M.S.A.M.F. T. LXXI 2011
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Hotel Address City E-‐Mail Web Country Chateau De La Pioline Aix
Hotel Address City e-mail web Country Chateau de la Pioline Aix-en-Provence [email protected] France Grand Hotel Mercure Roi Rene Aix-en-Provence [email protected] France Le Pigonnet Hotel Aix-en-Provence [email protected] www.hotelpigonnet.com France des Augustins Aix-en-Provence [email protected] France le Manoir Aix-en-Provence [email protected] France Mercure Paul Cezanne Aix-en-Provence [email protected] France Le Calendal 5 Rue Porte de Laure Arles [email protected] www.lecalendal.com France d'Arlatan 26 rue Sauvage Arles [email protected] France Avignon Grand Hotel 34 Bvd St. Roch Avignon [email protected] www.avignon-grandhotel.com France d'Europe 12 Place Crillon Avignon [email protected] www.hotel-d-europe.fr France Mercure pont D'Avignon Quartier de la Balance Avignon [email protected] www.mercure.com France du Palais des Papes 3 Place du Palais Avignon [email protected] www.hotel-avignon.com France Le Colbert + 7 Rue Agricol Perdiguier Avignon [email protected] www.lecolbert-hotel.com France Medieval 15 Rue Petite Saunerie Avignon [email protected] www.avignon-club-hotels.com France Hôtel Clarion Cloître-saint-Louis Avignon [email protected] www.cloitre-saint-louis.com France Ibis Avignon Centre Gare 42 Boulevard St. Roch Avignon [email protected] www.accor.com France La Mirande 4 Place de l'Amirnade Avignon [email protected] www.la-mirande.fr France Clarion Cloitre-Saint Louis++ 20 Rue du Portail Boquier -
Évasion Haute-Garonne
GUIDE PRATIQUE évasion en Haute-Garonne édito sommaire 4 La Haute-Garonne 48 Couleur Pyrénées en couleurs ! Le cœur battant des Pyrénées Bienvenue chez vous ! 6 Couleur Toulouse 54 Que faire entre Comminges Toulouse pour toujours ! et Pyrénées ? Les yeux et les bras grands ouverts, le cœur battant, avec le seul 10 Que faire à Toulouse objectif de la découverte, voilà comment s’envisage une visite et alentours ? 58 Gastronomie et artisanat en Haute-Garonne ! Pour mieux embrasser du regard un territoire immense qui court 16 Couleur Vignoble 64 Notre To do list des pics pyrénéens au piémont commingeois vers la plaine Le Pays Tolosan en Haute-Garonne de Garonne bordée par les coteaux de Gascogne et du Volvestre et le Frontonnais puis s’abandonne dans les vastes étendues cultivées et mordorées 20 Que faire en Pays Tolosan du Lauragais. 70 Viens voir la vue et Frontonnais ? pour admirer la Haute-Garonne Pour mieux retrouver aussi le magnifique patrimoine et l’énergie permanente de la métropole toulousaine bordée, plus au nord, 26 Couleur Canal des 2 mers de forêts et des vignes du Frontonnais. Ce patchwork multicolore 72 Les 12 moments et Lauragais et foisonnant, celui qui a traversé le temps et cultive sa modernité, pour vivre la Haute-Garonne Le pays Lauragais et son canal ce patchwork-là s’offre à vous avec plaisir. Celui des femmes et des hommes qui vivent ici. Celui de l’autochtone qui livre 30 Que faire autour du Canal les clés de son territoire, celui de l’artisan qui soigne ses gestes, et dans le Lauragais ? 76 L’agenda et les animations -
Mannerism COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
ABPL 702835 Post-Renaissance Architecture Mannerism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice perfection & reaction Tempietto di S Pietro in Montorio, Rome, by Donato Bramante, 1502-6 Brian Lewis Canonica of S Ambrogio, Milan, by Bramante, from 1492 details of the loggia with the tree trunk column Philip Goad Palazzo Medici, Florence, by Michelozzo di Bartolomeo, 1444-59 Pru Sanderson Palazzo dei Diamanti, Ferrara, by Biagio Rossetti, 1493 Pru Sanderson Porta Nuova, Palermo, 1535 Lewis, Architectura, p 152 Por ta Nuova, Pa lermo, Sic ily, 1535 Miles Lewis Porta Nuova, details Miles Lewis the essence of MiMannerism Mannerist tendencies exaggerating el ement s distorting elements breaking rules of arrangement joking using obscure classical precedents over-refining inventing free compositions abtbstrac ting c lass ica lfl forms suggesting primitiveness suggesting incompleteness suggesting imprisonment suggesting pent-up forces suggesting structural failure ABSTRACTION OF THE ORDERS Palazzo Maccarani, Rome, by Giulio Romano, 1521 Heydenreich & Lotz, Architecture in Italy, pl 239. Paolo Portoghesi Rome of the Renaissance (London 1972), pl 79 antistructuralism -
Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
LOUIS CELLAURO Palladio and Vitruvius: composition, style, and vocabulary of the Quattro Libri Abstract After a short preamble on the history of the text of Vitruvius during the Renaissance and Palladio’s encounter with it, this paper assesses the Vitruvian legacy in Palladio’s treatise, in focusing more particularly on its composition, style, and vocabulary and leaving other aspects of his Vitruvianism, such as his architectural theory and the five canonical orders, for consideration in subsequent publications. The discussion on composition concerns Palladio’s probable plans to complete ten books, as an explicit reference to Vitruvius’ treatise. As regards style, the article highlights Palladio’s intention to produce an illustrated treatise like those of Francesco di Giorgio Martini, Sebastiano Serlio, and Giacomo Barozzi da Vignola (whereas the treatise of Vitruvius was probably almost unillustrated), and Palladio’s Vitruvian stress on brevity. Palladio is shown to have preferred vernacular technical terminology to the Vitruvian Greco-Latin vocabulary, except in Book IV of the Quattro Libri in connection with ancient Roman temples. The composition, style, and vocabulary of the Quattro Libri are important issues which contribute to an assessment of the extent of Palladio’s adherence to the Vitruvian prototype in an age of imitation of classical literary models. Introduction The De architectura libri X (Ten Books on Architecture) of the 1st-Century BCE Roman architect and military engineer Marcus Vitruvius Pollio was a text used by Andrea Palladio (1508-1580) and many other Renaissance architects both as a guide to ancient architecture and as a source of modern design. Vitruvius is indeed of great significance for Renaissance architecture, as his treatise can be considered as a founding document establishing the ground rules of the discipline for generations after its first reception in the Trecento and early Quattrocento.1 His text offers a comprehensive overview of architectural practice and the education required to pursue it successfully. -
Toulouse Renaissance
SOCIÉTÉ DES AMIS DU MUSÉE NATIONAL DE LA RENAISSANCE AU CHÂTEAU D’ÉCOUEN Association loi du 01.07.1901 déclarée sous le n° 03947 - SIRET 504 382 136 000 19 Siège Social : Musée national de la Renaissance Château d’Écouen 95440 ÉCOUEN Présidente : Geneviève Bresc-Bautier [email protected] Note d’information N° 295 – Janvier 2019 TOULOUSE RENAISSANCE 13 au 15 avril 2018 Nicolas Bachelier, Tête d’homme barbu (1532), musée des Augustins, Toulouse © Daniel Marin 1 Au cours de notre séjour à Toulouse, il nous a été proposé la visite de l’exposition « Toulouse Renaissance » qui se décline sur deux sites, le Musée des Augustins et! la Bibliothèque d’Étude et du Patrimoine mais aussi de découvrir à Toulouse et ses environs des sites d’époque Renaissance sous la conduite de Pascal Julien. ! EXPOSITION « TOULOUSE RENAISSANCE » 1 - Musée des Augustins (ancien couvent des Jacobins). La référence au catalogue est indiquée entre parenthèses. Nous sommes accueillis par Axel Hémery, directeur de ce musée et Pascal Julien, Professeur d’histoire de l’Art à l’université Toulouse-Jean Jaurès et commissaire scientifique de cette exposition, accompagné de son équipe, en particulier Colin Debuiche, maître de conférences en histoire de l’Art moderne à l’université de Rennes 2 , qui sera présent tout au long de nos visites. En préambule Pascal Julien nous précise que Toulouse fut à la Renaissance une ville riche et puissante qui s’épanouit dans un passé hors du commun, celui de la Palladia Tolosa, cité placée sous la protection de la déesse grecque des arts et de la sagesse, Pallas Athéna. -
The Thin White Line: Palladio, White Cities and the Adriatic Imagination
Chapter � The Thin White Line: Palladio, White Cities and the Adriatic Imagination Alina Payne Over the course of centuries, artists and architects have employed a variety of means to capture resonant archaeological sites in images, and those images have operated in various ways. Whether recording views, monuments, inscrip- tions, or measurements so as to pore over them when they came home and to share them with others, these draftsmen filled loose sheets, albums, sketch- books, and heavily illustrated treatises and disseminated visual information far and wide, from Europe to the margins of the known world, as far as Mexico and Goa. Not all the images they produced were factual and aimed at design and construction. Rather, they ranged from reportage (recording what there is) through nostalgic and even fantastic representations to analytical records that sought to look through the fragmentary appearance of ruined vestiges to the “essence” of the remains and reconstruct a plausible original form. Although this is a long and varied tradition and has not lacked attention at the hands of generations of scholars,1 it raises an issue fundamental for the larger questions that are posed in this essay: Were we to look at these images as images rather than architectural or topographical information, might they emerge as more than representations of buildings, details and sites, measured and dissected on the page? Might they also record something else, something more ineffable, such as the physical encounters with and aesthetic experience of these places, elliptical yet powerful for being less overt than the bits of carved stone painstakingly delineated? Furthermore, might in some cases the very material support of these images participate in translating this aesthetic 1 For Italian material the list is long. -
Liste Des Ouvrages De La Bibliothèque De La
Bibliothèque de la Société des Etudes du Comminges nombre année AUTEUR TITRE pages publication A. CAMPAGNE LES FORETS PYRENEENNES 1912 A.A ITINERAIRE TOPO ET HISTO DES H-PYRENEES 1819 A.-M. Garonne (la) aux environs de martres tolosane 2 1865 ABADIE Baptiste Saint Gaudens martyr 134 1855 ABADIE J C. ours (L’) le lynx et le baron Dagieu 79 – 98 1986 ABADIE Roger Saint-Gaudens station climatique 93 sans date Mensuel 16 ABADIE (pour la paroisse d'Aspet) Aspet bulletin religieux du canton d’… pages par 1907 - 1915 numéro ABADIE-DHERS-SOL-RIVERE -DIVERS SAINT-GAUDENS Collègiale et Chapelles 1855 à 1997 ABBADIE j Vie de Saint Savin 48 1857 ABBAYE DE TOURNAY Notre Dame de Tournay 81 à 120 1974 N° 125 ABT * ELINEAU Journées « du hêtre » à aspet, Association des forêts Pyrénéennes 1987 ACADEMIE de Montpellier Bas Languedoc et Roussillon 340 1958 Académie des Jeux Floraux Recueil de l’Académie des Jeux Floraux 243 1928 Académie J. Sacaze Julien Sacaze Académie 34 1972 Académie J. Sacaze centenaires (Les) des officiers 24 1925 ADHER Jean biens (Les) patrimoniaux du diocèse de Rieux 22 1905 ADHER Jean Rieux le diocèse au XVIII° siècle 58 1909 ADHER Jean Choiseul (de) Gilbert tribulations d’un évêque 1915 ADHER Jean Rieux le diocèse au XVIII° s. 1912 ADHER Jean Rieux le diocèse au XVIII° siècle, Les dettes des communautés 1909 ADHER Jean Rieux le diocèse au XVIII° siècle , Sol, industries, ressources etc.. 1909 ADHER Jean Rieux le diocèse au XVIII° siècle 1912 An V 27 An VI ADMINISTRATION DEPARTEMENTALE Procès verbaux de l’an V 1797-98-99 52 An VII 44 AGASSE P. -
Evidence of Leonardo's Systematic Design Process for Palaces and Canals in Romorantin
100 Landrus Chapter 7 Evidence of Leonardo’s Systematic Design Process for Palaces and Canals in Romorantin Matthew Landrus Leonardo’s Systematic Design Process for Romorantin University of Oxford, Faculty of History and Wolfson College In early January 1517, Leonardo worked quickly to develop plans for an urban renewal of Romorantin for Francis I of France. For this last major architectural commission, Leonardo had hundreds of architectural and canal studies, as well as the assistance of Francesco Melzi, who measured streets and studied the region. For this project Leonardo could also reference his treatise on sculp- ture, painting, and architecture, although this is now lost.1 Francis I told Benve- nuto Cellini that Leonardo was a “man of some knowledge of Latin and Greek literature,” a qualification Francis likely considered important for the architect of a project that would identify Romorantin with the grandeur of ancient Rome.2 But the last time Leonardo addressed urban planning on such a com- prehensive scale was in Milan during the late 1480s. He had worked as an archi- tect for several patrons thereafter, though there is no evidence after the mid-1490s of a continuation of his initial interest in developing a palace that was part of a two-level city over a network of canals. Having lived in Rome be- tween September 1513 and late 1516, he was influenced by the Colosseum; its three stories of exterior arcades may be recognized as part of the unusual Ro- marantin palace façade design, as illustrated on Windsor RL 12292 v (Fig. 7.1). For Leonardo, the grandeur of both structures was important.3 While in Mi- lan for seventeen years, from 1483 to 1499, he studied at length optimal urban planning and the means by which the Sforza court considered Milan the new 1 Cellini acquired a copy of this treatise on “Sculpture, Painting and Architecture” in 1542 and thereafter lent it to Sebastiano Serlio. -
Le Pastel : Une Histoire Patrimoniale
Le Pastel : une histoire patrimoniale Par Maryse Carrier Le pastel des teinturiers ou guède, est une étonnante plante crucifère à fleurs jaunes, l’une des rares sources naturelles de colorant bleu. Au XVe et XVIe cette plante (Isatis tinctoria venue d’Asie centrale) va bouleverser le paysage du pays d’Oc et sera à l’origine d’une ex- ceptionnelle prospérité dans notre région. - On estime l’apparition des techniques tinctoriales à l’époque du Néolithique entre le 6ème et le 4ème millénaire avant notre ère : le bleu de pastel a été en effet utilisé à cette époque là par des habitants de la Provence (Grotte de l’Adaouste dans les Bouches du Rhône). Du- rant l'Antiquité, les Egyptiens toujours si friands de la couleur bleue, utilisèrent le pastel pour teindre entre autres les bandelettes dont ils en- touraient leurs momies. Dans l’Antiquité gréco- latine l’Isatis tinctoria était connue comme plante médicinale, tinctoriale, cultivée notam- ment à Pompéi (César l’évoque dans la « Guerre des Gaules »). Mais le bleu est méprisé par les Grecs et les Romains, cette couleur étant réser- Grotte de l'Adaouste (Bouches du Rhône) vée aux esclaves et aux classes inférieures et malheur à un Romain aux yeux bleus, cette couleur étant source de suspicion ! Les Celtes, les Gaulois, ainsi que les Pictes (« peuple peint »), ancêtres des Ecossais, utilisaient le bleu de pastel pour teindre vêtements et corps, lors de rites religieux ou de combats, dans le but d’effrayer les ennemis ! N’oublions pas que les Phéniciens avaient découvert le secret du murex, un coquillage médi- terranéen, qui entre 1200 et 300 av. -
The Remarkable Heritage Site Legend Index of Heritage Sites
Canal de Brienne ord Périg du rue rue Dalayrac Canal de Brienne allée de Barcelone PL. A. rue du Taur FRANCE rue rue 1. Pont des Catalans 3. The Saint-Pierre lock 5. The quayside and ports allée de Brienne rue des Lois des Amidonniers The and the Canal de Brienne along the right bank Deville POSTE Remarkable Boulevard PL. UT1 rue de Rémusatrue La Fayette Heritage Site all. du Niger CAPITOLE WILSON av. Paul Séjourné rue Romiguières rue s PLACE HOTEL 3 nière rue Valade ami DU DE M rg rue 2 Pa LES Mirepoix CAPITOLE VILLE ue rue The historic centre of Toulouse Quai St- Pierre r JACOBINS CAPITOLE r. Maurice Fonvieille PL. ST- etta rue is classified as a Remarkable PIERRE b m de PL. DES a Heritage Site (formerly known Lakanal rue St - Rome CONSERV. Larrey 1 G la JACOBINS PLACEas a protected area) since 21st rue des Blanchers OCCITANE The alluvial terrace, the birthplace of the r. B. Lormian August 1986. It extends across rue rue Ste-Ursule GARONNE LYCÉE et COL. Pomme city of Toulouse, have always provided Quai L. Lombard Created at the start of the 20th Century by P. DE FERMAT 254 hectares, with 230 ha that fall embankments since its very beginnings. Pont des Catalans a engineer Paul Séjourné, this bridge marked v under the city and 24 ha that form Carved out in the 18th Century in order to This whole area was regulated by Joseph- . rue P. Vidal d rue St-Antoine du T the final stage of the encirclement of the bypass the Bazacle causeway and link the u Marie de Saget and his project of major C PL. -
Springer International Publishing AG 2016 M
A Architecture “Renaissance Architecture” Versus “Architecture in the Renaissance” Nele De Raedt Department of Architecture and Urban Planning, The idea of the Renaissance as a distinct historical Ghent University, Ghent, Belgium period was formulated during its own time. In the fourteenth and fifteenth centuries, humanist authors such as Petrarch (1304–1374) and Flavio Abstract Biondo (1392–1463) defined the time in which During the Renaissance in Europe, between they lived as separate from the immediate past, the roughly 1300 and 1650, a number of intellec- Middle Ages (or Medium Aevum). In doing so, tual discourses and practices helped shape the these writers confirmed that a new epoch in discipline of architecture. This article is not human history had arrived, one that concerned about canonical buildings or the evolution of all matters of human life: from science to litera- distinctive stylistic characteristics but rather ture, from politics to art (Günther 2009; Clarke six key topics within an overall threefold struc- 2003). For the Italian humanists, this concept of a ture: heritage and rupture with the tradition, new era coincided with the idea of a rebirth of the innovative and original aspects, and impact culture of classical antiquity. In the sixteenth cen- and legacy. The six topics are geometry as the tury, Giorgio Vasari applied these ideas to the scientific foundation of architecture; human- visual arts and referred to this rebirth with the ism, antiquarianism, and the recovery of word “rinascita” (Vasari 1550). ancient architecture; architectural histories The term “Renaissance” itself, however, was and the creation of an all’antica architecture; introduced only in the nineteenth century, and the canonization of the architectural orders; the specifically with reference to art history production of architectural theory; and disegno (Günther 2009). -
The Sack of Rome (1527): the Triumph of Mannerism in Europe
Migration and artistic identities The Sack of Rome (1527): the Triumph of Mannerism in Europe Anne LEPOITTEVIN ABSTRACT The political accident that was the sack of Rome is a major landmark in the artistic history of Europe. Contemporaries insisted on its Protestant iconoclasm, which notably jeopardized the relics and sacred images of the Holy City, home of the Holy See and destination of pilgrimages. The sack dispersed the successors to Raphael along with the other actors of the first generation of Mannerists, thereby bringing about the immediate diffusion of the first Roman—as well as Florentine—manner, initially towards the main courts of Italy (1527 and 1528) and later to those of France (Fontainebleau) and ultimately Europe. Benvenuto Cellini, Christ supporting Saint Peter above the waves, inscription “Quare dubitasti?” (“Why did you doubt?”), 1530-1532, silver double carlin of Clement VII. The year 1527 is as important a date for early modern Italy as Saint Bartholomew’s Day (1572) is for France. 1527 is also an important date for Europe, as the sack of Rome has been seen for nearly 500 years as an essential break in the continent’s political, religious and artistic history. The sack made the Council of Trent necessary. In art, first Luigi Lanzi and later André Chastel in particular showed how a political event precipitated the diffusion of Mannerism, the first style to rapidly enjoy European success. The facts are well known. France and the Holy Roman Empire were competing for domination over Europe, and especially over Italy. Shortly after the Battle of Pavia (1525), Pope Clement VII Medicis agreed to rally the League of Cognac, which had been gathered by Francis I of France against Charles V.