Palaces

Two different types of monumental architecture arise as part of the urban landscape of the Middle and Late Bronze Ages in the southern Levant: palaces and temples. While these architectural feats stand out as different from domestic architecture, there is little discourse on what defines a space as a palace or as a temple. This article uses access analysis to demonstrate that, in terms of space syntax, the complexity and organizational schemes of palaces and temples are exceptionally divergent. As such, this study also investigates whether the ancient Near Eastern linguistic traditions of referring to palaces and temples as houses, accords with the archaeological record in the Levant. The study concludes that while the syntactic properties and architecture of palaces are modelled on contemporary courtyard houses, temples comprise a completely different category of space that neither resembles the syntax nor the architecture of palaces or houses. The utility of this approach for dist...

PALAZZI DEL CINQUECENTO A ROMA
   
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a cura di Claudia Conforti e Giovanna Sapori


Presentazione di Caterina Bon Valsassina        VII

Premessa di Claudia Conforti, Giovanna Sapori    XI

Giovanna Sapori: Maestri, botteghe, équipes e cantieri nei palazzi romani: Perino del Vaga, Salviati, Vasari e Zuccari      1

Sonia Amadio: Allestire una parete: disegni per la decorazione ad affresco nei palazzi romani    53

Paola Picardi: La decorazione dei palazzi farnesiani alla metà del Cinquecento    67

Nicolas Cordon: Artifices et paradoxes. Daniele da Volterra et les décors de stuc en très haut relief      83

Jan L. de Jong: Paintings in Palaces: Descriptions and Inscriptions    101

Patrizia Di Benedetti, Giovanna Sapori: Una banca dati sulla decorazione dei palazzi fra 1540 e 1570      111

Beatrice Cirulli: I palazzi descritti e illustrati nelle guide di Roma del Cinquecento      119

Patrizia Di Benedetti: La rappresentazione dei palazzi romani nelle incisioni del Cinquecento    153

Ludovica Tiberti: Le incisioni di palazzi nel mercato delle stampe a Roma tra Cinque e Seicento    167

Ilaria Sferrazza: “Palazzi di Roma de più celebri architetti”: Pietro Ferrerio pittore e architetto    185 
     
Christoph Luitpold Frommel:  Prima del Sacco di Roma: all'origine del palazzo romano      201

Federico Bellini: Il portale nel palazzo romano  231

Nicoletta Marconi: L’ornamento lapideo      255

Micaela Antonucci: «Tutto passa per le scale»: la scala nei palazzi romani    271

Carla Trovini: Stalle e rimesse nei palazzi romani    291

Claudia Conforti, Maria Grazia D’Amelio: Di cieli e di palchi: soffitti lignei a lacunari    308

Claudia Conforti, Maria Grazia D’Amelio: Camini dei palazzi romani      354

Sabine Frommel: Gli Hôtels particuliers a Parigi dal XV al XVII secolo      392

Manolo Guerci: I palazzi londinesi dello Strand: 1550–1650    419

Abstracts    431

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Titre : Une autre image du pape. Les décors peints des villas des dataires apostoliques de Léon X, entre autocélébration et glorification du pontife.
Durant la Renaissance, l'image du pape est omniprésente. Tableaux, fresques, monnaies, médailles, fêtes populaires-aucun support n'est négligé, et aucune occasion n'est manquée pour diffuser une certaine image du pontife. Cela est particulièrement vrai sous l'un des plus célèbres papes du XVIe siècle, Léon X, illustre représentant de la famille florentine des Médicis. Des portraits officiels aux fresques du Palais apostolique, en passant par les multiples interventions urbanistiques dans la ville de Rome et ailleurs, Giovanni de' Medici, après une douloureuse période d'exil, a un objectif clair : marquer son pouvoir dans l'espace public et privé par le moyen de commandes artistiques ambitieuses, et opérer ainsi ce qui a été plusieurs fois désigné comme une « refondation » de la ville de Rome, désormais unie à Florence par son élection en 1513 en tant que premier pape Médicis. Mais Léon X n'est pas seul dans cette reconquête par l'image. Outre les artistes célèbres que le pontife sollicite, comme Raphaël ou Michel-Ange, et les nombreux poètes qui glorifient son action par leurs vers, certains membres de la cour pontificale mettent eux aussi tout leur raffinement au service de cette propagande artistique. Parmi les prélats, cardinaux et autres hommes d'influence qui gravitent autour du pape, une catégorie se distingue à cet égard : les dataires apostoliques. Surnommés les oculi papae, ces hommes de l'ombre ont la haute main sur une partie des finances personnelles du pape. Cette activité leur accordait des moyens financiers à la hauteur du prestige de leur fonction. Deux des quatre dataires désignés par Léon X se démarquent particulièrement : Baldassarre Turini et Silvio Passerini. L'un, originaire de Pescia, fait appel à Giulio Romano et aux élèves de Raphaël pour construire et orner sa villa de plaisance sur le mont Janicule ; l'autre, cardinal depuis 1517, choisit de faire édifier un imposant palais dans sa ville natale de Cortone. Composés de fresques et de stucs, les décors de ces deux demeures ont la particularité de rendre hommage à Léon X, à sa famille et, de manière plus globale, aux liens si étroits qui unissent Rome et Florence depuis l'année 1513. Les références directes au pape sont partout : subtilement glissées dans les thèmes iconographiques issus de l'histoire antique de Rome, mais aussi dans les stemme, les imprese, et les motti qui ornent les murs de ces deux villas. C'est au travers d'une lecture contextuelle de ces décors, interprétés à la lumière des commanditaires et de leur relation privilégiée avec le pape que je démontrerai à quel point les fresques des villas Turini et Passerini conjuguent autocélébration du commanditaire et glorification du pouvoir pontifical.

In the period 1028-1031 Margrave Olderic-Manfred of Turin (r.c.1000-1033/4), acting alongside his wife, Bertha of Milan, and his brother, Bishop Alric of Asti (r.c.1007-1036), carried out a series of actions which consolidated his hold on the mark of Turin. These included: creating a margravial palace in the city of Turin; gaining control of the castle of Susa; making a series of donations to religious institutions in Turin; and founding monasteries and houses of canons elsewhere. Many of these developments have been discussed before, but briefly, and individually: they have not been seen as a unified policy indicating a change in Olderic-Manfred’s territorial politics. In this paper, Olderic-Manfred’s charter activity (1028-1031) is juxtaposed with an account in the Chronicon Novaliciense (written c.1050) of a dispute between Abbot Odilo of Novalesa-Breme and Bishop Alberic of Como for control of the abbey of Novalesa-Breme. Other groups became drawn into this conflict, and one result was a rebellion against Olderic-Manfred by the citizens of Turin, c.1027. This paper argues that the dispute played a central role in shaping Olderic-Manfred’s subsequent territorial politics. After putting down the rebellion, Olderic-Manfred consolidated his position in the city of Turin; he also began to shift his interests away from the city, both west towards Susa, and south-west towards the Pinerolese, to create new centres of dynastic power.

La Commission de l’Académie des Inscriptions et Belles-Lettres (Paris), en sa séance du 13 mai 2016, a décidé de récompenser Marc Maillot, chercheur à la SFDAS, du Prix Max SERRES pour son ouvrage intitulé : « Palais et grandes demeures du royaume de Méroé, les relais du pouvoir central. Traditions locales et méditerranéennes » (Paris, PUPS/SFDAS, 2016).

The so-called St. Martin's Chapel of the former imperial palace at the Valkhof in Nijmegen not only has all the characteristics of a double chapel but probably also served the function of a "Camara Santa," the repository of the palace's relics and treasures from the time of Emperor Frederick I Barbarossa.

Lelja Dobronić prva je sustavno istraživala stambenu arhitekturu zagrebačkoga Gornjeg grada, a kada je riječ o onoj osamnaestostoljetnoj, prva ju je uopće uzela u razmatranje. Koristila se, prije svega, historiografskim pristupom pa je transkribirala i interpretirala veliku količinu pisanih izvora. Sve njezine ranije publikacije činile su pretekst kapitalnom djelu "Zagrebački Gornji grad nekad i danas" (1967.), koje je i danas polazna točka u svim istraživanjima gornjogradske arhitekture. Do vrijednih spoznaja došla je monografski obrađujući palaču Vojkffy-Oršić-Kulmer-Rauch, a osobito su zanimljivi njezini manje poznati tekstovi u kojima akcentuira važnost uloge naručitelja. Time je dala znatan obol metodološkom postupku odnedavno uvriježenom u nacionalnoj povijesti umjetnosti i bila jedan od njegovih pionira.

Cortili privati di scuola fiorentina, della bottega dei fratelli Baglioni architetti e legniaioli fiorentini. Poco conosciuti perchè non visitabili e non inseriti in una rete museale, ma di grande valore, perchè opera di artisti che hanno reso Firenze la città degli palazzi mercantili. Ugolino Grifoni, notabile del Duca Cosimo I, fu il primo a trapiantare un intera generazione di architetti che realizzò un sorta di 'seconda Firenze' civile con un vasto repertorio di palazzi dai "nudi campi d'intonaco". Edifici con "facciate appena segnate da membrature spoglie di ogni ornamentazione", con spazi centrali molto ricercati sino al fiorire di grandi capolavori del laterizio facciavista

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.

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.

O  Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas/NOVA e o Fórum Cidadania Lx encontram-se a organizar a 2.ª Conferência Palácios Históricos de Lisboa e Oeiras. De que lhes serve a classificação?, que terá lugar no dia 14 de Maio (sábado, das 9h30 às 13h00) no Palácio Pombal (Rua do Século, Lisboa).

Esta actividade decorre na continuidade da 1.ª Conferência os Palácios Históricos de Lisboa. Memória, Ruína ou Futuro?, realizada no dia 24 de Janeiro de 2015, na qual se promoveu um debate sobre o estado de conservação dos Palácios de Lisboa, propondo-se ainda um conjunto de acções com vista à reabilitação e usufruto público deste património. Face ao debate e propostas de acção sugeridas, a 2.ª Conferência vem realizar um ponto de situação acerca das intervenções realizadas (ou não) nos palácios de Lisboa, e sobretudo debater a importância da «classificação» destes imóveis. Refira-se, ainda, que esta conferência alargará os estudos de caso ao município de Oeiras.

A conferência contará com a presença de investigadores que abordarão os aspectos histórico-artísticos destes palácios que contribuem para a determinação da sua classificação, aludindo ainda ao estado de conservação e restauro.
Membros da organização:
Ana Celeste Glória (Instituto de História da Arte, FCSH, Universidade NOVA de Lisboa)
Paulo Ferrero, Miguel Veloso (Fórum Cidadania Lx)

Apoio:
EGEAC | CML

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.

In 1603, the dowager Electress Sophie of Brandenburg left the Saxon court at Dresden to move to her Witwensitz Colditz Castle. At Colditz, she had large parts of the former palace of Frederick the Wise (1517-1525) rebuilt. Sophie gave top priority to the construction of a new pharmacy. The records of the court’s financial administration describe this new pharmacy building in detail. Thus, we could show that the so-called “Beamtenhaus” (housing the Fluchtmuseum) is in fact Sophie’s pharmacy of 1603. The staircase of the new building connected the female living quarters with the newly established pleasure garden.

O Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas, através do grupo de investigação Medieval and Early Modern Art Studies encontra-se a preparar um Seminário de Investigação subordinado ao tema “Novos contributos para o estudo da Casa Nobre em Portugal”. O objetivo deste Seminário é apresentar e divulgar a recente investigação académica, desenvolvida em torno da casa nobre de Norte a Sul de Portugal. Esta atividade procura ainda evidenciar o contributo fundamental de investigadores consagrados nas áreas da arquitetura, história da arte e história, e cujos projetos de investigação e de doutoramento constituíram ponto de partida a novos estudos que se encontram agora a desenvolver em diversas Universidades.

Dos oradores-convidados confirma-se a presença de:
António José de Oliveira
Augusto Moutinho Borges
Liliana Castinho
Hélder Carita
Isabel Mendonça
Isabel Soares de Albergaria
João Vieira Caldas
Manuel Apóstolo

Maria João Pereira Coutinho

Maria Amélia Paiva

Organização: Instituto de História da Arte, FCSH/NOVA; Medieval and Modern Art Studies Research Group; Ana Celeste Glória (Bolseira de Doutoramento FCT SFRH/BD/86280/2012)

Entrada livre (sujeita à capacidade da sala)

Antonio Almagro, Pedro Jiménez, Julio Navarro (auts.): El Palacio Omeya de 'Ammān, III. Investigación arqueológica y restauración, 1989-1997. Granada, Escuela de Estudios Árabes, CSIC - Real Academia de Bellas Artes de Granada, 2000. English Summary by Diana Kelham, pp. 237-297.

ABSTRACT Using a set of structural and network analysis approaches, this paper focuses on the monumental structure known as ‘the Palace’ at the Swahili stone town site of Gede, located near the Kenya coast. Gede is one of many stone towns that flourished on the East African littoral from the thirteenth to the sixteenth centuries AD. The ‘Palace complex’ is the largest building on site and developed in at least three stages within the last 100–150 years of the site’s occupation. Its palatial function has so far been considered mainly in light of its monumentality and relative size, hence on the basis of its formal properties. This article utilises approaches that examine the spatial structure of the complex, offering an analysis of its spatial organisation by studying its inherent potential in terms of movement and visibility. The interpretation of the social logic of its development presented here is based on access and visibility analyses and on network analysis and thus connects methodologies developed in the 1980s with those that have started to be more widely discussed only within the last decade. The results reveal how the configuration and use of rooms, their place in the communication network within the building and their social potential changed through time.

Four of my favorites objects from the the Tower of London: Queen Victoria's Small Diamond Crown (1870); Astrological graffito left in 1560 by Tower prisoner, Hew Draper, an innkeeper imprisoned for sorcery; the Coronation Spoon (C12); a late C18 tankard, used by a Yeoman Warder (Beefeater) at the Stone Kitchen, a former pub at the Tower of London.

Estudiar el arte de las Órdenes Militares es aludir a un patrimonio atomizado y, en gran parte, perdido.  Esta afirmación coincide con una primera reflexión a la que han llegado la mayoría de los estudios sobre estas manifestaciones artísticas: la ausencia de un arte especifico vinculado a las Órdenes Militares. Estas instituciones de monjes guerreros no precisaron una edilicia con una determinada compartimentación espacial  y, en consecuencia, no la  construyeron. Edificaron conforme a la estética del momento y a los condicionantes geográficos del entorno. Bajo este punto de vista no podemos hablar de arte propiamente de Órdenes Militares. Esta contundante afirmación no se contrapone a la valoración del papel fundamental desempeñado por estas instituciones en el asentamiento y repoblación de un amplio territorio, lo que en términos artísticos significa que tuvieron un protagonismo notable en la construcción de un vasto conjunto de edificios de naturaleza civil, religiosa, económica y hospitalaria que figura diseminado por toda la geografía peninsular. El estudio cohesionado de estas obras, aún por realizar en su totalidad, nos permitirá calibrar  el papel ejercido por estas instituciones en el asentamiento y difusión de determinadas estéticas y tipologías.

The subject of the research of this paper is the history and architecture of the palace that was built for the Serbian Crown Prince Mihailo Obrenovic, and that had been located within the central court complex of the Obrenovic Dynasty, in the immediate vicinity of Terazije Square in Belgrade. The attractive edifice lasted from 1860–1909
and was important marker in urban setting of Belgrade. The aim of the paper was to analyze and reconstruct the original appearance of this capital building on the basis of the scarce existing sources and available evidences. The edifice has been constructed with the idea of creating a royal residence that has been set within the framework
of modern understandings of a ruler‘s space. Even though it didn't become the actual home of Prince Mihailo Obrenovic it was built and equipped according to the functions and needs of the official princely court. The research focus was placed on the background and particular reasons for conceiving and constituting this kind of
representative architectural building of engaged rhetoric. Considering the social conditions, sudden and frequent changes within the political scene and changed understandings of the ruler’s authority within the framework of the 19th century Serbian state, we have tried to explain and argue reasons and circumstances that led Prince Milos to decide to build this type of ruling residence for his successor. The issue of metropolis wasn’t resolved until 1841. However, Serbian ruler was aware of the current European practice. We have reviewed historical backgrounds and
striving of Prince Milos Obrenovic to catch up with the European model when it comes to the ruler’s ideology within which the court, it position, architecture and design held an impact of extraordinary importance. At the same time, the attempt was made to point to the essential changes when it comes to the widespread belief in
attribution of the architectural design. We have challenged the authorship of Kosta Sreplovic that was set in the past and offered possible directions which would further point to new observations of authors‘ contributions and interpretations of European influences on the development of court architecture in our midst. The circumstances
surrounding the pulling down and complete deletion of this topos from the mental geography of the inhabitants of the Serbian capital were also considered. The architecture of the palace did not fit into ideological shift and desirable shape of the king’s court. Still, its initial idea lives through the fact that its place occupies the Presidential Palace, therefore it continues existing as an effective ruler’s topos.

Pharaoh is a title most oft associated with ancient Ægypt, it is also likewise connected with 'Æthiopia', however, the geographical location of this Æthiopia is disputed within western scholarship, Rev Deacon Gabra 'AGZI'AABHIR JR presents a 'conclusive report' on this matter and on Æthiopia's "last Pharaoh", as well as, on the 'Palace' of this king, which was recently discovered by him on expedition in 2011 G.C.

'The Last Pharoah of Æthiopia named Ægyptus' was present to the Æthiopian Historical Research Society, 2013 G.C. and followed a lecture title 'King Iyasu the Great (of Æthiopia)' by Mamhr Fr. Belete Merid M.A.   

(For some anicdotes on this King see the Genealogical table in the Appendix of the following article, and the article itself, entitled: 'Neglected Aethiopian History: the Life and Martyrdom of St. Matthew, Apostle of Aethiopia rejected and ignored by Ethiopianists':
https://www.academia.edu/39257256/_Full_Text_NEGLECTED_%C3%86THIOPIAN_HISTORY_the_Life_and_Martyrdom_of_St_Matthew_among_the_Aethiopians_rejected_and_ignored_by_Ethiopianists_past_and_present_2018_20th_International_Conference_of_Ethiopian_Studies_Proof_Copy_ )