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Agents of Space Agents of Space Agents of Space: Eighteenth-Century Art, Architecture, and Visual Culture Edited by Christina Smylitopoulos Agents of Space: Eighteenth-Century Art, Architecture, and Visual Culture Edited by Christina Smylitopoulos This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Christina Smylitopoulos and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8883-4 ISBN (13): 978-1-4438-8883-7 TABLE OF CONTENTS List of Illustrations ................................................................................... vii Preface ....................................................................................................... ix Michael Yonan Acknowledgements ................................................................................... xi Introduction ................................................................................................ 1 Discursivity: Space, Agency, and Eighteenth-Century Art, Architecture, and Visual Culture Christina Smylitopoulos PART I: MEMORY Chapter One .............................................................................................. 20 On Being There: The Significance of Place and the Grand Tour for Britons in the Eighteenth Century Joan Coutu Chapter Two ............................................................................................. 43 Sacred Space and Imagery: The Basilica of San Domenico Maggiore’s Eighteenth-Century Sacristy Elizabeth Nogan Ranieri Chapter Three ........................................................................................... 61 The Space Between the Banks of the Tevere River: Carlo Marchionni’s Drawings of Three Roman Bridges Barbara Tetti Chapter Four ............................................................................................. 78 “The Proprietor exerts his utmost Care…”: The Commercial and Commemorative Fates and Fortunes of John Boydell’s Houghton Gallery Project Kristin Campbell vi Table of Contents PART II: REFORM Chapter Five ........................................................................................... 102 Tying the Seductive Powers of Art to the Innate Rights of Man: The Architect as Legislator in the Ideal City of Chaux Paul Holmquist Chapter Six ............................................................................................. 132 Draping the Republic: Fabric Furnishings in Interior Spaces during the French Revolution Ji Eun You Chapter Seven ......................................................................................... 154 Lord Chesterfield’s Boudoir: A Room Without the Sulks Diana Cheng Chapter Eight .......................................................................................... 174 Voices from the Archives: Phelipe Chacón, José de Ibarra, Nicolás Enríquez, and The Painter’s Profession in Mexico City in 1735 Alena Robin Chapter Nine ........................................................................................... 192 Agents of an Epistemological Space: Education and the Civilizing Mission in Early Colonial Bengal Sutapa Dutta Contributors ............................................................................................ 210 Index ....................................................................................................... 214 LIST OF ILLUSTRATIONS Fig. Intro-1. Gaspar Bouttats, Allegorical Frame (Allegorische omlijsting), 1650–1695 ............................................................................................. 2 Fig. Intro-2. Peter Paul Rubens, The Temple of Janus. ca. 1620–1623 ....... 5 Fig. Intro-3. Cornelis Galle (I), Frontispiece for F. Van Haer’s, Annales Ducum Seu Principum Brababtiae Titiusque Belgii, III, 1623 ............. 8 Fig. Intro-4. Detail, Allegorical Frame (Allegorische omlijsting), 1650– 1695 .................................................................................................... 13 Fig. 1-1. Marble Hall, Holkham Hall, Norfolk, 1734–1764 ..................... 24 Fig. 1-2. Richard Wilson, Landscape Capriccio on the Via Aemilia, 1755 ....................................................................................... Centrefold Fig. 1-3. Marble Hall, Wentworth Woodhouse, South Yorkshire, 1733–1737 .......................................................................................... 34 Fig. 1-4. Section of the New Design for Kedleston Hall, Derbyshire, 1760 ....................................................................................... Centrefold Fig. 2-1. Francesco Solimena, Trionfo della Fede sull’Eresia ad Opera dei Domenicani, 1701‒1707 .................................................. Centrefold Fig. 2-2. Ceiling of Sacristy of San Domenico Maggiore, Naples ........... 52 Fig. 2-3. Detail of Agnus Dei from Trionfo della Fede sull’Eresia ad Opera dei Domenicani, 1701‒1707 .................................................... 56 Fig. 2-4. Detail, Gerolamo D’Auria`s Saint John the Baptist, 1593 ......... 56 Fig. 2-5. Detail of Downcast Heresiarchs from Trionfo della Fede sull’Eresia ad Opera dei Domenicani, 1701‒1707 ............................. 59 Fig. 3-1. Carlo Marchionni, I disegni di architettura dell'archivio storico dell'Accademia di S. Luca ..................................................... 67 Fig. 3-2. Carlo Marchionni, Marchionni with his folder, Profili dei condotti del’Acqua Vergine, 1750–1752............................................. 68 Fig. 3-3. Carlo Marchionni, Profili dei condotti del’Acqua Vergine, 1750–1752 .......................................................................................... 69 Fig. 3-4. Carlo Marchionni, Dimostrazione del muraglione sul fiume Arrone, 16 December 1751 ................................................................. 70 Fig. 3-5. Carlo Marchionni, Paesaggio del lago di Bracciano, 1752 ....... 72 Fig. 3-6. Carlo Marchionni’s Disegno, e pianta geometrica del Ponte S. Angelo/veduto dalla parte che guarda il Vaticano, 1735 .. Centrefold Fig. 3-7. Carlo Marchionni’s Disegno, e pianta geometrica del Ponte Rotto/veduto dalla parte di S. Bartolomeo all’Isola, 1735 ..... Centrefold Fig. 3-8. Carlo Marchionni’s Disegno, e pianta geometrica del Ponte Sisto/ veduto dalla parte che guard ail Palatino, 1735 .......... Centrefold viii List of Illustrations Fig. 3-9. Carlo Marchionni’s Progetto della fabbrica della Cartiera Sampieri, 1749 .................................................................................... 76 Fig. 4-1. Richard Earlom after Guido Reni, Simeon and the Child .......... 80 Fig. 4-2 Detail, Richard Earlom after Guido Reni, Simeon and the Child ................................................................................................... 85 Fig. 4-3 Pierre Antoine Martini after Johann Heinrich Ramberg, The Exhibition of the Royal Academy 1787, 1787 .............................. 97 Fig. 5-1. Claude-Nicolas Ledoux, Perspective View of the City of Chaux ................................................................................................ 104 Fig. 5-2. Claude-Nicolas Ledoux, perspective views of Chaux .............. 121 Fig. 5-3. Claude-Nicolas Ledoux, Atelier de cercles (House and Workshop of the Coopers) ............................................................... 125 Fig. 6-1. Pierre-Gabriel Berthault after Jean-Louis Prieur, Pillage De L’Hôtel De Castries, fbg St Germain à Paris, 13 Novembre 1790 ... 140 Fig. 6-2. Jean-Baptiste Mallet, Le Culte Naturel, 1797 .......................... 148 Fig 7-1. First floor plan, courtyard elevation, Hôtel d’Humières ........... 158 Fig. 7-2. Jean Antoine Watteau, Les Sens: L’Ouie, L’Odorat,Le Goût, Le Toucher, La Veüe et L’Alliance ................................................... 161 Fig. 7-3. Ground floor plan and court elevation of Chesterfield House ..... 163 Fig. 7-4. The Boys’ Sitting Room, Chesterfield House 1868‒85 ........... 167 Fig. 8-1. Façade of Museo Nacional de las Culturas, formerly the Real Casa de Moneda ................................................................................ 178 Fig. 8-2. Patio of Museo Nacional de las Culturas, formerly the Real Casa de Moneda, Mexico City, Mexico ............................................ 179 Fig. 8-3. José de Ibarra, Portrait of Don Pedro Cebrián y Agustín, Conde de Fuenclara, Virrey 41, 1743 .................................... Centrefold Fig. 8-4. Nicolás Enríquez, The Marriage of the Virgin (Desposorios de la Virgen), 1745 ................................................................ Centrefold Fig. 8-5. Detail, Nicolás Enríquez, The Marriage of the Virgin (Desposorios de la Virgen), 1745 ..................................................... 189 Fig. 8-6. Detail. José de Ibarra, Portrait of Don Pedro Cebrián y Agustín, Conde de Fuenclara, Virrey 41, 1743 ................................ 190 Fig. 9-1. William Byrne after William Hodges, A View of Calcutta, taken from Fort William, 1758‒1805 ................................................ 194 Fig. 9-2. William Henry Worthington after Robert Home, Professor Carey, of the College of Fort William, Calcutta, attended by his Pundit, 1813 .....................................................................................
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