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Na tradição hipocrático-galênica, a condição de saúde estava relacionada ao equilíbrio de humores corpóreos que, em diferentes combinações, resultavam em temperamentos. Esses temperamentos determinavam o caráter do homem, seus aspectos psicológicos, aparência física e afetos. Dos principais temperamentos (sanguíneo, colérico, melancólico e fleumático), o melancólico foi considerado o mais nocivo e de alterações psíquicas mais diversificadas, sendo objeto de estudo de tratados médicos, anatômicos e representações artísticas, literárias e filosóficas em diferentes períodos históricos, desde a Antiguidade Clássica. No âmbito artístico, inspirou uma iconografia exclusiva das emoções e da constituição física e fisiognomônica dos indivíduos, fortalecendo a relação intrínseca entre a alma e o corpo, principalmente na expressão do rosto. O objetivo deste artigo é estudar como o temperamento melancólico se relacionava com a produção iconográfica do artista Charles Le Brun (1619-1690). Este estudo levou à conclusão de que Le Brun transpôs para o campo da iconografia os conhecimentos da medicina hipocrático-galênica, da fisiognomonia e anatomia relacionando os traços faciais e personalidade. Separando corpo e alma relacionou os humores ao estudo das paixões em substituição ao estudo do caráter. Além disso, ele se preocupou com aspectos teóricos da pintura.

The article presents the hitherto unknown decoration of the furnishing of a little Protestant church in Rodowo in Ducal Prussia, founded by the local aristocratic family of the Schack von Wittenaus. After firstly providing an overview of the complicated confessional history of the region, the church, and its patrons, the second part of this article presents the emblematic decoration of church benches based on the “Four Elements,” with models for tapestries designed by Charles Le Brun and published in Paris in 1668 (and later in Germany). The original emblems, with descriptions by Charles Perrault, refer to King Louis XVI as the ideal ruler, but in Rodowo they emphasize the position of the Prussian nobility as the most important social group in the country. The second part of the article presents four unknown easel paintings on the church walls, with a symbolic presentation of Lutheran piety connected with Pietism in Ducal Prussia. The entire artistic ensemble in the church refers to the role of noblemen as leaders in the social and religious life of Ducal Prussia., Entangled Religions, Vol 7 (2018): Between the Altar and the Pulpit: The (New?) Materiality of the Spiritual

В статье рассматривается один из наиболее известных утраченных интерьеров Версальского дворца — Парадная лестница, также известная как Лестница Послов, на примере гравированных изданий из коллекции Научной библиотеки Российской академии художеств: сборника эстампов французского гравера Луи Суруге “Grand Escalier du Chateau de Versailles dit Escalier des Ambassadeur”; одного из томов серии “Tableaux du cabinet du Roy” и отдельных листов гравюр с фрагментами плафона Лестницы Послов. Несмотря на то, что весь процесс строительства и росписи, зафиксированный во французских документах, был инновационным для европейской архитектуры XVII в., в отечественной историографии Лестница Послов остается малоизученной. Тем не менее, проект именно Парадной лестницы в Версале с двумя расходящимися маршами и обильным декором стен и светового фонаря плафона оказал существенное влияние на распространение и развитие аналогичных архитектурных конструкций в дворцовых интерьерах большинства европейских государств. В статье подробно описано убранство утраченного интерьера, отражавшего идею абсолютной монархии и полностью осуществленного под руководством Первого художника Людовика XIV Шарля Лебрена., The Front Staircase of the Versailles Palace also known as the Ambassadors’ Staircase is one of its most famous lost interiors. In the article, the researcher considered this theme on the example of the engravings from the collection of the Scientific Library of the Russian Academy of Arts: the collection of engravings by Louis Suruge “Grand Escalier du Chateau de Versailles dit Escalier des Ambassadeur”; one of volumes of the series “Tableaux du cabinet du Roy” and the separate plates with the fragments of the plafond of the Ambassadors’ Staircase. The studies of the Ambassadors’ Staircase were rare in Russian historiography despite the fact that the construction and painting recorded in the French documents were innovative for the European architecture of the 17th century. Nevertheless, it was the project of this staircase with two flights of stairs and decor that had the significant impact on the development of the analogues architectural constructions in palace interiors in many European countries. In the article, the researcher discussed in details the decoration of the lost staircase created by the court painter to Louis XIV Charles Le Brun which represented the idea of absolute monarchy.

Статья посвящена физиогномической теории французского живописца Шарля Лебрена, отраженной в трактате “Dissertation sur un traité de Charles Le Brun, concernant le rapport de la physionomie humaine avec celle des animaux...” 1806 г. на примере экземпляра из коллекции Научной библиотеки Российской академии художеств. Труд представляет особый интерес, так как целью его создания было не применение физиогномики в сложившемся мистическо-предсказательном ключе, а использование псевдонауки как средства в процессе обучения живописцев. Шарль Лебрен унифицирует вариации строения человеческого лица и систематизирует зависящие от него скрытые особенности характера, степень подверженности тем или иным порокам, доминирующие добродетели и страсти. Желая их осмыслить, художник создает особую систему знаков, где семантический ряд расшифровывается в соответствие с попыткой геометрического подтверждения теоретической части. В своей физиогномической системе художник устанавливает, что характер человека можно определить, опираясь на внешний знак. Уникальность публикации, изданной на основе лекции Шарля Лебрена, заключалась в добавленном зооморфном элементе, который, на примере сопоставления с человеческими лицами, являлся индикатором внутреннего образа самого субъекта., In the study, the author focused on the physiognomic method of the French painter Charles Le Brun represented in the treatise “Dissertation sur un traité de Charles Le Brun, concernant le rapport de la physionomie humaine avec celle des animaux...” published in 1806, considering the exemplar from the collection of the Scientific Library of the Russian Academy of Arts. The work is of interest due to its purpose of using the pseudo-science as a resource for art process study guides, avoiding long-established pattern of mystical and predictive context. Charles Le Brun introduced the uniform system of the facial structure variety and codified human characteristics such as the extent of vulnerability for sins, virtues and passions. The painter created the distinct semantic system that can be decrypted according to geometrical confirmation of the theoretical part of the work. The treatise of Charles Le Brun stated a possibility of temper sighting using references on external sing. The uniqueness of the publication based on Charles Le Brun’s report was in addition of zoomorphic element which indicated the inner man’s character on the base of comparing it with human’s appearance.

Dans les années 1630, Vincent de Paul promit à Louise de Marillac qu’il enverrait « quérir le peintre » pour réaliser une image religieuse pour les Filles de la Charité. L’estampe appelée Le Seigneur de la charité fut dessinée par Charles Le Brun, gravée par Pierre Daret et imprimée en 1640 chez Antoine Hérault, proche de Dames de la compagnie vincentienne. Elle présente le Christ en pied sur un nuage où il est inscrit « La charité de Jésus-Christ nous presse. Cor. 2, 5 ». Il protège l’action des Filles de la Charité, placées au second plan, qui soignent des nécessiteux dans un hôpital. Largement distribuée au sein de la compagnie et copiée par ses membres à maintes reprises, cette gravure devait éduquer spirituellement les « Filles des campagnes » qui s’étaient engagées auprès de saint Vincent en tant que « servantes des pauvres ». During the 1630s Vincent de Paul promised Louise de Marillac that he “would send for the painter” who would create a pious image for the Daughters of Charity. The print, titled The Lord of Charity, was drawn by Charles Le Brun, engraved by Pierre Daret and printed in 1640 by Antoine Hérault, who was close to the noble women of the Vincentian congregation. It represents Christ standing on a cloud on which is inscribed “For Christ’s love compels us. Cor. 2, 5”. His presence is protecting the Daughters of Charity, who are placed in the background, tending to the sick in a hospital. Widely disseminated within the community and copied on many occasions by its members, the engraving was designed to spiritually educate the “country girls” who had committed themselves to Vincent de Paul as “servants of the poor”.

Au début des années 1660, les glaces font l’objet de nombreuses expérimentations en France : intégrées de manière fixe au décor mural des grottes et des petits appartements, elles sont volontiers associées aux coquillages, aux cristaux et aux filigranes et s’imposent aussi comme un support original pour le déploiement des peintures. Trois chantiers, échelonnés entre 1660 et 1669, illustrent en particulier ces tendances : l’appartement de Mme Fouquet au château de Vaux-le-Vicomte, la grotte de Téthys au château de Versailles, et le petit appartement du roi au Château-Vieux de Saint-Germain-en-Laye. À la tête de tous ces chantiers, le même maître d’œuvre : Charles Le Brun. La mise en perspective de ces ensembles décoratifs permet de mettre en évidence le rôle déterminant joué par l’artiste dans la mise au point et le développement des décors fixes de miroirs, du début du règne personnel de Louis XIV jusqu’à la création de la galerie des Glaces. In the early 1660s mirrors were the subject of much experimentation in France: integrated in the wall decoration of grottoes and small apartments, they were associated with shells, crystals and filigree, as well as offering themselves as original supports for paintings. Three building sites, dating from between 1660 and 1669, illustrate these trends: Madame Fouquet’s apartment at the Château de Vaux-le-Vicomte, the Grotto of Tethys at the Château de Versailles, and the king’s small apartment at Château-Vieux de Saint-Germain-en-Laye. At the head of all these projects, the same project manager: Charles Le Brun. Putting these decorative ensembles into perspective highlights the key role the artist played in the devising and development of decorations of fixed mirrors, from the beginning of Louis XIV’s reign to the creation of the Hall of Mirrors.

This article is based on previously unpublished documentation for two tapestries of mythological scenes woven in the well-known workshops of Albert Auwercx and Jacques van der Borcht. A set of tapestries signed by van der Borcht in the Kunsthistorisches Museum, Vienna, corresponds for the most part with those described in this document, which also provides interesting information concerning the painters who participated in designing the models for this series. En este artículo se aporta una documentación inédita sobre dos tapicerías de Escenas mitológicas tejidas en las conocidas manufacturas de Albert Auwercx y de Jacques van der Borcht. Con la firma de este segundo tejedor se conserva en Viena (Kunsthistorisches Museum) un conjunto de tapices, que se corresponde en su mayoría con los descritos en este documento, que proporciona además interesantes novedades acerca de los pintores que participaron en el diseño de los modelos de esta serie.

Charles Le Brun and his sculptors : the funerary monuments The study of funerary sculptures in Paris between 1670-1690, a period during which patrons asked Charles Le Brun to produce designs, enables us once more to set the problem of the separation between invention and execution and to analyse its conditions quite precisely. This in fact shortlived separation finds its origin in the wish of the patrons, belonging to newly promuted elites, to respect the adequation between the rank of the deceased and the shape of the monument. The oversight of Charles Le Brun essentially concerns invention, restrained however by the rigid formalism of the patrons. Nevertheless, the sculptors did not give up a theoretical conception of their art, founded on the knowledge of anatomy, proportions, humours and expressions. The group work entailed by the ambitious plans conceived by Le Brun led to a stronger artistic emulation and greatly enhanced the value of their sculptural works., Mazel-Nguyen Claire. Le Brun et ses sculpteurs : les monuments funéraires. In: Histoire de l'art, N°57, 2005. Sculptures. pp. 55-66.

This dissertation addresses the key issue of history making in early-modern Europe, exploring the relationship between the image, object and history through a close investigation of visual culture at Louis XIV’s court. The revised account of the central role of numismatics and print culture provided here reveals the influence of these often-neglected media on the defining monuments of the age. This reappraisal of the King’s commissions in the arts reveals a sophisticated process of history making that reflects a ‘material turn’ in historical method in the period, away from the authority of text and towards object-based evidence. Motivated by this, they created new images and objects as artifacts for a future time, drawing inspiration from ancient coins and medals that had proved their worth in the communication of historical data. However, the project for recording the King’s history visually also led to the production of a distinctly modern category of images. The ‘eyewitness’ mode of imaging events from the reign of Louis XIV without the veil of allegory ran simultaneous to more overtly antiquarian images. These two interchangeable pictorial systems, seemingly allied to opposing sides of the debate over the precedence of modern arts and sciences over the ancient, were nevertheless aligned to the goal of providing material evidence of the King’s history for posterity. Presented in two parts, the first section of this study reveals the influence of antiquarianism, ancient coins and medals in the production of new visual histories of the King. The second considers the concept of eyewitness testimony and traditions of mapping in the work of Louis XIV’s court artist Adam Franz van der Meulen.

Versailles a toujours été considéré comme un palais aux deux visages : polychrome côté ville, mariant les tons de la pierre, de la brique et de l’ardoise, monochrome, côté jardins, dans sa majestueuse enveloppe de pierre ; archaïque dans ses contrastes côté ville, novateur dans son unité côté jardins. Des découvertes récentes sur le bâtiment lui‑même, corroborées par des recherches en archives, nous autorisent aujourd’hui à nuancer cette dichotomie par trop simpliste qui ne saurait rendre compte de l’histoire du goût sous le règne de Louis XIV, puis de ses successeurs, où la couleur a sa place dans la composition architecturale.Du Trianon de porcelaine au Trianon de marbre, des bosquets du Petit Parc au Hameau de Marie‑Antoinette, ces jeux ont été recherchés et cultivés dans toute leur expressivité. À la trilogie « bleu, blanc, rouge » du château de Louis XIII, Louis XIV n’hésite pas à ajouter l’éclat de l’or et des marbres. Au‑delà, le traitement de finition de ces matières atteste de ce goût pour les contrastes les plus affirmés : plombs dorés et étamés, briques repeintes en ocre rouge à joints blancs, et surtout les menuiseries de fenêtres, dont la teinte franche ocre jaune d’origine est bien éloignée du « ton pierre » actuel qui a succédé au gris perle du XIXe siècle.Ainsi se révèle petit à petit une image de Versailles sensiblement différente de l’idée reçue du palais classique « à la française ». Versailles has always been seen as a palace with two faces: polychrome on the town side, in its blend of tones of brick, stone and slate; and monochrome on the gardens side, in its majestic envelope of stone; archaic in its contrasts on the town side, and innovative in its unity on the gardens side. Recent discoveries on the building itself, corroborated by archival research, enable us to qualify this over-simplistic view, which does not reflect the history of taste in the time of Louis XIV and his successors, where colour had its place in the architectural composition.From the Porcelain Trianon to the Marble Trianon, from the Bosquets (groves) of the Petit Parc to Marie-Antoinette’s Hameau (hamlet), these plays of colour were sought after and cultivated to their full expression. To the ‘blue, white and red’ trilogy of the chateau under Louis XIII, Louis XIV had no hesitation in adding the gleam of gold and marble. Furthermore, the various finishes added to these materials reflect this taste for strong contrasts: gilded and tinned lead trimmings, bricks painted in red ochre with white mortar joints. And above all, the window casings, whose original clear yellow ochre tone was a far cry from today’s natural stone colour, which supplanted the pearl-grey of the nineteenth century.Thus the gradually emerging image of Versailles differs significantly from the generally accepted idea of the ‘French-style’ classical palace.