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No decurso da investigação em torno da luminária da extinta Casa Real Portuguesa, constatamos a existência de uma quantidade significativa de luminária francesa neorococó do último quartel do século XIX nos palácios nacionais. A mesma tendência foi seguida na Alemanha; esta propensão em comum intensificou-se após a guerra franco-prussiana (1870-1871). Nos dois países desenvolveram-se determinadas características que importam dar aqui a conhecer. Este estudo é sustentado pelo cotejamento de bibliografia e documentação coeva, foca-se nas diferentes abordagens e contextualizações com novas reflexões, colmatando assim a escassez de estudos sobre luminária oitocentista., During a research around the former Portuguese Royal House lighting fixtures, a significant amount of French Rococo Revival lamps, from the last quarter of the nineteenth century, were notice in the national palaces. The same trend was also followed in Germany; this mutual tendency intensified after the Franco-Prussian war (1870-1871), a conflict between France and Prussia. In both countries, certain characteristics were developed, being worth to mention here. This study is complemented by the examination of bibliography and documentation, focusing on different approaches and contextualizations with new reflections, filling the gap caused by the almost complete absence of studies on the nineteenth-century lighting.

Dissertação de Mestrado em Arte e Património apresentada à Faculdade de Letras O reinado de D. João V (1706 - 1750) foi marcado pela abertura aos contextos culturais e artísticos de outras potências católicas europeias que contribuíram para a fabricação da imagem de uma monarquia de primeira grandeza. No plano historiográfico, parecem não restar dúvidas de que o projeto de emancipação da monarquia portuguesa se norteou, em particular, através do empreendimento de um ambicioso projeto de construção e reabilitação de uma série de templos e palácios que emularam da cultura artística da Santa Sé uma nítida tonalidade romana, como o Palácio e Basílica de Mafra e a Basílica Patriarcal. Todavia, a compreensão da cultura artística portuguesa da primeira metade do século XVIII, ao vincular-se, grosso modo, à arte barroca – de nítida matriz romana – e à política absolutista de D. João V (1689 - 1750), parece ter vindo a produzir certos discursos historiográficos que, tendencialmente, remetem a compreensão da introdução dos designados estilos regência e, sobretudo, rococó, a certas balizas cronológicas e geográficas, como as são o final do reinado de D. João V e reinado de D. José I (1750-1777) e o Norte de Portugal. A presente dissertação tem, assim, como principal objetivo, compreender os formulários artísticos aplicados no mobiliário de assento dos Sumos Pontífices e dos Bourbon de França, evidenciando a sua assimilação no contexto português, tornando claro que a cadeira do monarca, cadeira patriarcal, sede gestatória e outros assentos produzidos para o rei D. João V e para o cardeal-patriarca D. Tomás de Almeida (1670 – 1754), reproduziam os arquétipos Francês e da Santa Sé: distintos entre si, mas que contribuíam, em uníssono, para a exaltação e fabricação da imagem de uma monarquia que se ambicionava destacar como uma das potências reinantes. João V’s reign (1706 - 1750) was marked by its opening to the cultural and artistic contexts of other European catholic monarchies that contributed to the empowerment of its own monarchyIn terms of historiography, there seems to be no doubt that Portugal was particularly marked by a notorious project to build a series of temples and palaces that emulated the Vatican's artistic culture. However, the understanding of Portuguese art in the first half of the 18th century, when linked to the Baroque and to João V’s absolutist politics, seems to have stimulated certain historiographic discourses which tend to refer to the introduction of the so-called regency and, above all, rococo styles, constrained by certain chronological and geographical limits, such as the end of the of João V’s and José I’s (1750-1777) reign, and the to the North of Portugal.This dissertation aims at understanding the artistic archetypes materialized in the Pope’s and the French ruler’s furniture, focusing on its assimilation in the Portuguese art, through two central figures of the João V’s reign: the cardinal-patriarch and the king himself. Therefore, we propose to analyze the French royal chairs and pontifical chairs, making it clear that João V king’s throne, the patriarchal chair and the sedia gestatoria reproduced the precisely French and Roman models.Therefore, we propose to analyze the French royal chairs and pontifical chairs, making it clear that João V king’s throne, the patriarchal chair and the sedia gestatoria reproduced the precisely French and Roman models.

Between Delft and Rouen, apothecary jars from Lille – Apothecary jars manufactured in Lille were of two kinds. Some were inspired by jars from Delft. For this group, it is very difficult to identify apothecary jars made in Lille from jars made in Tournai or Brussels or even made in Delft. Others imitated jars from Rouen, in that case it is difficult to identify jars made in Lille from jars made in Rouen, La Rochelle, or even Paris. Only a few signed pieces could be attributed unambiguously to Rouen., Les pots d’apothicaire confectionnés à Lille appartenaient à deux groupes. Certains s’inspiraient des vases de Delft. Pour ce groupe, il s’avère très difficile de distinguer ceux qui proviennent de Lille de ceux qui ont été fabriqués à Tournai, ou Bruxelles, voire même à Delft. Les autres imitaient le style rouennais, dans ce cas il est difficile de déterminer s’ils ont été fabriqués à Rouen, La Rochelle, ou même Paris. Seules quelques rares pièces signées peuvent incontestablement attribuées à Lille., Lafont Olivier. Entre Delft et Rouen, les vases d’apothicaire de Lille. In: Revue d'histoire de la pharmacie, 107e année, N. 406, 2020. pp. 203-208.

Publikacja Agaty Dworzak stanowi monografię dziejów i dorobku artystycznego rodziny Polejowskich, działającej we Lwowie w drugiej połowie XVIII wieku. Autorka w kompleksowy sposób zrekonstruowała artystyczne biografie braci Polejowskich na tle lwowskiego środowiska rzeźbiarskiego, eksponując ich znaczenie dla kształtowania się rzeźby wschodnich ziem Rzeczypospolitej XVIII stulecia. Jednocześnie, skupiając się na jednej rodzinie, skrupulatnie zobrazowała zjawiska i mechanizmy społeczno-artystyczne kształtujące codzienne życie twórców, produkcję warsztatową i sztukę XVIII-wiecznego Lwowa. Publikacja jest wynikiem niezwykle dociekliwych badań przeprowadzonych przez Autorkę, dzięki którym odnalazła ona cenne, dotąd niepublikowane fotografie zniszczonych figur i dzieł małej architektury oraz pozyskała istotne dane dotyczące familii Polejowskich ze źródeł zawierających, jak mogłoby się zdawać, nieliczne informacje do dziejów sztuki, takich jak księgi metrykalne lub akta notarialne. Bez wątpienia jest to obowiązkowa lektura dla badaczy nowożytnych dziejów rzeźby Rzeczypospolitej, wypełniająca lukę w badaniach nad tzw. lwowską rzeźbą rokokową. Podzieloną na sześć rozdziałów publikację dopełnia obszerny i skrupulatnie przygotowany Katalog dzieł oraz Aneksy, na które składają się m.in. edycje dokumentów źródłowych. Integralną częścią książki jest znakomicie zaprezentowany materiał ilustracyjny, obejmujący ponad 300 zdjęć. Publikacja została wydana wraz z Narodowym Instytutem Polskiego Dziedzictwa Kulturowego za Granicą POLONIKA oraz dofinansowana ze środków Instytutu POLONIKA i Wydziału Historycznego Uniwersytetu Jagiellońskiego w Krakowie. Pozycja ta ukazała się w serii “Studia i Materiały”, gdzie są prezentowane przede wszystkim efekty badań Instytutu POLONIKA, jak również materiały, które powstały poza placówką, a stanowią istotny wkład do wiedzy o polskim dziedzictwie kulturowym znajdującym się poza krajem.

Ołtarze boczne w kościele OO. Bernardynów w Leżajsku często funkcjonują w literaturze jako jedno z najważniejszych dzieł lwowskiego rzeźbiarza Antoniego Osińskiego i jego pracowni. Ponowna analiza materiałów archiwalnych i samych ołtarzy - struktur ołtarzy, ornamentyki i rzeźby pozwalają na weryfikację informacji. Wszystko wskazuje na to, że Antoni Osiński wykonał tylko część ołtarzy, a reszta nastaw powstała ponad 10 lat później, pod koniec lat 60., XVIII wieku i może być dziełem innego lwowskiego warsztatu - rzeźbiarza Stefana Grodzickiego. Side altars in the church of Bernardines in Leżajsk commonly function in literature as being one of the most important works of Lviv sculptor Antoni Osiński and his workshop. A re-analysis of archival materials and the altars themselves - altar structures, ornamental decorations and sculptures allows verifying information. It seems that Antoni Osiński made only part of the altars, and the rest was created more than 10 years later, at the end of the 60s, and could be the work of another Lviv sculptor Stefan Grodzicki workshop.

The paper discuss the problem of the influence of ornamental fashions on the art of the Polish–Lithuanian Commonwealth in 18th century. It may therefore be assumed that the art of Poland at that time provides a perfect example of a mechanism for disseminating ornamental models. As the area of the Commonwealth covered much of what is now called Central Europe, this model is fully representative. Two main directions in the development of the rocaille are examined, as it may be said that this ornament appeared in the area of the Commonwealth twice. The earliest examples of this fashion arrived as French imports, straight from Paris, and were based on designs by Juste-Aurèle Meissonnier. The second stage of the development, which may be characterised as ‘local’, but which in reality was to a large extent shaped by German ‘ornamental prints’ (from Augsburg), was crucial for the subsequent immense popularity of the ornament in Poland in the entire second half of the eighteenth century.

Recent discoveries in the State Archives of Florence shed a new light on the role of the Medicean artists, techniques and materials in the interplay of diplomatic relationship between Tuscany and France, a few years before Henri IV’s marriage to Maria de’ Medici. Between 1597 and 1601, numerous works of art were shipped in Paris with a very large quantity of plants, marble stones and decorative materials. This paper provides a detailed study of two shipments of minerals, cristals, seashells, corals and other marine ornaments which were specially prepared in Florence, at the request of Tommaso Francini, for the construction of artificial grottos and garden fountains in the royal mansions. It also considers the way these rocaille materials have been used in the grottos of Saint-Germain-en-Laye, highlighting a tendency at that time in France to treat rustic work as a simple technique of decoration in harmony with architecture, as exemplified by the still existing decoration of the “dry grotto” of the King’s Chapel Pavilion., Opus Incertum, Vol 4 (2018)

L’étude des coquilles découvertes lors des fouilles archéologiques de Versailles a permis de mettre en évidence l’arrivée de ces mollusques marins sous deux formes aux XVIIe et XVIIIe siècles : celle de l’animal vivant et celle de la coquille dépourvue de la chair de l’animal. L’analyse des huîtres plates de la Grille royale témoigne de leur acheminement à Versailles vivantes, dans le but d’être consommées. L’observation de leur surface montre que ces coquilles ont sans doute été nettoyées avant d’être transportées. Les faunes incrustées permettent aussi de décrire les caractéristiques des environnements d’où elles proviennent. D’autres coquilles ont, quant à elles, été recherchées pour leur esthétique et non pour leur vertu alimentaire. Elles ont été découvertes au sein des bosquets de la Reine, ancien Labyrinthe, et du Rond vert, redevenu récemment Théâtre d’eau. Leur analyse montre que la nacre était une matière recherchée. Ces coquilles reflètent, de par leur aspect et leurs origines multiples, le prestige des lieux. Elles participent à la mode du rocaillage, une pratique architecturale qui consistait à mélanger des matériaux naturels (pierre, galets, coquilles…). Studying the shells discovered during the archaeological excavations of Versailles have made it possible to identify two forms of these marine molluscs’ arrival during the seventeenth and eighteenth centuries. The first one is the living animal, while the second is the shell devoid of the animal’s flesh. Analysis of the flat oysters of the Gate of Honour testifies to their arriving in Versailles alive, in order to be consumed. Examination of their surfaces show that the shells were most likely cleaned before being transported to Versailles. The encrusted fauna also enables the description of the environmental characteristics of their point of origin. Other shells, for their part, were sought for their aesthetics and not for their nutritional virtues. They were discovered in the current Queen’s Grove and the Green Ring Grove. Analysis of them shows that mother-of-pearl was a material much in demand. Thanks to their appearance and their multiple origins, these shells reflect the prestige of the site. They were integral to the fashion for rockery, an architectural practice mixing natural materials (stone, pebbles, shells...).

National audience; Studying the shells discovered during the archaeological excavations of Versailles have made it possible to identify two forms of these marine molluscs’ arrival during the seventeenth and eighteenth centuries. The first one is the living animal, while the second is the shell devoid of the animal’s flesh. Analysis of the flat oysters of the Gate of Honour testifies to their arriving in Versailles alive, in order to be consumed. Examination of their surfaces show that the shells were most likely cleaned before being transported to Versailles. The encrusted fauna also enables the description of the environmental characteristics of their point of origin. Other shells, for their part, were sought for their aesthetics and not for their nutritional virtues. They were discovered in the current Queen’s Grove and the Green Ring Grove. Analysis of them shows that mother-of-pearl was a material much in demand. Thanks to their appearance and their multiple origins, these shells reflect the prestige of the site. They were integral to the fashion for rockery, an architectural practice mixing natural materials (stone, pebbles, shells...).; L’étude des coquilles découvertes lors des fouilles archéologiques de Versailles a permis de mettre en évidence l’arrivée de ces mollusques marins sous deux formes aux XVIIe et XVIIIe siècles : celle de l’animal vivant et celle de la coquille dépourvue de la chair de l’animal. L’analyse des huîtres plates de la Grille royale témoigne de leur acheminement à Versailles vivantes, dans le but d’être consommées. L’observation de leur surface montre que ces coquilles ont sans doute été nettoyées avant d’être transportées. Les faunes incrustées permettent aussi de décrire les caractéristiques des environnements d’où elles proviennent. D’autres coquilles ont, quant à elles, été recherchées pour leur esthétique et non pour leur vertu alimentaire. Elles ont été découvertes au sein des bosquets de la Reine, ancien Labyrinthe, et du Rond vert, redevenu récemment Théâtre d’eau. Leur analyse montre que la nacre était une matière recherchée. Ces coquilles reflètent, de par leur aspect et leurs origines multiples, le prestige des lieux. Elles participent à la mode du rocaillage, une pratique architecturale qui consistait à mélanger des matériaux naturels (pierre, galets, coquilles…).

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Dovršetak složenih konzervatorsko-restauratorskih radova na glavnom oltaru pakračke župne crkve Uznesenja Blažene Djevice Marije, podignutom 1760. godine i pripisanom Franji Antunu Straubu (1726. – 1774./6.), dao je povod cjelovitijem sagledavanju oltara: promjenama njegova izgleda kroz vrijeme i njegovih izvornih stilskih obilježja. Oblikovne značajke oltara poput ornamentike, raskošnog zastora koji definira njegov gornji dio, pale s prikazom tada popularne Blažene Djevice Częstochowske, okulusa u stijeni oltara koji omogućava širenje pozadinskog svjetla cijelim interijerom te oslika s iluzionističkim prikazom šarenih marmorizacija, stavljaju se u širi kontekst opusa Franje Antuna Strauba te suvremenih stilskih tendencija druge polovice 18. stoljeća, s naglaskom na utjecaj štajerskog kulturnog kruga. S pomoću zapisa iz Župne spomenice te oslanjanjem na rezultate restauratorskih istraživanja, rekonstruiraju se preinake oltara kroz stoljeća i analizira se do koje je mjere nakon restauratorskog zahvata ponovno uspostavljen njegov izvorni barokni koncept, kao i opravdanost pojedinih kompromisa., The church consecrated in 1763 was, along with its furnishings, commissioned by the Zagreb Bishop Franjo Thauszy. The high altar of the Assumption of the Blessed Virgin Mary is attributed to Franjo Antun Straub (1726–1774/1776), a member of the well–known sculptors‘ family of Straub which was active within a wide territory stretching from Bavaria, across the Austrian and Slovenian Styria and into continental Croatia. By analyzing the formal portions of the altar, such as ornamentation, the distinctive motif of a curtain, an altarpiece depicting Our Lady of Częstochowska, the flickering illusionistic marbleizations, and the back lighting so important for the Baroque scenography, the altar is situated within the oeuvre of Franjo Antun Straub and put in the context of contemporary stylistic tendencies of the second half of the 18th century, with an emphasis on the influence of the Styrian cultural circle. The altar’s long duration has worn out the integrity of authorial concept, and alterations to individual altar components have degraded the desired effect of the ensemble. The alterations that resulted from less–than–skillful renovations of the altar go together with injuries caused by the wear–and–tear, as well as the most recent ones that resulted from war devastations. With the help of archival records and based on conservation research, a timeline of renovations is reconstructed, along with reasons that brought them about. An analysis is given of the Baroque layer of the altar, revalorized by the conservation, as well as the necessary compromises.

Prace lwowskiego rzeźbiarza Macieja Polejowskiego dla kolegiaty w Sandomierzu są stosunkowo dobrze znane dzięki badaniom Jerzego Kowalczyka. Jednak w świetle nowych materiałów archiwalnych, głównie rachunków i ksiąg fabrycznych, można uzupełnić wiedzę na temat funkcjonowania i składu warsztatu Polejowskiego oraz zakresu pracy. Jak się wydaje, w sprowadzeniu do Sandomierza lwowskiego mistrza oprócz abp. Sierakowskiego mógł mieć także udział ks. Jacek Kochański, który z ramienia kapituły nadzorował jego prace. Analiza materiałów archiwalnych i zabytków pozwoliła wyodrębnić prace autorskie Franza Mullera, prawdopodobnie członka warsztatu Polejowskicgo, z prac lwowskiego mistrza. Istotną informacją jest także odnaleziona dyspozycja obrazów w nowych ołtarzach bocznych, która powstała już w 1768 roku. Tak więc nie jest prawdą jakoby zagadnienie ikonografii ołtarzy sandomierskich było wtórne. Oprócz zaproponowanych przez Kowalczyka wzorców dla struktur ołtarzy, można także wskazać inne ryciny F.X. Habermanna, którego sztychy miały wpływ na zastosowaną przez Polcjowskicgo ornamentykę. Choć tu możną także wskazać na projekty Georga Christopha Gotza. Nowe materiały pozwoliły ustalić pierwotną kolorystykę nastaw, a także określić zakres ingerencji zleceniodawcy (kapituły) w ogólne wytyczne kompozycyjne. Także tron wystawienia, który obecnie pełni funkcję podstawy pod krucyfiks, należy wiązać z warsztatem Polejowskicgo, a anioły adorujące za własnoręczne dzieło mistrza. The works by the Lvov sculptor Maciej Polejowski that he created for the collegiate church in Sandomierz are relatively well researched thanks to the studies done by Jerzy Kowalczyk. However, in the light of new archival material - mainly bills and the book of expenses - our knowledge about the functioning and the staff of Polejowski’s workshop as well as about the range of the work they did may be complemented. It seems that apart from Archbishop Sierakowski also Rev. Jacek Kochański contributed to the idea of bringing the Lvov master to Sandomierz, as he supervised Polejowski’s work on behalf of the Chapter. Analysis of record office materials as well as of actual works has allowed distinguishing among the Lvov master’s works some original ones by Franz Muller, who seems to have been a member of the staff of Polejowski’s workshop. Also, a recently found order of 1768 for paintings for the new bye-altars is important - it shows that is not true that the issue of the iconography of the Sandomierz altars is a secondary one. Apart from the patterns for the altar structures proposed by Kowalczyk, also prints by F. X. Habermann may be pointed to, as they also influenced the ornamentation used by Polejowski. On the other hand, Georg Christoph Götz’s projects may be here referred to as well. New materials have allowed determining the original colors of the retables, and also defining the range of interventions from the employer (the Chapter) in the general composition directives. Also the throne of the exposition that at present plays the role of the basis of the crucifix should be connected with Polejowski’s workshop, and the adoring angels should be considered a work of the master himself.

Les parcs du Reynou et de Mont-Méry en Limousin, anciennes propriétés des porcelainiers Haviland, présentent l’un et l’autre un grand intérêt paysager et botanique. Dans les deux cas, l’attribution de la création est incertaine. Cet article propose pour le Reynou une analyse de documents figurés anciens permettant de préciser la chronologie des travaux du château et du parc. Pour Mont-Méry il s’agit de poser de nouveaux jalons pour une étude plus approfondie des sources et de la composition des jardins afin d’envisager de nouvelles pistes pour leur attribution.The Reynou and Mont-Méry parks near Limoges originally belonged to the city’s porcelain manufacturers, the Havilands. Both parks are of considerable interest in terms of their landscaping and their botany. In both cases, there is some uncertainty as to the identity of their designers. This article offers an analysis of the graphic representations of the Reynou park, clarifying the chronology of the creation of the château and its park. For the Mont-Méry park, the aim is to offer some guidelines for further research in the source material and on the design of the park itself, perhaps allowing for the designer to be identified.

Deze publicatie is verschenen naar aanleiding van Open Monumentendagen 2010 met als thema steen en zijn afgeleiden. In 'Schijn of werkelijkheid? steenimitaties en sierpleisters' worden enkele bijzondere en typische afwerkingstechnieken die toegepast zijn in onze hoofdstad,behandeld. In de Beaux-Artsperiode krijgen gebouwen vaak een bepleistering met schijnvoegen om Franse steen te imiteren. Het is heel moeilijk om het onderscheid tussen echt en vals te maken. Ook de rocailletechniek om plantaardige en minerale elementen te imiteren wordt niet vergeten. Alles wordt beschreven met de volgende vraag in het achterhoofd: 'Hoe kan men schijn en werkelijkheid onderscheiden?'

Amas, fantaisie, amoncellement irrégulier de notes, extraits et citations: ainsi apparaît le sous-ensemble " rococo " des dossiers de Bouvard et Pécuchet intitulé " Rocaille. Théâtre ". Celui-ci couvre, à l'intérieur du volume 5, les fos 156 à 184. La série s'insère à la fin des " Matériaux " regroupant les fos 40 184, conservés sous la cote Ms. g2265 à la Bibliothèque municipale de Rouen. Trois principes de cohérence confèrent à cette liasse la densité et la continuité d'un sous-ensemble relativement autonome à défaut d'être continûment signifiant. Le premier est la marque d'une seule et même écriture manuscrite, celle de Jules Duplan, qui permet de dater les documents, certes de façon imprécise : on peut leur assigner comme terminus a quo 1851 et comme terminus ad quem certain 1870, année de la mort du scripteur. La correspondance de Flaubert et Duplan vient éclairer le travail de collecte et de compilation réalisé régulièrement par le secrétaire afin d'alimenter les différents projets de l'écrivain. Ainsi, le [30 mai 1862], Flaubert le charge de lui procurer des numéros du Magasin théâtral et du Monde dramatique afin de lui constituer " la collection des féeries que l'on a jouées depuis une trentaine d'années ".

Les cent cinquante-six statues dressées aux façades du château et autour de la Chapelle royale constituent quatre groupes, distincts dans le temps et montrant quatre approches différentes tant dans la manière de sculpter que dans l’initiative laissée ou non aux sculpteurs par les donneurs d’ordre : une grande liberté d’interprétation caractérise les statues du Corps central, 1670-1672, qui se rattachent à l’esprit du premier Versailles et dont les sujets ont été dictés par la Petite Académie et probablement Charles Perrault ; une harmonie très classique marque le second groupe (cour de Marbre, aile du Midi), 1678-1682, dont l’inspiration relève de Charles Le Brun ; une grâce plus légère dans l’esprit de Pierre Mignard, mais un peu répétitive se fait jour dans les statues de l’aile du Nord, 1687-1688 ; une grande manière tantôt baroque, tantôt rocaille triomphe dans les statues de la Chapelle royale, 1707-1709, pour lesquelles les sculpteurs, dirigés d’abord par Mansart, mais très vite par Robert de Cotte, conservent une grande part d’initiative. One hundred and fifty-six statues stand on the façades of the palace and around the Royal Chapel. They constitute four groups, belonging to four different periods, and showing different ways of carving according to the period they were created, and also depending on the degree of freedom given to each sculptor. For the statues on the Central Building (1670–72), the Petite Academie and Charles Perrault certainly dictated the subjects, but left the artists with a great liberty in their interpretation. The statues on the Marble Courtyard and the South Wing, 1678–82, are definitely classical and their iconography comes from sketches provided by Charles Le Brun. From 1684, sculptors were under the direction of Pierre Mignard — the statues on the North Wing, 1687–88, which are of a lighter character, show his influence. The statues on the Royal Chapel, 1707–09, created under the direction of Robert de Cotte, were carved with great artistic liberty, in a manner sometimes more rococo, sometimes more baroque.