination und Bewunderung aus. Schnell wurde der Wunsch der Bürger nach einer Erhaltung der historischen Relikte deutlich. Auf den ausgegrabenen Grundmauern der Cöllnischen Lateinschule soll nunmehr ein Historisches Besucherzentrum entstehen, dessen Aufgabe es sein wird, die Berliner und ihre Gäste mit der Geschichte dieses alten Platzes vertraut zu machen. Darüber hinaus soll es Funde und Erkenntnisse aus innerstädtischen Ausgrabungen zeitgemäß präsentieren, um den archäologisch-historischen Diskurs zur Geschichte und zur Veränderung unserer Stadt zu befördern.

Surtout de table armorié à six pointes, bordé d’une galerie ajourée tressée à la manière d’une vannerie, au centre, les armes parlantes des BAGUET de Condamine, entourées d’une galerie circulaire cernée de deux belles couronnes concentriques de lambrequins de style rouennais.
Six pièces connues au modèle.

This article examines the study of a refreshment held on the occasion of the wedding of Don Charles of Bourbon and Maria Amalia of Saxony in the Venetian court, documented through an Advertencia Ceremonial which was found among the codices of the Spanish Embassy in Rome. To date, this is the only known testimony of the celebration at this venetian venue. The account not only attests to the importance of the marriage itself and the manner in which the celebration unfolded, but it also allows us to speculate about a series of connections between embassies, highlighting the existence of an efficient communication network among the Spanish legations, with its central hub in Rome.

Obituary for Slovenian art historian Dr Ksenija Rozman (1935–2024), the famous researcher of medieval, baroque and 19th-century painting and a pioneer of provenance studies in Slovenia.

Published online: https://umetnostna-kronika.si/zapis/memoriam-dr-ksenija-rozman-19352024

Soms zijn er tabakspijpen waarvan we door één of andere reden op het verkeerde been worden gebracht. Zo een tabakspijp is afgebeeld in "De Nederlandse kleipijp", pagina 111, waarbij een lint met de tekst "D:GEWAPENDE DENEMARKEN" is afgebeeld. Ondanks intensief speuren en navraag bij vele verzamelaars naar een tabakspijp met een identieke tekst is het niet gelukt om deze te vinden. Wel zijn vergelijkbare exemplaren aangetroffen maar dan met de tekst "D:GEWAPENDE NEUTRALITEIT". Deze laatste tabakspijpen staan centraal in dit artikel. In 1778 werd door Engeland aan Frankrijk de oorlog verklaard. Spanje koos de kant van Frankrijk en de Republiek koos ondanks Engelse verzoeken, de neutrale kant. Eind 1779 begeleidde de Nederlander Van Bylandt (deze naam wordt uitgesproken als Bieland) samen met vier andere oorlogsschepen 27 koopvaarders naar Frankrijk. Op 30 december 1779 werd dit konvooi ter hoogte van het eila_nd Wight onderschept door de Engelse marine onder leiding van de commandeur Charles Fielding. Fielding eiste de koopvaarders te mogen inspecteren op contrabandegoederen die bestemd waren voor Frankrijk. Een gesprek tussen Frederik Sigismund van Bylandt en Fielding leverde niets op. De Brit bleef echter bij zijn eis en na een plichtmatige schotenwisseling legde Van Bylandt zich erbij neer.

Kościół świecki, parafialny, zinkowski Miasteczko Zinkowce, guberni podolskiej powiatu kamienieckiego, dawniej województwa podolskiego, niegdy[ś] stołowe dobra biskupów kamienieckich, potem po przyłączeniu kraju polskiego do Państwa Rosji, skonfiskowane i wraz z innemi dobrami darowane JW grafini Branickiej, dziś zaś w posiadaniu jej córki JW. grafowej Worońcowej zostają. Leży nad rzeką Smotryczem w rozdole, pod samym prawie miastem guber[nator]skim Kamieńcem i jest niejako jego przedmieściem. Budowy drewniane, brzydkie, z rzadka murowane. Dawniej, pokąd Żydom nie wolno było mieszkać w Kamieńcu, znacznie od Żydów kupców osiadłe i handlowne było, lecz teraz zupełnie zaniedbane i opuszczone. Odległe jest od miasta stołecznego gubernium Kamieńca Podolskiego, o jedną tylko wiorstę ku zachodowi. Między latami 1672 i 1699 panowaniu Turków ulegało. 1 Hydrotechnik, profesor WAT. Zainteresowania naukowe to wykorzystanie systemów hydrotechnicznych w budowlach obronnych XVII i XVIII w., historia i dawna kartografia Kamieńca Podolskiego.