Palaces

Luc Bourgeois, Jean François Boyer, « Les palais carolingiens d’Aquitaine : genèse, implantation et destin », dans Luc Bourgeois, Christian Rémy (dir.), Demeurer, défendre et paraître, Orientations récentes de l’archéologie des fortifications et des résidences aristocratiques médiévales entre Loire et Pyrénées, Actes du colloque de Chauvigny, 14-16 juin 2012, Chauvigny, 2014, p. 67-118.

This article presents a new reading for the epithet of Werethekau, the goddess of coronation, on the golden pendant of Tutankhamun at Cairo Museum (JE61952). The epithet of Werethekau was found on a pendant within the small golden shrine of Tutankhamun, This paper will investigate the evidence whether one of the epithet of the king “beloved of Werethekau, lady of heaven” should instead be read as “beloved of Werethekau, lady of the palace” through comparison with other known examples of the epithet

This article studies relations between Real palace (Palau del Real), the royal residence of Aragonese kings in Valencia, and the City Hall (Casa de la Ciutat o Sala del Consell) since the Christian conquest till the end of Alfonso V the Magnanimous’ reign. During two centuries royal court and city government expressed alliance, rivalry and conflicts through architecture and decoration of their respective head offices. Building sites, great halls, chapels with relics and civic festivals played a remarkable role as instruments at the service of either kings and their officials or municipal councilors. Although both palaces were demolished in 19th century, archival and literary sources attest widely how artists and models were exchanged and innovation was fostered and displayed in these magnificent sceneries of power and decorum.

The article sets out to make a synthetic analysis of residential architecture in Vilnius from the 17th century that has hitherto been little analysed in research literature. Vilnius, the capital of the Grand Duchy of Lithuania, was where every significant magnate had to have an appropriate residence, in order to be acknowledged in the political arena. Palaces that met the needs and ambitions of their owners not only played a public role, but also served as a venue for magnate family and their clients gatherings. By merging with the living organism of the city, they were not only a sustainable decoration, but at times would also represent their owners’ religious and political standpoint. An analysis of Vilnius’ topography helps to identify parts of the city that were considered more prestigious than others. These were mainly the area around the Grand Duke’s Palace and the cathedral, and along the via regia, which was where the Radvilas (Radziwiłłs) settled in the Middle Ages. One of the largest palaces in Vilnius, that of Mykolas Kazimieras Pacas (Michał Kazimierz Pac), was built there. The Radvilas also had property in Lukiškės, where members of the family would build esidences. At the end of the 17th century, the Sapiega (Sapieha) family followed in their footsteps, not only by building a palace in Antakalnis, but also establishing a jurisdiction in the suburb. Palaces in the city were built in accordance with the linear development of the streets, at times on irregular-shaped plots of land, with buildings in the courtyards (such as the residences of the Bžostovkis (Brzostowski) and Pacas families). However, vast plots of land were used for residences on the outskirts
of the city, and particularly in the suburbs, which were often surrounded by gardens, and included folwarks and even menageries (the Sapiega Palace in Antakalnis, and the Radvila Palace in Lukiškės, which later merged with the newly formed suburb of Žvėrynas). A separate issue to consider in the future is the relations between the estates and the religious buildings in the area, where families had mausoleums, or at least where they supported the parish. Some examples are the Gosievskis (Gosiewski) Palace on Bokšto Street and the chapel in St Casimir’s Church; the Bžostovskis Palace on Dominikonų Street and the altaria in St John’s Church; and the Oginskis Palace in Arklių Street and the family’s relations with and support for the Carmelites. In this respect, the ideal situation was in Antakalnis, where Kazimieras Jonas Sapiega (Kazimierz Jan Sapieha) built the Trinitarian church and monastery next to his palace. Of all the 17th-century palaces in Vilnius today, only those of Jonušas Radvila (Janusz Radziwiłł), Mykolas Kazimieras Pacas, Dominykas Mykolas Sluška (Dominik Michał Słuszka) and Kazimieras Jonas Sapiega have been preserved in a condition suitable for further analysis. Of them, the Pacas can be singled out as a typical city residence, the rest were built as suburban residences. In analysing them, an attempt is made to link them with trends in residential building in the Polish-Lithuanian Commonwealth.

Cilj ovoga rada uspostaviti je tipologiju tlocrtno-prostorne organizacije stambenih uglovnica građenih na zagrebačkome Gradecu (današnjemu Gornjem gradu) u 18. stoljeću. U razmatranje je bilo uzeto deset uglovnica izgrađenih na središnjemu platou Gradeca, jer uglovnice građene na bedemima zbog različita konteksta gradnje, konfiguracije terena i temeljā građevina pokazuju neke druge značajke istovjetne onima stambenih objekata neuglovnica koji su također izgrađeni na bedemima.
U uvodnome dijelu podrobno su opisane poteškoće prisutne u istraživanjima stambene arhitekture, te su dane osnovne smjernice za njihovo provođenje. Nakon toga slijedi pregled provedenih istraživanja i kritički osvrt na stariju literaturu s ciljem (re)valorizacije prije uspostavljenih teza vezanih za tipologiju gornjogradskih stambenih palača iz razdoblja baroka. Riječ je o istraživanjima Nade Premerl, Lelje Dobronić i Sandre Križić Roban.
Temeljem detaljne arhitektonske deskripcije deset odabranih objekata utvrđuju se tri tipološke skupine građevina, a u analizi se, prije svega, uzimaju u obzir broj krila i stupanj ugrađenosti zdanja u pripadajući gradski blok, stoga se ugaone osamnaestostoljetne stambene građevine na zagrebačkome Gornjem gradu mogu podijeliti na jednokrilne, dvokrilne i trokrilne, s tim da se jednokrilne dalje mogu razdijeliti na one u kojima se prostorije organiziraju kao prostorni niz i na one kod kojih je prisutno složenije grupiranje prostorija prema namjeni. Sve su dvokrilne uglovnice poluugrađene s L-tlocrtom, a one trokrilne imaju U-tlocrt te se razlikuju ugrađene od slobodnostojećih po tretmanu okolnoga prostora. Najjednostavniji formalni elementi projektiranja – broj krila i stupanj ugrađenosti u gradski blok – pokazali su se ovdje kao valjana polazna točka u razmatranju tipologije, a svi primjeri unutar (pod)skupina ukazuju na brojne analogije u tlocrtnoj dispoziciji, postavu prema komunikacijama i oblikovanju unutrašnjega prostora.

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The aim of this article is to define the layout-space organisation typology of residential corner houses built in Zagreb’s Gradec (today Upper Town) in the 18th century. Ten corner houses built in today’s Gradec central plateau are considered, because due to a different building context, terrain configuration and foundations, the corner houses built on the city walls show some attributes proper of non-corner residential buildings also built on the city walls.
In the introduction, the obstacles faced by researchers of residential architecture were described in detail, after which basic guidelines for conducting such research were offered. This was followed by an outline of previously conducted studies and a critical overview of bibliography aimed at a (re)valorisation of earlier theses relative to the typology of Upper Town baroque residential buildings. The studies in question were carried out by Nada Premerl, Lelja Dobronić and Sandra Križić Roban.
Based on an elaborate architectonic description of the ten houses taken into consideration, three typological groups of buildings were identified. First and foremost, the analysis took into account the number of wings and the level of buildings’ integration into a certain city block. Therefore, Zagreb upper town 18th century residential corner houses can be divided into single-wing, two-wing and three-wing buildings, whereas single-wing houses can be further classified into those whose rooms are organised in a row and those with a more complex grouping of rooms spaced according to function. All of the analysed two-wing corner houses are semi-detached and have an L line, while the three-wing houses have a U line. What distinguishes the three-wing terraced houses from the three-wing detached houses is the treatment of the surroundings. The most basic formal construction elements – the number of wings and the level of integration into the city block – resulted to be a valid departure point when considering house typology, while all the examples within the (sub) groups indicate to many plan disposal, grid plan and interior design analogies.

This paper provides an overview of chapels and oratories in the noble residences of Palermo in the post-Tridentine age. It asserts that the pervasive and enduring role of religion was reflected in the architecture of private devotional spaces. This paper sheds light on the continuous re-negotiation of the boundaries between religious and secular spheres in the domestic environment. It includes a comparison between oratories in villas and chapels located in urban palaces.

The indescribable idea of the sublime fascinated and challenged the famous nineteenth century artist Ivan Konstantinovich Aivazovsky, whose dwelling upon this concept gave rise to countless visual responses. In this paper, we examine the earliest known version of his piece known as Walking upon the Sea, dated 1849, from the State Art Collection of the Royal Compound in Serbia. This particular image is a peculiar combination of the stormy sea at night and religious theme that embodies the artist’s inner self- observations, thoughts, worldview, and the perceptive power of the years to come. Aivazovsky was a man of Romanticism and a visionary genius as well. He was occupied with the ideas of infinity, great drama and of the divine that challenges viewers’ senses of space and time. Walking upon the Sea, the art piece of its time, is a manifest reflection of skepticism of the era, groundbreaking experiments, innovations, and discoveries.

Renaissance treatises show how much their writers were sensitive to themes related to the salubriousness of the environment in which people lived. Thus the question arises as to what provisions were made in this regard in the field of housing, focusing attention on technical plants and on a limited geographical and temporal area. The present study has investigated, with particular regard for the diffusion, construction techniques and costs, the features of the technical plants (supply of drinking water, collection and drainage of rain and waste water, latrines and cesspools, heating, bathrooms) that noble Milanese residences were equipped with in the period 1550-1650 so as to guarantee health and comfort, and what devices were suggested, and often adopted, to optimise the efficiency of these systems. The documents analysed have also shown how sensitivity to such matters was common ground, at least on the level of those who could afford to own a home.
Argomenti:
Introduction.
The plumbing system:structure, materials and costs.
Well to supply drinking water and sinks.
Roof gutters and rainwater pipes.
Conduits and cisterns to collect and drain rain and waste water.
Latrines and cesspools.
The heatings system of the home.
Fireplaces.
Stufe and bathrooms.
Conclusions.

U radu se osvrćemo na palaču obitelji Ivanišević u Makarskoj, uz pojedine korekcije i nadopune, te detaljniju arhitektonsku analizu. Također, prvi se put iznose podaci o drugoj gradskoj palači ove obitelji u Makarskoj i uništenom obiteljskom ljetnikovcu u Podgori. Majstoru Tomasu Miraglii iz Apulije pripisuje se izrada bunarske krune s grbom biskupa Stjepana Blaškovića, danas smještena u vrtu franjevačkog samostana u Makarskoj.

Urban archaeology in the city of Maastricht is mainly concentrated on two sites, not coincidentally surrounding the two medieval main churches, the Church of Our Lady and the Church of Saint Servatius. In this contribution all observations and surveys are listed, starting with the first medieval quests for the relics of Saint Servatius. From there, the possible discoveries of the so-called 'Wall of Giselbert' (10th century), The 'Palace'(Palts) of the Duke (10th/11th century) and the underestimated importance of the two medieval hospitals in one corner of the Vrijthof square are drwawn into attention.
[in 2017 this article was followed by an english version, see my publication list]

Kneževa palača u Cresu srušena je sredinom 19. stoljeća. U članku se raspravlja o njezinoj povijesti i izgledu, temeljeno na ranijim istraživanjima, ali i novim spoznajama iščitanim iz prikupljenih arhivskih dokumenata, bilješki creskog kneza i gradskog vijeća, pisama generalnih providura za Dalmaciju i konačno dokumenata nadležnih državnih tijela u Veneciji. Također se razmatraju i podaci o palači iz tek nekolicine sačuvanih slikovnih prikaza od kojih se po prvi put objavljuje tlocrt njezina prizemlja, izrađen u vrijeme prodaje i razgradnje palače 1854. godine.

PATAČIĆ PALACE IN VARAŽDIN: DEVELOPMENT, INVESTORS, CONTEXT

This study aims to define the chronological sequence of the construction and subsequent renovations of the Patačić Palace in Varaždin. The palace is a one-winged, three-storey building, constructed in the 17th century by the enlargement of an older house, most probably in 1669 for the merchant Daniel Praunsperger. Since then, both the interior and the exterior of the palace underwent multiple renovations which resulted in changes with each new owner. After a short period in the possession of Juraj Plemić, the palace was sold to the Pauline order in 1705. The Paulines undertook to carry out a substantial renovation which included, among other things, adding a corner bay window and painting the façades in grey and white medallions, the design which had been characteristic of several other buildings owned by the Paulines. Subsequently in 1730, the Paulines sold the palace to count Ladislav Keglević who had the façades repainted in white with simple grey decoration.

The most important period in the palace’s history was the renovation of 1764 for the wealthy investors count Franjo Patačić and his wife Katarina, née Keglević, who were prominent nobility figures of the Varaždin society in this period. The interior of the palace was thence refurbished with wall paintings and a new staircase, and the exterior redesigned with stone, plaster and stucco decoration of great plasticity. The interior excels with an illusionist wall painting depicting blue and white Delft “tiles” in a second-floor room, and an abundant rocaille ornament in two bel-etage salons, all three rooms dated between 1764 and 1770. The concurrent appearance of the rocaille ornament on the interior wall paintings and the same motifs made of stucco on the façades, show that the renovation was predefined by the investors’ clear conceptual and stylistic vision.

The design of the façade with the articulated portal and free forms of the rococo ornament can be related to the building and stucco workshops in Graz and Styria of the 18th century. The palace’s architectural concept evokes the works of the architects Johann Georg Stengg and Joseph Hueber, who both had many followers throughout Styria, notably in a local building workshop in Maribor from 1750s to 1770s. The stucco decoration, on the other hand, reveals the influences of Heinrich Formentini’s artisan workshop in Graz.

Count Franjo Patačić and his wife Katarina were the well-known patrons of art, and, by hiring major Styrian artists, left a remarkable work of the baroque architecture in Croatia. Although the “golden age” of their life was somewhat short, it co-occurred with the peak of the rococo period in Varaždin in the 1760s.

En este artículo se ofrece una visión de conjunto sobre la arquitectura civil –tanto privada como pública– levantada en tierras aragonesas a lo largo del Quinientos. Partiendo del análisis de las tipologías y prestando una atención especial a las fuentes y modelos empleados, este estudio contempla sus relaciones con la arquitectura desarrollada en el reino de Navarra a lo largo de este mismo periodo.

In this article we offer an overall vision on civil architecture –private or public– applied on Aragonese land during the 16th century. Starting from the analysis of typologies and paying a particular attention to the sources and models employed, this study considers its relations with the civil architecture developed in the Kingdom of Navarre throughout the same period of time.

""The Palace of the Zagreb Kaptol in Varaždin was considered
to have been built at the beginning of the 18th century. A close study of its extensive construction documentation, kept at the Kaptol Archives in Zagreb, proved that between 1760 and 1763, a new palace was erected to replace an older house. Although the records do not reveal the identity of the palace designer, the execution was entrusted to Anton Maričnik, the master builder of the Ludbreg manorial estate, while a number of local craftsmen were commissioned to do the artisan work. In spatial organization, as well as in the façade decoration, the palace resembles a group of 8th-century noble houses in Varaždin, influenced by the neighboring province of Styria. The specific feature of its façade design, the projecting block crowned with a pediment with scrolls, is typical of several other secular buildings dating between the 1760s and 1770s in Croatia. Despite small dimensions, the palace stands out as a valuable work of the baroque architecture in the continental Croatia.""