The Castle of the 5 2 Cosa Nostra: Our Cause 49 3 Universal Empire 83 4

Total Page:16

File Type:pdf, Size:1020Kb

The Castle of the 5 2 Cosa Nostra: Our Cause 49 3 Universal Empire 83 4 Maps xiii Preface xix xxvii A Note on xxix Introductory The Castle of the 5 2 Cosa Nostra: Our Cause 49 3 Universal Empire 83 4 El Dorado: The Golden One 5 A War to the Last Extremity 6 Felix Austria — The Happy State 7 The Last Cavalier 266 8 Finis Austriae: The End? 329 Notes 339 Sources and Bibliography 397 Index 425 inside back Family Trees: The of Habsburg Wheatcroft, Andrew digitalisiert durch: The Habsburgs IDS Luzern BETWEEN PAGES 64 AND 65 Rudolf the Priest. painting by Johann Hoechle, I9th (Österreichische Galerie Vienna) Frederick III. Oil painting by Hans Century. {Kunsthistorisches Eleanor of Portugal. Oil painting after Hans Burgkmair, Museum, Art London) Maximilian I. painting by Bernard Striegel, (Tiroler Landesmuseum Ferdinandeum, Innsbruck) Ceremonial of Maximilian, (Kunsthistorisches Museum, Viennd) Philip I of Spain. Oil painting attributed to Juan de Flandes, (Kunsthistorisches Museum, Art Library, London) of Castile. Oil painting by Juan de Flandes, (Kunsthistorisches Museum, Art Library, London) Charles V. painting by Michael early Century. (Schatzkammer Bruges) The Lance, 8th Century. (Kunsthistorisches Museum, Vienna) Ferdinand I. painting by Scrots, (Kunsthistorisches Museum, Philip II of Spain. Oil painting by Titian, Florence) View of the of the Escorial. Oil painting, Spanish School, Century. G. RMN, Paris) PAGES I 76 AND Allegory of the reign of Matthias. Oil painting by an unknown artist, (© Berlin) Philip IV. Oil painting by Diego de Velazquez, (Prado, Florence) View of the palace and gardens of the Buen Retiro. Oil painting by Jusepe Leonardo, (Museo Amatller Mas, Barcelona) The Oil painting by Fray Juan Batista Maino, c. (Prado, Art Library, London) II. Oil Pachmann, (Kunsthistorisches Museum, Vienna) Ferdinand III. Oil painting by Frans van Luyck, undated. (Foto Nationalmuseum, Stockholm) Cavalry a Sortie from a Fort a Hill. Oil painting by Philips Wouwermans, (National Gallery, London) Allegory of Leopold I. Oil by Gerard Hoet, (Kunsthistorisches Museum, Vienna) Leopold I as Acis from La Galatea. Oil on copper by Jan Thomas, (Kunsthistorisches Museum, Vienna) Margareta Maria Theresa as Galatea from La Galatea. Oil painting by Jan Thomas, (Kunsthistorisches Museum, Vienna) Communion Carlos II Spain. Oil painting by Claudio Coello, I7th Century. (The Art Martin) PAGES AND Charles VI. Oil painting by Johann-Gottfried Auerbach, (Weltliche und Geistliche Schatzkammer, Art London) Court of Schönbrunn palace. Oil painting by Bernardo Bel­ lotto (Canaletto), (Kunsthistorisches Museum, Vienna) A Christmas with Maria Theresa of Hungary and Francis Stephen. Gouache by Christine, Archduchess of Austria, Museum, Maria Theresa of Hungary. Oil painting by Martin van Meytens the Younger, (Kunsthistorisches Museum, Vienna) Coronation Banquet of Joseph II in Frankfurt. Oil painting by Martin van Meytens the Younger, (Schloß Schönbrunn, Art Library, London) The Arrival of Isabella of Parma at her Wedding to II. Oil painting by the school of Martin van Meytens the Younger, (Kunsthistorisches Museum, Vienna) Leopold II, his Maria Luisa and their children. Oil by Johann (Kunsthistorisches Museum, Art Library, London) Franz Joseph I. Oil painting by Franz Xavier Winterhalter, (Kunsthistorisches Museum, Art Library, London) Elisabeth of Bavaria. Oil painting by Franz Xavier Winterhalter, Century. (Kunsthistorisches Museum, Art Library) Katherina Schratt. Oil painting by an artist, {Hermesvilla, Art Library) Return of Francis I from Pressburg. Oil painting by Johann Peter (Hofburg, Vienna Art Library, London) BETWEEN PAGES AND in a painter's Workshop. Engraving by Hans Burgkmair, early (Staatliche Museen zu Berlin, P. Berlin) The Triumphal Woodcut by Albrecht Dürer and assistants, 2004 The British Museum) Maximilian I on horseback. Pen and ink by Hans Burgkmair, (Albertina, Vienna) Joseph I on horseback. figurine by Matthias Steinl, (Kunsthistorisches Museum, Vienna) Fraktur type in Maximilian Theurdank. Calligraphy designed by Leonhard Wagner, early Century. (Collection the author) Executions in Staromestske Square, Prague, Engraving, Ger- School, Century. (Private Art Library, London) Frontispiece from Marquard Genealogta (The British Library, London) Franz Joseph I, (© Franz Ferdinand and his wife Sophie Chotek von Chotkowa, (© Collection Viollet) Karl I, his wife Zita de and their children, undated. Collection Viollet) Dr Otto von Habsburg, his wife Regina von Saxe-Meiningen and their children, (© Collection Viollet) .
Recommended publications
  • The Reigning Woman As a Heroic Monarch? Maria Theresa Traced As Sovereign, Wife, and Mother
    The Reigning Woman as a Heroic Monarch? Maria Theresa Traced as Sovereign, Wife, and Mother Anne-Marie Metzger The Empress is one of the most beautiful princesses in Europe: despite all her vigils and puerperia, she has held up very well. When she was younger, she loved hunting, games, and theatre. Today, her only pleasures are governing her empire and the education of her children.1 This quotation from Carl Joseph, Baron of Fürst and Kupferberg, contains essen- tial aspects that can be found very often in representations of Maria Theresa: the dual nature of her representation, namely on one hand the monarch and on the other the mother. Maria Theresa consciously used – among others – these two elements to create her identity. It is interesting to see how contemporaries per- ceived these two contrary public personas and how these personas promoted the adoration of Maria Theresa as an “Austrian heroine”,2 as she was called in a eulo- gy for her husband, Francis Stephen.3 The impact was at any rate so strong that 1 All English translations, unless otherwise indicated, are my own. “Die Kaiserin ist eine der schönsten Prinzessinnen Europas: all ihren Nachtwachen und Wochenbetten zum Trotz hat sie sich sehr gut erhalten. Früher liebte sie Jagd, Spiel und Theater. Das einzige, woran sie jetzt Geschmack findet, ist die Regierung ihres Staates und die Erziehung ihrer Kinder.” Carl Joseph Maximilian Freiherr von Fürst und Kupferberg. Severin Perrig (Ed.), “Aus müt- terlicher Wohlmeinung”. Kaiserin Maria Theresia und ihre Kinder. Eine Korrespondenz, Weimar 1999, p. 17. 2 “Österreichische Heldinn”, Ignaz Mayrhoffer, Trauerrede auf Franzen den Ersten römi- schen Kaiser, Grätz 1765, p.
    [Show full text]
  • Diplomarbeit
    DIPLOMARBEIT Titel der Diplomarbeit Kunst hat ihren Preis Ökonomische Aspekte der österreichischen Künstlerlandschaft in der frühen Neuzeit unter Berücksichtigung ihres sozialen Umfeldes Verfasserin Katrin Elisabeth Leisch angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, September 2008 Studienkennzahl lt. Studienblatt: A315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Ao. Univ.- Prof. Dr. Peter Fidler INHALTSVERZEICHNIS 1. Vorwort................................................................................. 5 2. Einblick in das Österreich der frühen Neuzeit ...................... 7 2.1. Herrscher und Kriege ...........................................................................8 2.1.1. Die Habsburger – das Leben am Hof ...................................................8 2.1.2. Kriege und Unruhen – von den Bauernaufständen, dem Dreißigjährigen Krieg und der Türkenbelagerung Wiens....................12 2.2. Gesellschaftsstruktur – der Adel, das Bürgertum und die Bauern ......16 2.3. Religion – von der Reformation zur Gegenreformation ......................20 3. Wirtschaft, Handel und Geldwert........................................ 23 3.1. Geldwert, Preise und Löhne...............................................................24 3.1.1. Verdienst am Beispiel eines Maurergesellen......................................25 3.1.2. Preise von Lebensmitteln ...................................................................26 4. Vom Handwerker zum (Hof-)Künstler ................................ 28
    [Show full text]
  • Carlos. but It Was the Same Old Story – the Naval Powers Were Keen to Avoid Either the Bourbons Or the Habsburgs Attaining
    WEDDING DAY AND YOUNG MARRIAGE Carlos. But it was the same old story – the naval powers were keen to avoid either the Bourbons or the Habsburgs The eyes of many European princes now turned to attaining stratospheric levels of influence. And Char - Vienna, for although Maria Theresa was still playing les VI needed their signatures on an important agree- with her dolls, this lovely maiden was blossoming into ment – in short, his daughter would marry an insignifi- a most eligible match for their marriageable sons. In the cant prince without a major power base. In any case, 1720s, Austria was a Great Power, and its emperor’s Charles already knew who should get the little Theresa: daughter represented a desirable dowry for Bavaria or he had selected Leopold Clement, third son of Duke Saxony, for example. In Berlin too, the crown prince Leopold of Lorraine and future prince of a prosperous Fritz was just the right age, only five years older, soldierly but not exactly powerful province west of the Rhine. and strictly reared. Charles VI dismissed all these suitors, One day, he should take the now six-year-old Theresa Fig. 28: Anonymous, Francis Stephen of Lorraine and Ma - however. Even the Spanish Bourbon king, Philip V, had home. Charles had a high opinion of the father, who had ria Theresa, c. 1736. his eye on little Theresa, as a bride for his son Don fought bravely at Prince Eugene’s side against the Turks. And the blood of shared ancestors ran in their veins. They were already preparing for the prince’s arrival in Vienna when Clement was unexpectedly carried off by smallpox.
    [Show full text]
  • The State Rooms and Imperial Apartments on the Piano Nobile
    English It was in this room that Franz Joseph received individuals who had beginning and over the course of the years developed into a self- Hall of Mirrors requested an audience. People would come for an audience in order confident woman. She led an independent life, travelling extensively, Room 16 to thank the monarch for the award of an honour, to lodge a request, and in later life was rarely to be seen in Vienna. The Mirrors Room was used for family celebrations during Maria or to present themselves on receiving an official position. Franz Joseph In September 1898, at the age of 61, Elisabeth was stabbed to death Theresa’s reign, among other occasions for small concerts. would receive up to a hundred people in a morning and was famous with a file by the Italian anarchist Luigi Lucheni in Geneva. In 1762 this room saw the first concert given by the six-year-old for his phenomenal memory, never forgetting a name or a face. These Mozart to the empress. After the performance, according to his proud audiences lasted for a few minutes and were brought to an end when Salon of Empress Elisabeth father, “Wolferl jumped onto her majesty‘s lap, threw his arms around the emperor inclined his head slightly. Room 10 her neck and smothered her with kisses”. The atmosphere of this room, which served Elisabeth as a reception The State Rooms and Imperial Apartments Study of Emperor Franz Joseph room, is determined by the white and gold panelling, pale silk wall Rosa Rooms on the piano nobile Room 4 hangings and the sumptuous Neo-Rococo furniture.
    [Show full text]
  • Science, Art and Passion: Treasures from the Imperial Habsburg Kunstkammer
    Science, Art and Passion: Treasures from the Imperial Habsburg Kunstkammer Claudia Lehner-Jobst Art Historian and Curator, Vienna 108 The new Kunstkammer galleries at the Kunsthistorisches This meant that the twenty rooms had to be restored in the Museum in Vienna were opened in March 2013 after a period extant nineteenth-century historicist style and their structure of ten years of restoration, construction work, and the had to be maintained. There are now the most advanced design of a contemporary form of presentation. This most air-conditioning systems hidden behind the walls, and similar important and largest collection of Kunstkammer objects wonders have been worked in the three hundred display in the world is displayed in a space of 2.700 square metres. cases. Fifty-one “star brick” chandeliers, to a design by Olafur 2200 pieces, chosen from a tight “short list” of four thousand, Eliasson (b. 1967), add a contemporary element to rooms that thus found new and old places within the extensive holdings formerly had no electric lighting at ceiling level. of the former imperial museum. To understand the new display, which aims to act as a stage for those members of The last of this suite of rooms, the Goldsaal (“Golden Hall”) the Habsburg family who were outstanding collectors, art bears an important ceiling painting entitled Die Mäcene der lovers and initiators of new artistic styles, consideration first bildenden Künste im Hause Habsburg – Habsburg Patrons of the has to be given to certain other matters and facts, such as Fine Arts (fig. 1). This programmatic depiction was executed the Museum building itself, and the complexity of another by Julius Victor Berger (1850–1902) in 1890/91 and shows “house”, namely, the House of Habsburg.
    [Show full text]
  • Martin Van Meytens the Younger
    MARTIN VAN MEYTENS THE YOUNGER Winter Palace 18 October to 15 February 2015 Martin van Meytens Yr. The Family of Count Nikolaus Pálffy of Erdöd, around 1760 Oil on canvas 333 x 283 cm © Belvedere, Vienna MARTIN VAN MEYTENS THE YOUNGER In Martin van Meytens the Younger (1695 1770) the Belvedere is presenting a pre- eminent European master of the Baroque age. As the preferred portraitist at Maria impressively captured influential personalities of his highlight this important figure of the Austrian art scene in a monographic exhibition, which is on view from 18 October 2014 to 15 February 2015 in the Baroque ambience of the Winter Palace. Of Dutch origins and born in Sweden, Martin van Meytens the Younger developed his specific style, for which he borrowed from diverse European models and which he later successfully passed on to numerous students, during several lengthy sojourns in France, England, and Italy. Originally trained as a painter of miniatures, Meytens perfected monumental painting over the years while always remaining true to portraiture, apart from a few forays into other figural genres. The focus of this exhibition is on his fascinating portraits and the art of his most important pupils, including that of Joseph Hickel. Martin van Meytens is taking place in Vienna the city where the artist, following extensive stays in a number of other countries, spent more than half of his life and where he left behind impressive traces -Arco. Like no other artist, Martin van Meytens the Younger succeeded in documenting the protagonists of the legendary age of Maria Theresa in his portraits.
    [Show full text]
  • Ethno-Lore XXXII. a Magyar Tudományos Akadémia Néprajztudományi Intézetének Évkönyvei
    ETHNO-LORE XXXII. A MAGYAR TUDOMÁNYOS AKADÉMIA NÉPRAJZTUDOMÁNYI INTÉZETÉNEK ÉVKÖNYVEI Főszerkesztő: ORTUTAY GYULA (NÉPI KULTÚRA – NÉPI TÁRSADALOM címmel) I. kötet – 1968. Szerkesztő: Diószegi Vilmos II–III. kötet – 1969. Szerkesztő: Diószegi Vilmos IV. kötet – 1970. Szerkesztő: Diószegi Vilmos V–VI. kötet – 1971. Szerkesztő: Diószegi Vilmos Összeállította: Kósa László VII. kötet – 1973. Szerkesztő: Diószegi Vilmos Összeállították: Istvánovits Márton és Kósa László VIII. kötet – 1975. Szerkesztő: Kósa László IX. kötet – 1977. Szerkesztő: Kósa László X. kötet – 1977. Szerkesztő: Kósa László XI–XII. kötet – 1980. Szerkesztő: Kósa László Főszerkesztő: BODROGI TIBOR XIII. kötet – 1983. Szerkesztő: Kósa László XIV. kötet – 1987. Szerkesztő: Kósa László Technikai szerkesztő: Niedermüller Péter Főszerkesztő: PaLÁDI-KOVÁCS ATTILA XV. kötet – 1990. Szerkesztő: Nidermüller Péter XVI. kötet – 1991. Szerkesztő: Niedermüller Péter és Sárkány Mihály XVII. kötet – 1993. Szerkesztő: Szilágyi Miklós XVIII. kötet – 1995. Szerkesztő: Szilágyi Miklós XIX. kötet – 1998. Szerkesztő: Szilágyi Miklós XX. kötet –2001. Szerkesztő: Szilágyi Miklós XXI. kötet – 2003. Szerkesztő: Vargyas Gábor Főszerkesztő: HOPPÁL MIHÁLY (ETHNO-LORE címmel) XXII. kötet – 2005. Szerkesztő: Vargyas Gábor A szerkesztő munkatársa: Berta Péter XXIII. kötet – 2006. Szerkesztő: Vargyas Gábor A szerkesztő munkatársa: Berta Péter XXIV. kötet – 2007. Szerkesztő: Vargyas Gábor és Berta Péter XXV. kötet – 2008. Szerkesztő: Vargyas Gábor és Berta Péter XXVI. kötet – 2009. Szerkesztő: Berta Péter Főszerkesztő: BALOGH BALÁZS XXVII. – 2010. Szerkesztő: Berta Péter XXVIII. – 2011. Szerkesztő: Ispán Ágota Lídia és Magyar Zoltán XXIX. – 2012. Szerkesztő: Báti Anikó – Sárkány Mihály A szerkesztő munkatársa: Vargha Katalin (Kiadja az MTA Bölcsészettudományi Kutatóközpont) XXX. – 2013. Szerkesztő: Berta Péter – Ispán Ágota Lídia – Magyar Zoltán – Szemerkényi Ágnes XXXI. – 2014. Szerkesztő: Ispán Ágota Lídia – Magyar Zoltán XXXII. – 2015.
    [Show full text]
  • The Reiner Winkler Collection Joins the Liebieghaus Skulpturensammlung
    Press release The Reiner Winkler Collection joins the Liebieghaus Skulpturensammlung The world’s most important private collection of 17th- and 18th-century ivory sculptures has been acquired for the Liebieghaus by the Ernst von Siemens Kunststiftung, the Städelscher Museums-Verein, and the Städel Museum, with the support of the Kulturstiftung der Länder and the Hessische Kulturstiftung. A large part of the collection has been acquired in the form of a generous gift by Reiner Winkler. Exhibition “White Wedding: The Reiner Winkler Ivory Collection Now at the Liebieghaus – Forever.” from 27 March 2019, Liebieghaus Skulpturensammlung Frankfurt am Main, March 26, 2019. The Liebieghaus Skulpturensammlung is to be enriched by a magnificent addition: The Ernst von Siemens Kunststiftung, the Städelscher Museums-Verein, and the Städel Museum, with the support of the Kulturstiftung der Länder and the Hessische Kulturstiftung, have acquired for the Liebieghaus Skulpturensammlung a collection of over 200 valuable ivory sculptures owned by Reiner Winkler. With this acquisition, which was made possible through the generous gift of a large part of the collection by Reiner Winkler, the Liebieghaus has achieved the most important expansion of its own holdings in the history of the museum. From 27 March 2019, some 190 artworks will be shown on view in the exhibition “ ” The ivory works from the Middle Ages and the Baroque and Rococo periods will be presented in theme-based chapters. Over the decades, the collector and patron Reiner Winkler (b. 1925) has assembled a legendary private collection of ivory sculptures with a focus on Baroque masterpieces. One outstanding work is, for example, Fury on a Charging Horse (1610).
    [Show full text]
  • Upcoming Exhibitions 2017
    UPCOMING EXHIBITIONS 2017 MARCH 7, - THE FIRST GOLD JUNE 25, 2017 ADA TEPE: EUROPE’S OLDEST GOLDMINE On March 7th the Kunsthistorisches Museum opens an exhibition showcasing Europe’s oldest goldmine together with the largest Bronze Age gold hoard ever discovered. A few years ago the sensational discovery of Europe’s oldest goldmine at Ada Tepe (Bulgaria) made international headlines. In collaboration with the Austrian Academy of Sciences, and using state-of-the-art technology, scholars are trying to determine if this is where the gold used for the artefacts comprising Priam’s legendary treasure and those found in the royal graves at Mycenae was mined. Recent scholarly findings form the basis for this exhibition, which looks at, among other things, transnational Bronze Age trade routes and the role of gold as an elite status symbol. A virtual reconstruction and finds from the mine document how the people who toiled there lived. A reflection of the period’s wealth and technical skills, the Valchitran Treasure comprises around 12,5 kilograms of gold and forms the core of the show. Selected gold masterpieces produced during the late classical/Hellenistic period and the Roman Empire document the importance of Bulgarian gold, which can look back on 3500 years of history. This exhibition is organised by the Kunsthistorisches Museum in collaboration with the National Archaeological Institute and Museum, Bulgarian Academy of Science, Sofia (NAIM), and the Institute for Oriental and European Archaeology of the Austrian Academy of Science(OREA). MARCH 15 - MARIA THERESA NOVEMBER 29, 2017 STRATEGIST – MOTHER – REFORMER IMPERIAL CARRIAGE MUSEUM, SCHLOSS HOF, SCHLOSS NIEDERWEIDEN AND HOFMOBILIENDEPOT - VIENNA IMPERIAL FURNITURE COLLECTION A major new exhibition marking the third centenary of the birth of Maria Theresa explores the life and work of this monarch and empress-consort.
    [Show full text]
  • Hunting with the Empress: Hunting, Gender and Dynastic Ambition at the Court of Charles VI
    Hunting with the Empress: Hunting, Gender and Dynastic Ambition at the Court of Charles VI and Maria Theresa By Thomas Stokes Submitted to Professors Lisa Jane Graham and Darin Hayton In partial fulfillment of the requirement of History 400: Senior Thesis Seminar Abstract In the first half of the eighteenth century, the Habsburg family faced a dynastic crisis. Holy Roman Emperor Charles VI had no sons to inherit his kingdom. Consequently, he presented his daughter, Maria Theresa, as his heir making her the first female Habsburg regent after centuries of patrilineal descent. Contemporary gender ideals and international and internal attempts to disrupt Habsburg hegemony obstructed Maria Theresa from a smooth dynastic transition. This thesis investigates strategies employed by Maria Theresa and her father that strengthened her claim and identity as a female regent. Some strategies blurred the gender divide embedded in contemporary thoughts on patriarchal society. Others highlighted Maria Theresa’s effeminate virtues. Court hunting provides the most informative example of imperial strategies legitimizing Maria Theresa’s inheritance. The hunting vulture espoused by the Habsburg court expressed the authority of its monarch. More specifically for Maria Theresa, hunting helped characterize her as a powerful female leader by highlighting female participation in hunting and female influence on hunting culture. I start by introducing the political background of Austria and Europe in the eighteenth century and Charles’ issuing of the Pragmatic Sanction. The next section describes Maria Theresa’s state building projects and the gender dynamic in her public identity. The third section transitions into hunting highlighting the social and political implications of the sport at Charles VI’s court.
    [Show full text]
  • Martin Van Meytens's Portrait of Johann Michael Von Grosser
    Martin van Meytens’s Portrait of Johann Michael von Grosser: The Business of Nobility Michael Yonan Professor of Art History, University of California, Davis Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum, Stockholm, © Copyright Musei di Strada Nuova, Genova Martin van Meytens’s Portrait of Johann is published with generous support from the (Fig. 4, p. 17) Michael von Grosser: The Business of Nobility Friends of the Nationalmuseum. © National Gallery of Art, Washington D.C. Open © Österreichisches Staatsarchiv 2020 (Fig. 2, Access image download (Fig. 5, p. 17) p. 92) Nationalmuseum collaborates with Svenska Henri Toutin’s Portrait of Anne of Austria. A © Robert Wellington, Canberra (Fig. 5, p. 95) Dagbladet, Bank of America Merrill Lynch, New Acquisition from the Infancy of Enamel © Wien Museum, Vienna, Peter Kainz (Fig. 7, Grand Hôtel Stockholm, The Wineagency and the Portraiture p. 97) Friends of the Nationalmuseum. © Rijksmuseum, Amsterdam/Public Domain (Fig. 2, p. 20) Graphic Design Cover Illustration © Christies, 2018 (Fig. 3, p. 20) BIGG Daniel Seghers (1590–1661) and Erasmus © The Royal Armoury, Helena Bonnevier/ Quellinus the Younger (1607–1678), Flower CC-BY-SA (Fig. 5, p. 21) Layout Garland with the Standing Virgin and Child, c. Four 18th-Century French Draughtsmen Agneta Bervokk 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: © The Metropolitan Museum of Art, New York, Wiros Fund. Nationalmuseum, NM 7505. NY/Public Domain (Fig. 7, p. 35) Translation and Language Editing François-André Vincent and Johan Tobias Clare Barnes and Martin Naylor Publisher Sergel. On a New Acquisition – Alcibiades Being Susanna Pettersson, Director General.
    [Show full text]
  • Baroque Routes Newsletter
    Baroque Routes - June 2011 1 2 Baroque Routes - June 2011 Contents Events Past Events in the World of Baroque ________4 Current Events in the World of Baroque ___________________________6 Features Ephemeral Manifestations in Baroque Malta __________________________8 International Conference on the Baroque Heritage _______________________17 Jesuit Mathematics and Military Architecture ___________________________18 Fort Manoel’s Baroque Gateway gets a Reconstructed Drawbridge __________19 Books _______________________________ 22 Website ______________________________23 Courses _____________________________ 24 Baroque Routes - June 2011 3 - www.um.edu.mt/iibs - will reveal details of Foreword these recent initiatives. The Institute will be this year again accepting applications for a Masters and Doctorate I am pleased to present issue no. 8 of the Programmes in Baroque Studies which will Baroque Routes Newsletter which is published be starting in October 2011.The five-semester on a regular basis by the International Institute MA in Baroque Studies programme run for Baroque Studies at the University of Malta by the International Institute for Baroque on behalf of Baroque Routes Network of the Studies includes an intensive four-semester Council of Europe. This publication comes at a taught component dealing with the political, time of growth when the Institute is promoting religious, social, architectural, artistic and new teaching and research initiatives targeting scientific (including medical) scenarios of the at a wider dissemination of inter-disciplinary Baroque age as well as with the conservation knowledge about the rich legacy of the Baroque of the Baroque heritage of mankind, which age. A glance at the recently updated website of is concluded with the presentation of a the International Institute for Baroque Studies dissertation.
    [Show full text]