Book review: Boris Czerny (éd.), Salomon Reinach, Correspondance 1888-1932. Un polygraphe sous le... more Book review: Boris Czerny (éd.), Salomon Reinach, Correspondance 1888-1932. Un polygraphe sous le signe d’Amalthée, Paris, Honoré Champion, 2020, 561 p., ill. – ISBN 978-2-7453-5405-1.
https://academic.oup.com/jhc/article-abstract/34/2/370/6574511
Through an intimate and journalis... more https://academic.oup.com/jhc/article-abstract/34/2/370/6574511 Through an intimate and journalistic narrative engaging with multiple biographies, James McAuley’s book combines aspects of the disciplines of material history and Jewish studies. Using the lens of art collecting as a means of social and economic inquiry, the volume brings to the attention of an English-speaking general public the Jewish contribution to the defining qualities of French national identity. Nine chapters analyse the value of art, architecture and patronage within the lives of a Jewish elite, as portrayed by Cyril Grange in Une élite parisienne (2016) and explored by several researchers of the Society for the History of Collecting, The Jewish Country House project in Oxford, and several contributors to the present journal. Four families and four properties constitute the core of a coherent story that accompanies the reader through the achievements, ambiguities and crimes that mark a significant chapter of European history. A number of maps and family trees pinpoint the book’s main characters: the Camondos, the Reinachs, the Cahen d’Anvers family and the Rothschilds emerge as members of an interrelated generation of connoisseurs, who left their collections to the French state as ‘a means of shaping its cultural legacy’. Champs-sur-Marne castle, the Château de Ferrières, Villa Kérylos, Villa Île-de-France and several urban residences condensed the aspirations and the experiences of a community deeply affected by nineteenth-century antisemitic discourse and the racial laws of the early 1940s [...]
Book review: Reframing Japonisme: Women and the Asian Art Market in Nineteenth- Century France, 1... more Book review: Reframing Japonisme: Women and the Asian Art Market in Nineteenth- Century France, 1853–1914. By Elizabeth Emery. 280 pp. incl. 13 col. + 61 b. & w. ills. (Bloomsbury Visual Arts, London, 2020), £90. ISBN 978–1–5013–4463–3.
Members of the Parisian financial elite, Meyer Joseph Cahen d’Anvers (1804-1881) and his descenda... more Members of the Parisian financial elite, Meyer Joseph Cahen d’Anvers (1804-1881) and his descendants belonged to an Ashkenazy community rooted between Germany and Belgium. In the late nineteenth century, as targets of the anti-Semitic press, the Cahen d’Anvers family experienced the consequences of the Dreyfus affair and the horrors of the racial laws. In an earlier generation, the family adopted what could be defined as a ‘top-down model of integration’. This essay focuses on its mechanisms and development, in relation to the construction of the family’s national and cultural identity. After tracing the patriarch’s origins, the text analyses the properties and collections of Cahen d’Anvers and explores their influence upon the subsequent development of the family’s place in society. As a showcase for their public identity, the Château de Nainville (Essonne) and the Petit Hôtel de Villars (Paris) distilled in their architecture, furnishings and collections Meyer Joseph’s civil rights and ambitions.
Cette thèse parle d’Hommes, d’art et de société. Elle traite de l’histoire d’un banquier Juif ash... more Cette thèse parle d’Hommes, d’art et de société. Elle traite de l’histoire d’un banquier Juif ashkénaze né à Bonn en 1804 et de ses descendants. À travers l’étude de douze demeures et de leurs collections, elle raconte l’histoire d’une dynastie d’entrepreneurs qui, de l’ancien Ghetto de Bonn – 821 rue des Juifs – rejoignit le sommet de la haute société européenne. Portraiturés par Léon Bonnat, Carolus-Duran et Renoir, Meyer Joseph Cahen d’Anvers et ses enfants Édouard, Emma, Louis, Raphaël et Albert vécurent les conséquences de l’Affaire Dreyfus, s’efforçant d’exprimer la plénitude de leurs droits civils à travers la sociabilité et le mécénat. Dans leurs salons, en ville et à la campagne, les lecteurs croiseront les pas de Guy de Maupassant, Paul Bourget, Marcel Proust et César Franck, ou encore de Gabriele D’Annunzio et Matilde Serao. Au château de Champs-sur-Marne, à Torre Alfina et dans les autres demeures de la famille les architectes Destailleur et Giuseppe Partini, ou encore les paysagistes Henri et Achille Duchêne, surent plier la « grammaire » du Moyen Âge, de la Renaissance et du XVIIIe siècle au goût et aux ambitions de leurs commanditaires.
The extensive availability of objects on the antiquarian market in XIX Century Europe encouraged ... more The extensive availability of objects on the antiquarian market in XIX Century Europe encouraged the wide interest for the Renaissance medals. Through an important research on the auction catalogues – based mainly on the Re´pertoire of Frits Lugt and on the Arquie´s archive funds in the De´partement des Objets d’art of the Louvre Museum, it is possible to follow the evolution of taste for these numismatic objects, from 1800 to 1860, and from London to the United States, via the Parisian auction houses.
To crown the project of its sumptuous and eclectic residence between Umbria and Lazio, formerly t... more To crown the project of its sumptuous and eclectic residence between Umbria and Lazio, formerly the property of the noble Guelph family of the Monaldeschi della Cervara, restored by Giuseppe Partini (1842-1895), the Marquis and banker Édouard Cahen d'Anvers (1832-1894) requested the presence in Torre Alfina of two of the most famous landscape artists of the Belle Époque. Under the watchful eye of his sons Rodolfo and Hugo, the French Henri (1841-1902) and Achille Duchêne (1866-1947) created two of their rarest works still existing in the Italian territory. This paper will analyze in detail the gardens of the castle of Torre Alfina, also taking consideration of the ones of the villa Allerona, known as one of the first Japanese-inspired mixed gardens designed in Italy. In a unified dialogue between green and architecture, the work of the Duchêne reflects the taste, style and cosmopolitan attitude of its clients, according to a neo-feudal logic that was widespread on a European scale.
[English below]
Dopo un articolo introduttivo pubblicato nel CXVII volume della ‘‘Rivista Italian... more [English below] Dopo un articolo introduttivo pubblicato nel CXVII volume della ‘‘Rivista Italiana di Numismatica’’, presentiamo qui la trascrizione integrale del manoscritto Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, conservato presso la biblioteca dell’Institut National d’Histoire de l’Art di Parigi sotto la segnatura ms. 0740. Appartenuto al collezionista Gustave Dreyfus, il testo rientra nell’abbondante letteratura rinascimentale ‘‘dei segreti’’ ponendosi come un prontuario estremamente dettagliato, in grado di accompagnare tanto un artista quanto un dilettante nella contraffazione di monete antiche secondo un gusto tipicamente cinquecentesco. Sulle orme di Vannoccio Biringuccio e di Don Alessio Piemontese, l’autore propone una cinquantina di ricette legate alla metallurgia e all’alchimia, che vanno dalla composizione delle leghe all’alterazione delle superfici, passando per la preparazione delle argille per gli stampi in cui verra`gettato il metallo fuso.
[English] After a first article, published in vol. CXVII of the ‘‘Rivista Italiana di Numismatica’’, we present a complete transcription of the manuscript Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, kept in the Institut National d’Histoire de l’Art library in Paris, under the shelfmark Ms. 0740. The volume – which belonged to the collector Gustave Dreyfus – is part of the ‘‘books of secrets’’ literature and it provides an extremely detailed manual that could assist an artist or a dilettante in the forgery of ancient coins, following Renaissance taste. The author offers some fifty recipes related to metallurgy and alchemy. Similarly to the publications of Vannoccio Biringuccio and Don Alessio Piemontese, the manuscript discusses various technical aspects, from the composition of alloys to surface alteration, including the preparation of different sorts of clay for the production of casting molds.
[French and English below]
Nel 1885 Gustave Dreyfus sta attraversando l’Italia. Sir Charles Robi... more [French and English below]
Nel 1885 Gustave Dreyfus sta attraversando l’Italia. Sir Charles Robinson, conservatore del South Kensington Museum di Londra, lo incontra a Bologna. Qui, l’inglese cede al grande collezionista parigino un manoscritto di una cinquantina di pagine firmato “Spagnolo” e dedicato a un enigmatico notabile italiano, il “Mag. Sig.re Dottor Antiopa”. Dreyfus è conosciuto in tutta europa per la sua immensa collezione di medaglie e placchette rinascimentali, e questo antico trattato di medaglistica non può che attirare la sua attenzione. Il titolo del volumetto svetta in cima alla prima pagina, in una bella grafia corsiva: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Il testo contiene una dissertazione tecnica sui metodi di lavorazione del metallo per la produzione di medaglie e, nel suo insieme, costituisce un prontuario estremamente dettagliato, in grado di accompagnare tanto un artista, quanto un falsario dilettante. Alcune osservazioni, tra cui un interessante riferimento al metallurgo senese Vannoccio Biringuccio e un attento studio del supporto cartaceo, ci hanno permesso di datare il manoscritto – di cui proponiamo una trascrizione parziale – tra il 1513 e il 1539.
Français En 1885, Gustave Dreyfus est en train de traverser l’Italie. Sir Charles Robinson, conservateur du South Kensington Museum de Londres, le rencontre à Bologne. Ici, l’Anglais cède au grand collectionneur parisien un manuscrit d’une cinquantaine de pages, signé « Spagnolo » et dédié à un énigmatique notable italien, le « Mag. Sig.re Dottor Antiopa ». Dreyfus est célèbre dans toute l’Europe pour sa collection de médailles et plaquettes de la Renaissance italienne et cet ancien traité de science des médailles ne peut qu’attirer son intérêt. Le titre du volume jaillit en haut de la première page, marqué à l’encre avec une graphie fine et élégante : Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Le texte contient une dissertation technique sur les méthodes de travail des métaux pour la production de médailles et, dans son ensemble, il constitue un véritable manuel capable d’accompagner tant un artiste qu’un faussaire amateur. Plusieurs observations, dont une intéressante référence au métallurgiste siennois Vannoccio Biringuccio et une étude soignée du support papier, nous ont permis de dater le manuscrit – duquel nous proposons une transcription partielle – entre 1513 et 1539.
English In 1885 Gustave Dreyfus is travelling across Italy. Sir Charles Robinson – curator of the South Kensington Museum in London – meets him in Bologna. Here, the Englishman sells to the Parisian collector a manuscript of around fifty pages. It is signed "Spanolo" and dedicated to an enigmatic Italian notable, the "Mag. Sig.re Dottor Antiopa". Dreyfus is well-known in all Europe for his immense collection of Renaissance medals and plaquettes, and this ancient treatise of medals’ studies rapidly catches his attention. The volume’s title stands out on the top of the first page, in a beautiful cursive handwriting: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. The text contains a technical dissertation on metal’s workmanship methods for the production of medals and, in its whole, it provides an extremely detailed manual able to attend as well an artist as an amateur counterfeiter. An interesting reference to the Sienese smith Vannoccio Biringuccio and a careful paper’s study, led us to date the manuscript – of which we propose a partial transcription – between 1513 and 1539.
Durant le siècle de la grande floraison de l’histoire de l’art comme discipline d’étude scientifi... more Durant le siècle de la grande floraison de l’histoire de l’art comme discipline d’étude scientifique, l’historien de l’art d’origine alsacienne Eugène Müntz joue un rôle incontournable. Amant passionné de l’Italie et réputé connaisseur de la Renaissance, Müntz arrive à créer autour de soi un réseau international d’historiens qu’on pourrait comparer à une deuxième République des Lettres. Ses fonds de correspondance, conservés en trente-sept volumes à la Bibliothèque Nationale Française, constituent une source exceptionnelle pour l’étude de l’historiographie du XIXème siècle. À travers des recherches croisées, à Paris, ainsi qu’aux archives de l’École Normale Supérieure de Pise et à la bibliothèque Marciana de Venise, nous proposons au lecteur une transcription complète des échanges épistolaires de Müntz avec deux des pères de l’histoire de l’art italien: Adolfo Venturi et Giovanni Battista Cavalcaselle. Ce corpus d’environ quatre-vingt-dix lettres, est accompagné d’une biographie d’Eugène Müntz et d’une étude de la fortune critique de la traduction italienne de son ouvrage Histoire de l’art pendant la Renaissance.
Book review: Boris Czerny (éd.), Salomon Reinach, Correspondance 1888-1932. Un polygraphe sous le... more Book review: Boris Czerny (éd.), Salomon Reinach, Correspondance 1888-1932. Un polygraphe sous le signe d’Amalthée, Paris, Honoré Champion, 2020, 561 p., ill. – ISBN 978-2-7453-5405-1.
https://academic.oup.com/jhc/article-abstract/34/2/370/6574511
Through an intimate and journalis... more https://academic.oup.com/jhc/article-abstract/34/2/370/6574511 Through an intimate and journalistic narrative engaging with multiple biographies, James McAuley’s book combines aspects of the disciplines of material history and Jewish studies. Using the lens of art collecting as a means of social and economic inquiry, the volume brings to the attention of an English-speaking general public the Jewish contribution to the defining qualities of French national identity. Nine chapters analyse the value of art, architecture and patronage within the lives of a Jewish elite, as portrayed by Cyril Grange in Une élite parisienne (2016) and explored by several researchers of the Society for the History of Collecting, The Jewish Country House project in Oxford, and several contributors to the present journal. Four families and four properties constitute the core of a coherent story that accompanies the reader through the achievements, ambiguities and crimes that mark a significant chapter of European history. A number of maps and family trees pinpoint the book’s main characters: the Camondos, the Reinachs, the Cahen d’Anvers family and the Rothschilds emerge as members of an interrelated generation of connoisseurs, who left their collections to the French state as ‘a means of shaping its cultural legacy’. Champs-sur-Marne castle, the Château de Ferrières, Villa Kérylos, Villa Île-de-France and several urban residences condensed the aspirations and the experiences of a community deeply affected by nineteenth-century antisemitic discourse and the racial laws of the early 1940s [...]
Book review: Reframing Japonisme: Women and the Asian Art Market in Nineteenth- Century France, 1... more Book review: Reframing Japonisme: Women and the Asian Art Market in Nineteenth- Century France, 1853–1914. By Elizabeth Emery. 280 pp. incl. 13 col. + 61 b. & w. ills. (Bloomsbury Visual Arts, London, 2020), £90. ISBN 978–1–5013–4463–3.
Members of the Parisian financial elite, Meyer Joseph Cahen d’Anvers (1804-1881) and his descenda... more Members of the Parisian financial elite, Meyer Joseph Cahen d’Anvers (1804-1881) and his descendants belonged to an Ashkenazy community rooted between Germany and Belgium. In the late nineteenth century, as targets of the anti-Semitic press, the Cahen d’Anvers family experienced the consequences of the Dreyfus affair and the horrors of the racial laws. In an earlier generation, the family adopted what could be defined as a ‘top-down model of integration’. This essay focuses on its mechanisms and development, in relation to the construction of the family’s national and cultural identity. After tracing the patriarch’s origins, the text analyses the properties and collections of Cahen d’Anvers and explores their influence upon the subsequent development of the family’s place in society. As a showcase for their public identity, the Château de Nainville (Essonne) and the Petit Hôtel de Villars (Paris) distilled in their architecture, furnishings and collections Meyer Joseph’s civil rights and ambitions.
Cette thèse parle d’Hommes, d’art et de société. Elle traite de l’histoire d’un banquier Juif ash... more Cette thèse parle d’Hommes, d’art et de société. Elle traite de l’histoire d’un banquier Juif ashkénaze né à Bonn en 1804 et de ses descendants. À travers l’étude de douze demeures et de leurs collections, elle raconte l’histoire d’une dynastie d’entrepreneurs qui, de l’ancien Ghetto de Bonn – 821 rue des Juifs – rejoignit le sommet de la haute société européenne. Portraiturés par Léon Bonnat, Carolus-Duran et Renoir, Meyer Joseph Cahen d’Anvers et ses enfants Édouard, Emma, Louis, Raphaël et Albert vécurent les conséquences de l’Affaire Dreyfus, s’efforçant d’exprimer la plénitude de leurs droits civils à travers la sociabilité et le mécénat. Dans leurs salons, en ville et à la campagne, les lecteurs croiseront les pas de Guy de Maupassant, Paul Bourget, Marcel Proust et César Franck, ou encore de Gabriele D’Annunzio et Matilde Serao. Au château de Champs-sur-Marne, à Torre Alfina et dans les autres demeures de la famille les architectes Destailleur et Giuseppe Partini, ou encore les paysagistes Henri et Achille Duchêne, surent plier la « grammaire » du Moyen Âge, de la Renaissance et du XVIIIe siècle au goût et aux ambitions de leurs commanditaires.
The extensive availability of objects on the antiquarian market in XIX Century Europe encouraged ... more The extensive availability of objects on the antiquarian market in XIX Century Europe encouraged the wide interest for the Renaissance medals. Through an important research on the auction catalogues – based mainly on the Re´pertoire of Frits Lugt and on the Arquie´s archive funds in the De´partement des Objets d’art of the Louvre Museum, it is possible to follow the evolution of taste for these numismatic objects, from 1800 to 1860, and from London to the United States, via the Parisian auction houses.
To crown the project of its sumptuous and eclectic residence between Umbria and Lazio, formerly t... more To crown the project of its sumptuous and eclectic residence between Umbria and Lazio, formerly the property of the noble Guelph family of the Monaldeschi della Cervara, restored by Giuseppe Partini (1842-1895), the Marquis and banker Édouard Cahen d'Anvers (1832-1894) requested the presence in Torre Alfina of two of the most famous landscape artists of the Belle Époque. Under the watchful eye of his sons Rodolfo and Hugo, the French Henri (1841-1902) and Achille Duchêne (1866-1947) created two of their rarest works still existing in the Italian territory. This paper will analyze in detail the gardens of the castle of Torre Alfina, also taking consideration of the ones of the villa Allerona, known as one of the first Japanese-inspired mixed gardens designed in Italy. In a unified dialogue between green and architecture, the work of the Duchêne reflects the taste, style and cosmopolitan attitude of its clients, according to a neo-feudal logic that was widespread on a European scale.
[English below]
Dopo un articolo introduttivo pubblicato nel CXVII volume della ‘‘Rivista Italian... more [English below] Dopo un articolo introduttivo pubblicato nel CXVII volume della ‘‘Rivista Italiana di Numismatica’’, presentiamo qui la trascrizione integrale del manoscritto Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, conservato presso la biblioteca dell’Institut National d’Histoire de l’Art di Parigi sotto la segnatura ms. 0740. Appartenuto al collezionista Gustave Dreyfus, il testo rientra nell’abbondante letteratura rinascimentale ‘‘dei segreti’’ ponendosi come un prontuario estremamente dettagliato, in grado di accompagnare tanto un artista quanto un dilettante nella contraffazione di monete antiche secondo un gusto tipicamente cinquecentesco. Sulle orme di Vannoccio Biringuccio e di Don Alessio Piemontese, l’autore propone una cinquantina di ricette legate alla metallurgia e all’alchimia, che vanno dalla composizione delle leghe all’alterazione delle superfici, passando per la preparazione delle argille per gli stampi in cui verra`gettato il metallo fuso.
[English] After a first article, published in vol. CXVII of the ‘‘Rivista Italiana di Numismatica’’, we present a complete transcription of the manuscript Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, kept in the Institut National d’Histoire de l’Art library in Paris, under the shelfmark Ms. 0740. The volume – which belonged to the collector Gustave Dreyfus – is part of the ‘‘books of secrets’’ literature and it provides an extremely detailed manual that could assist an artist or a dilettante in the forgery of ancient coins, following Renaissance taste. The author offers some fifty recipes related to metallurgy and alchemy. Similarly to the publications of Vannoccio Biringuccio and Don Alessio Piemontese, the manuscript discusses various technical aspects, from the composition of alloys to surface alteration, including the preparation of different sorts of clay for the production of casting molds.
[French and English below]
Nel 1885 Gustave Dreyfus sta attraversando l’Italia. Sir Charles Robi... more [French and English below]
Nel 1885 Gustave Dreyfus sta attraversando l’Italia. Sir Charles Robinson, conservatore del South Kensington Museum di Londra, lo incontra a Bologna. Qui, l’inglese cede al grande collezionista parigino un manoscritto di una cinquantina di pagine firmato “Spagnolo” e dedicato a un enigmatico notabile italiano, il “Mag. Sig.re Dottor Antiopa”. Dreyfus è conosciuto in tutta europa per la sua immensa collezione di medaglie e placchette rinascimentali, e questo antico trattato di medaglistica non può che attirare la sua attenzione. Il titolo del volumetto svetta in cima alla prima pagina, in una bella grafia corsiva: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Il testo contiene una dissertazione tecnica sui metodi di lavorazione del metallo per la produzione di medaglie e, nel suo insieme, costituisce un prontuario estremamente dettagliato, in grado di accompagnare tanto un artista, quanto un falsario dilettante. Alcune osservazioni, tra cui un interessante riferimento al metallurgo senese Vannoccio Biringuccio e un attento studio del supporto cartaceo, ci hanno permesso di datare il manoscritto – di cui proponiamo una trascrizione parziale – tra il 1513 e il 1539.
Français En 1885, Gustave Dreyfus est en train de traverser l’Italie. Sir Charles Robinson, conservateur du South Kensington Museum de Londres, le rencontre à Bologne. Ici, l’Anglais cède au grand collectionneur parisien un manuscrit d’une cinquantaine de pages, signé « Spagnolo » et dédié à un énigmatique notable italien, le « Mag. Sig.re Dottor Antiopa ». Dreyfus est célèbre dans toute l’Europe pour sa collection de médailles et plaquettes de la Renaissance italienne et cet ancien traité de science des médailles ne peut qu’attirer son intérêt. Le titre du volume jaillit en haut de la première page, marqué à l’encre avec une graphie fine et élégante : Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Le texte contient une dissertation technique sur les méthodes de travail des métaux pour la production de médailles et, dans son ensemble, il constitue un véritable manuel capable d’accompagner tant un artiste qu’un faussaire amateur. Plusieurs observations, dont une intéressante référence au métallurgiste siennois Vannoccio Biringuccio et une étude soignée du support papier, nous ont permis de dater le manuscrit – duquel nous proposons une transcription partielle – entre 1513 et 1539.
English In 1885 Gustave Dreyfus is travelling across Italy. Sir Charles Robinson – curator of the South Kensington Museum in London – meets him in Bologna. Here, the Englishman sells to the Parisian collector a manuscript of around fifty pages. It is signed "Spanolo" and dedicated to an enigmatic Italian notable, the "Mag. Sig.re Dottor Antiopa". Dreyfus is well-known in all Europe for his immense collection of Renaissance medals and plaquettes, and this ancient treatise of medals’ studies rapidly catches his attention. The volume’s title stands out on the top of the first page, in a beautiful cursive handwriting: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. The text contains a technical dissertation on metal’s workmanship methods for the production of medals and, in its whole, it provides an extremely detailed manual able to attend as well an artist as an amateur counterfeiter. An interesting reference to the Sienese smith Vannoccio Biringuccio and a careful paper’s study, led us to date the manuscript – of which we propose a partial transcription – between 1513 and 1539.
Durant le siècle de la grande floraison de l’histoire de l’art comme discipline d’étude scientifi... more Durant le siècle de la grande floraison de l’histoire de l’art comme discipline d’étude scientifique, l’historien de l’art d’origine alsacienne Eugène Müntz joue un rôle incontournable. Amant passionné de l’Italie et réputé connaisseur de la Renaissance, Müntz arrive à créer autour de soi un réseau international d’historiens qu’on pourrait comparer à une deuxième République des Lettres. Ses fonds de correspondance, conservés en trente-sept volumes à la Bibliothèque Nationale Française, constituent une source exceptionnelle pour l’étude de l’historiographie du XIXème siècle. À travers des recherches croisées, à Paris, ainsi qu’aux archives de l’École Normale Supérieure de Pise et à la bibliothèque Marciana de Venise, nous proposons au lecteur une transcription complète des échanges épistolaires de Müntz avec deux des pères de l’histoire de l’art italien: Adolfo Venturi et Giovanni Battista Cavalcaselle. Ce corpus d’environ quatre-vingt-dix lettres, est accompagné d’une biographie d’Eugène Müntz et d’une étude de la fortune critique de la traduction italienne de son ouvrage Histoire de l’art pendant la Renaissance.
The architectural projects of Torre Alfina’s castle and Villa della Selva stem from the will of M... more The architectural projects of Torre Alfina’s castle and Villa della Selva stem from the will of Marquis Édouard Cahen d’Anvers. Nevertheless, the most meaningful decorative interventions were supervised by his children. Torre Alfina’s galleries, filled with the coat of arms of the Cahen d’Anvers family, reflect the character of Rodolfo. Similarly, the elegant and measured Villa della Selva denotes Hugo’s discretion, as a refined gentleman impassioned with trips and chinoiserie. Obviously, both of them have the same roots: they are the heirs of a powerful Jewish family with ancient memories and traditions that have been cultivated in a cosmopolite milieu. Nevertheless, both of them break the traditional patterns. Hugo, just like his father, will contract an interracial marriage. Rodolfo preferred to use "Torre Alfina" instead of his family name. Their relationship with the French branch of the Cahen d’Anvers was almost nonexistent. What intentions can be revealed from these attitudes? Is it a personal and intimate choice, or a voluntary estrangement with an aim at local integration? Is Torre Alfina’s castle a feudal act of owning a fief just like the ancient Italian nobility did? In this context, the castle of Champs-sur-Marne, that belonged to Édouard’s brother – Louis Cahen d’Anvers – will be our touchstone. What can be gained by comparing this French property with the Italian ones? The cultural and historical differences that divided France and Italy will allow us to better understand Cahen d’Anvers aesthetical choices, analyzing their intrinsic value together with their weight on the assimilation and integration process of the Jewish elites in Europe.
Communication présentée au 16e Colloque International du Département des Sciences Historiques de ... more Communication présentée au 16e Colloque International du Département des Sciences Historiques de l’Université Laval, Québec, Canada, le 18 février 2016.
Cette thèse parle d’Hommes, d’art et de société. Elle traite de l’histoire d’un banquier Juif ash... more Cette thèse parle d’Hommes, d’art et de société. Elle traite de l’histoire d’un banquier Juif ashkénaze né à Bonn en 1804 et de ses descendants. À travers l’étude de douze demeures et de leurs collections, elle raconte l’histoire d’une dynastie d’entrepreneurs qui, de l’ancien Ghetto de Bonn – 821 rue des Juifs – rejoignit le sommet de la haute société européenne. Portraiturés par Léon Bonnat, Carolus-Duran et Renoir, Meyer Joseph Cahen d’Anvers et ses enfants Édouard, Emma, Louis, Raphaël et Albert vécurent les conséquences de l’Affaire Dreyfus, s’efforçant d’exprimer la plénitude de leurs droits civils à travers la sociabilité et le mécénat. Dans leurs salons, en ville et à la campagne, les lecteurs croiseront les pas de Guy de Maupassant, Paul Bourget, Marcel Proust et César Franck, ou encore de Gabriele D’Annunzio et Matilde Serao. Au château de Champs-sur-Marne, à Torre Alfina et dans les autres demeures de la famille les architectes Destailleur et Giuseppe Partini, ou encore les paysagistes Henri et Achille Duchêne, surent plier la « grammaire » du Moyen Âge, de la Renaissance et du XVIIIe siècle au goût et aux ambitions de leurs commanditaires.
Éditeur : LGDJ et IFJD (20 décembre 2022) Langue : Français Broché : 1008 pages ISBN-10 : 2370323744 ISBN-13 : 978-2370323743 Poids de l'article : 1.59 kg Dimensions : 16 x 5.5 x 24 cm
Lectures on Architecture, Landscapes and Gardens in Roman area, 2019
As part of the History of Architecture 1 B course, a series of lectures at the Department of Arch... more As part of the History of Architecture 1 B course, a series of lectures at the Department of Architecture of Roma Tre University, “Architecture, landscape and gardens in the Roman context”, will illustrate the topic of Historic Gardens in Rome.
On December 2nd Claudio Impiglia, a collaborator in the Department of Architecture of the Roma Tre University, summarizes the history of the naturalistic oasis of Portus, the theme of his doctoral thesis Prince John Torlonia (1873-1938) and the cult of the Picturesque: Architectures and landscapes of waters on the Porto estate in Fiumicino, further deepened in the context of the collaboration with the "Fondazione Portus" non-profit organization. Olimpia Ratto Vaquer, PhD student in Art History and History of Architecture (ÉCOLE PRATIQUE DES HAUTES ÉTUDES - PSL and University of Florence), illustrates the theme of research on “Charles Percier: an architect among Italy and France ", financed by the Lazio Region and carried out in parallel with the theme of the doctorate on Antiquity in Giuliano da Sangallo's drawings: reanalysis and rereading of drawings and representations.
On December 9th, Rossana Nicolò, a lecturer in History of Medieval and Modern Architecture at the University of Tuscia, presents the theme of her doctoral thesis on The Belvedere of Innocent VIII in the Vatican, later increased by further research on papal commissions in the 15th and 16th centuries. Giuseppe Morganti, president of the regional direction of FAI (Fondo Ambiente Italiano) Lazio, tells the theme of the exhibition he conceived and curated: The Palatine Hill and its secret garden. In the charm of the Horti Farnesiani (Rome, 21/3 - 28/10/2018). The theme is closely linked to his experience as an architect officer at the Archaeological Park of the Colosseum.
December 16th, Alice Legé, PhD student in Art History (Université de Picardie Jules Verne and University of Milan), based on two unpublished inventories, presents the little-known events of the disappeared Bindo Altoviti's villa, canceled from urbanization of the Prati district and linked to the themes dealt with in his thesis Les Cahen d'Anvers en France et en Italie. The prospects for further study of Villa Altoviti are illustrated by Alessandro Cremona, historical curator of the art of the Villas and Historical Parks Office of the Capitoline Department for Cultural Heritage. As responsible for the design and management of maintenance and restoration activities of territorial areas, villas and historical parks of Rome, dr. Cremona presents - at the end of the conference cycle - the research methodology, linking historical-artistic, archival, iconographic investigations to the protection and conservation of heritage.
Nell’ambito del corso di Storia dell’Architettura 1 B, un ciclo di conferenze presso il Dipartimento di Architettura di Roma Tre nell’ex Mattatoio di Testaccio – Architettura, paesaggio e giardini nel contesto romano – illustrerà il tema dei giardini storici a Roma.
Lunedì 2/12 l’architetto Claudio Impiglia, collaboratore a contratto nel Dipartimento di Architettura Università Roma Tre, sintetizza le millenarie vicende dell’Oasi naturalistica di Portus, tema della sua tesi di dottorato Il Principe Giovanni Torlonia (1873-1938) e il culto del Pittoresco. Architetture e paesaggi d’acque nella tenuta di Porto a Fiumicino, ulteriormente approfondito nell’ambito della collaborazione con la “Fondazione Portus” onlus. Di seguito, la dottoressa Olimpia Ratto Vaquer, dottoranda in Storia dell’Arte e in Storia dell’Architettura (ÉCOLE PRATIQUE DES HAUTES ÉTUDES – PSL e Università degli Studi di Firenze), illustra il tema della ricerca su “Charles Percier: un architetto tra l’Italia e la Francia”, finanziata dalla Regione Lazio e svolta parallelamente al tema del dottorato su L’antico nei disegni di Giuliano da Sangallo: rianalisi e rilettura dei disegni e delle rappresentazioni.
Lunedì 9/12 l’architetto Rossana Nicolò, docente a contratto di Storia dell’Architettura medievale e moderna presso l’Università della Tuscia, presenta il tema della sua tesi di dottorato su Il Belvedere di Innocenzo VIII in Vaticano, poi incrementato da ulteriori ricerche sulla committenza papale nel XV e XVI secolo. L’architetto Giuseppe Morganti, presidente della direzione regionale del FAI (Fondo Ambiente Italiano) Lazio, racconta il tema della mostra da lui ideata e curata: Il Palatino e il suo giardino segreto. Nel fascino degli Horti Farnesiani (Roma, 21/3 – 28/10/2018). Il tema è strettamente legato alla sua esperienza di funzionario architetto presso il Parco archeologico del Colosseo (già Soprintendenza Speciale per i Beni archeologici di Roma).
Lunedì 16/12 la dottoressa Alice Legé, dottoranda in Storia dell’Arte (Université de Picardie Jules Verne e Università degli Studi di Milano), basandosi su due inventari inediti, presenta le vicende poco note della scomparsa villa di Bindo Altoviti, cancellata dall’urbanizzazione del rione Prati e legata ai temi trattati nella sua tesi Politiques culturelles d’une famille d’entrepreneurs: les Cahen d’Anvers en France et en Italie. Le prospettive di ulteriori approfondimenti su villa Altoviti sono illustrate dal dottor Alessandro Cremona, curatore storico dell’arte dell’Ufficio Ville e Parchi storici della Sovrintendenza Capitolina ai beni Culturali. Come responsabile della progettazione e direzione delle attività di manutenzione e restauro di aree territoriali, ville e parchi storici di Roma, il dott. Cremona presenta – alla conclusione del ciclo di conferenze – la metodologia della ricerca, legando alla tutela e conservazione del patrimonio le indagini storico-artistiche, archivistiche, iconografiche.
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Papers by Alice S Legé
Through an intimate and journalistic narrative engaging with multiple biographies, James McAuley’s book combines aspects of the disciplines of material history and Jewish studies. Using the lens of art collecting as a means of social and economic inquiry, the volume brings to the attention of an English-speaking general public the Jewish contribution to the defining qualities of French national identity. Nine chapters analyse the value of art, architecture and patronage within the lives of a Jewish elite, as portrayed by Cyril Grange in Une élite parisienne (2016) and explored by several researchers of the Society for the History of Collecting, The Jewish Country House project in Oxford, and several contributors to the present journal. Four families and four properties constitute the core of a coherent story that accompanies the reader through the achievements, ambiguities and crimes that mark a significant chapter of European history. A number of maps and family trees pinpoint the book’s main characters: the Camondos, the Reinachs, the Cahen d’Anvers family and the Rothschilds emerge as members of an interrelated generation of connoisseurs, who left their collections to the French state as ‘a means of shaping its cultural legacy’. Champs-sur-Marne castle, the Château de Ferrières, Villa Kérylos, Villa Île-de-France and several urban residences condensed the aspirations and the experiences of a community deeply affected by nineteenth-century antisemitic discourse and the racial laws of the early 1940s [...]
https://academic.oup.com/jhc/advance-article-abstract/doi/10.1093/jhc/fhac008/6567440?redirectedFrom=fulltext
https://www.lgdj.fr/les-cahen-d-anvers-en-france-et-en-italie-9782370323743.html
the Parisian auction houses.
This paper will analyze in detail the gardens of the castle of Torre Alfina, also taking consideration of the ones of the villa Allerona, known as one of the first Japanese-inspired mixed gardens designed in Italy. In a unified dialogue between green and architecture, the work of the Duchêne reflects the taste, style and cosmopolitan attitude of its clients, according to a neo-feudal logic that was widespread on a European scale.
http://www.champ-vallon.com/magasin-du-xixe-siecle-le-n-9-cosmopolis/
Dopo un articolo introduttivo pubblicato nel CXVII volume della ‘‘Rivista Italiana
di Numismatica’’, presentiamo qui la trascrizione integrale del manoscritto Copia
d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar
medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, conservato presso
la biblioteca dell’Institut National d’Histoire de l’Art di Parigi sotto la segnatura
ms. 0740. Appartenuto al collezionista Gustave Dreyfus, il testo rientra nell’abbondante letteratura rinascimentale ‘‘dei segreti’’ ponendosi come un prontuario
estremamente dettagliato, in grado di accompagnare tanto un artista quanto un
dilettante nella contraffazione di monete antiche secondo un gusto tipicamente cinquecentesco. Sulle orme di Vannoccio Biringuccio e di Don Alessio Piemontese,
l’autore propone una cinquantina di ricette legate alla metallurgia e all’alchimia,
che vanno dalla composizione delle leghe all’alterazione delle superfici, passando
per la preparazione delle argille per gli stampi in cui verra`gettato il metallo fuso.
[English]
After a first article, published in vol. CXVII of the ‘‘Rivista Italiana di Numismatica’’, we present a complete transcription of the manuscript Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, kept in the Institut National d’Histoire de l’Art library in Paris, under the shelfmark Ms. 0740.
The volume – which belonged to the collector Gustave Dreyfus – is part of the ‘‘books of secrets’’ literature and it provides an extremely detailed manual that could assist an artist or a dilettante in the forgery of ancient coins, following Renaissance taste. The author offers some fifty recipes related to metallurgy and alchemy. Similarly to the publications of Vannoccio Biringuccio and Don Alessio Piemontese, the manuscript discusses various technical aspects, from the composition of alloys to surface alteration, including the preparation of different sorts of
clay for the production of casting molds.
Nel 1885 Gustave Dreyfus sta attraversando l’Italia. Sir Charles Robinson, conservatore del South Kensington Museum di Londra, lo incontra a Bologna. Qui, l’inglese cede al grande collezionista parigino un manoscritto di una cinquantina di pagine firmato “Spagnolo” e dedicato a un enigmatico notabile italiano, il “Mag. Sig.re Dottor Antiopa”. Dreyfus è conosciuto in tutta europa per la sua immensa collezione di medaglie e placchette rinascimentali, e questo antico trattato di medaglistica non può che attirare la sua attenzione. Il titolo del volumetto svetta in cima alla prima pagina, in una bella grafia corsiva: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Il testo contiene una dissertazione tecnica sui metodi di lavorazione del metallo per la produzione di medaglie e, nel suo insieme, costituisce un prontuario estremamente dettagliato, in grado di accompagnare tanto un artista, quanto un falsario dilettante.
Alcune osservazioni, tra cui un interessante riferimento al metallurgo senese Vannoccio Biringuccio e un attento studio del supporto cartaceo, ci hanno permesso di datare il manoscritto – di cui proponiamo una trascrizione parziale – tra il 1513 e il 1539.
Français
En 1885, Gustave Dreyfus est en train de traverser l’Italie. Sir Charles Robinson, conservateur du South Kensington Museum de Londres, le rencontre à Bologne. Ici, l’Anglais cède au grand collectionneur parisien un manuscrit d’une cinquantaine de pages, signé « Spagnolo » et dédié à un énigmatique notable italien, le « Mag. Sig.re Dottor Antiopa ». Dreyfus est célèbre dans toute l’Europe pour sa collection de médailles et plaquettes de la Renaissance italienne et cet ancien traité de science des médailles ne peut qu’attirer son intérêt. Le titre du volume jaillit en haut de la première page, marqué à l’encre avec une graphie fine et élégante : Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Le texte contient une dissertation technique sur les méthodes de travail des métaux pour la production de médailles et, dans son ensemble, il constitue un véritable manuel capable d’accompagner tant un artiste qu’un faussaire amateur.
Plusieurs observations, dont une intéressante référence au métallurgiste siennois Vannoccio Biringuccio et une étude soignée du support papier, nous ont permis de dater le manuscrit – duquel nous proposons une transcription partielle – entre 1513 et 1539.
English
In 1885 Gustave Dreyfus is travelling across Italy. Sir Charles Robinson – curator of the South Kensington Museum in London – meets him in Bologna. Here, the Englishman sells to the Parisian collector a manuscript of around fifty pages. It is signed "Spanolo" and dedicated to an enigmatic Italian notable, the "Mag. Sig.re Dottor Antiopa". Dreyfus is well-known in all Europe for his immense collection of Renaissance medals and plaquettes, and this ancient treatise of medals’ studies rapidly catches his attention. The volume’s title stands out on the top of the first page, in a beautiful cursive handwriting: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. The text contains a technical dissertation on metal’s workmanship methods for the production of medals and, in its whole, it provides an extremely detailed manual able to attend as well an artist as an amateur counterfeiter. An interesting reference to the Sienese smith Vannoccio Biringuccio and a careful paper’s study, led us to date the manuscript – of which we propose a partial transcription – between 1513 and 1539.
et Giovanni Battista Cavalcaselle. Ce corpus d’environ quatre-vingt-dix lettres, est accompagné d’une biographie d’Eugène Müntz et d’une étude de la fortune critique de la traduction italienne de son ouvrage Histoire de l’art pendant la Renaissance.
Through an intimate and journalistic narrative engaging with multiple biographies, James McAuley’s book combines aspects of the disciplines of material history and Jewish studies. Using the lens of art collecting as a means of social and economic inquiry, the volume brings to the attention of an English-speaking general public the Jewish contribution to the defining qualities of French national identity. Nine chapters analyse the value of art, architecture and patronage within the lives of a Jewish elite, as portrayed by Cyril Grange in Une élite parisienne (2016) and explored by several researchers of the Society for the History of Collecting, The Jewish Country House project in Oxford, and several contributors to the present journal. Four families and four properties constitute the core of a coherent story that accompanies the reader through the achievements, ambiguities and crimes that mark a significant chapter of European history. A number of maps and family trees pinpoint the book’s main characters: the Camondos, the Reinachs, the Cahen d’Anvers family and the Rothschilds emerge as members of an interrelated generation of connoisseurs, who left their collections to the French state as ‘a means of shaping its cultural legacy’. Champs-sur-Marne castle, the Château de Ferrières, Villa Kérylos, Villa Île-de-France and several urban residences condensed the aspirations and the experiences of a community deeply affected by nineteenth-century antisemitic discourse and the racial laws of the early 1940s [...]
https://academic.oup.com/jhc/advance-article-abstract/doi/10.1093/jhc/fhac008/6567440?redirectedFrom=fulltext
https://www.lgdj.fr/les-cahen-d-anvers-en-france-et-en-italie-9782370323743.html
the Parisian auction houses.
This paper will analyze in detail the gardens of the castle of Torre Alfina, also taking consideration of the ones of the villa Allerona, known as one of the first Japanese-inspired mixed gardens designed in Italy. In a unified dialogue between green and architecture, the work of the Duchêne reflects the taste, style and cosmopolitan attitude of its clients, according to a neo-feudal logic that was widespread on a European scale.
http://www.champ-vallon.com/magasin-du-xixe-siecle-le-n-9-cosmopolis/
Dopo un articolo introduttivo pubblicato nel CXVII volume della ‘‘Rivista Italiana
di Numismatica’’, presentiamo qui la trascrizione integrale del manoscritto Copia
d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar
medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, conservato presso
la biblioteca dell’Institut National d’Histoire de l’Art di Parigi sotto la segnatura
ms. 0740. Appartenuto al collezionista Gustave Dreyfus, il testo rientra nell’abbondante letteratura rinascimentale ‘‘dei segreti’’ ponendosi come un prontuario
estremamente dettagliato, in grado di accompagnare tanto un artista quanto un
dilettante nella contraffazione di monete antiche secondo un gusto tipicamente cinquecentesco. Sulle orme di Vannoccio Biringuccio e di Don Alessio Piemontese,
l’autore propone una cinquantina di ricette legate alla metallurgia e all’alchimia,
che vanno dalla composizione delle leghe all’alterazione delle superfici, passando
per la preparazione delle argille per gli stampi in cui verra`gettato il metallo fuso.
[English]
After a first article, published in vol. CXVII of the ‘‘Rivista Italiana di Numismatica’’, we present a complete transcription of the manuscript Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa, kept in the Institut National d’Histoire de l’Art library in Paris, under the shelfmark Ms. 0740.
The volume – which belonged to the collector Gustave Dreyfus – is part of the ‘‘books of secrets’’ literature and it provides an extremely detailed manual that could assist an artist or a dilettante in the forgery of ancient coins, following Renaissance taste. The author offers some fifty recipes related to metallurgy and alchemy. Similarly to the publications of Vannoccio Biringuccio and Don Alessio Piemontese, the manuscript discusses various technical aspects, from the composition of alloys to surface alteration, including the preparation of different sorts of
clay for the production of casting molds.
Nel 1885 Gustave Dreyfus sta attraversando l’Italia. Sir Charles Robinson, conservatore del South Kensington Museum di Londra, lo incontra a Bologna. Qui, l’inglese cede al grande collezionista parigino un manoscritto di una cinquantina di pagine firmato “Spagnolo” e dedicato a un enigmatico notabile italiano, il “Mag. Sig.re Dottor Antiopa”. Dreyfus è conosciuto in tutta europa per la sua immensa collezione di medaglie e placchette rinascimentali, e questo antico trattato di medaglistica non può che attirare la sua attenzione. Il titolo del volumetto svetta in cima alla prima pagina, in una bella grafia corsiva: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Il testo contiene una dissertazione tecnica sui metodi di lavorazione del metallo per la produzione di medaglie e, nel suo insieme, costituisce un prontuario estremamente dettagliato, in grado di accompagnare tanto un artista, quanto un falsario dilettante.
Alcune osservazioni, tra cui un interessante riferimento al metallurgo senese Vannoccio Biringuccio e un attento studio del supporto cartaceo, ci hanno permesso di datare il manoscritto – di cui proponiamo una trascrizione parziale – tra il 1513 e il 1539.
Français
En 1885, Gustave Dreyfus est en train de traverser l’Italie. Sir Charles Robinson, conservateur du South Kensington Museum de Londres, le rencontre à Bologne. Ici, l’Anglais cède au grand collectionneur parisien un manuscrit d’une cinquantaine de pages, signé « Spagnolo » et dédié à un énigmatique notable italien, le « Mag. Sig.re Dottor Antiopa ». Dreyfus est célèbre dans toute l’Europe pour sa collection de médailles et plaquettes de la Renaissance italienne et cet ancien traité de science des médailles ne peut qu’attirer son intérêt. Le titre du volume jaillit en haut de la première page, marqué à l’encre avec une graphie fine et élégante : Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. Le texte contient une dissertation technique sur les méthodes de travail des métaux pour la production de médailles et, dans son ensemble, il constitue un véritable manuel capable d’accompagner tant un artiste qu’un faussaire amateur.
Plusieurs observations, dont une intéressante référence au métallurgiste siennois Vannoccio Biringuccio et une étude soignée du support papier, nous ont permis de dater le manuscrit – duquel nous proposons une transcription partielle – entre 1513 et 1539.
English
In 1885 Gustave Dreyfus is travelling across Italy. Sir Charles Robinson – curator of the South Kensington Museum in London – meets him in Bologna. Here, the Englishman sells to the Parisian collector a manuscript of around fifty pages. It is signed "Spanolo" and dedicated to an enigmatic Italian notable, the "Mag. Sig.re Dottor Antiopa". Dreyfus is well-known in all Europe for his immense collection of Renaissance medals and plaquettes, and this ancient treatise of medals’ studies rapidly catches his attention. The volume’s title stands out on the top of the first page, in a beautiful cursive handwriting: Copia d’un libro d’un Spagnolo di molti belli secreti ch’era in zifra dell’Arte del gettar medaglie et bellissimi sofisti. Al Mag. Sig.re Dottor Antiopa. The text contains a technical dissertation on metal’s workmanship methods for the production of medals and, in its whole, it provides an extremely detailed manual able to attend as well an artist as an amateur counterfeiter. An interesting reference to the Sienese smith Vannoccio Biringuccio and a careful paper’s study, led us to date the manuscript – of which we propose a partial transcription – between 1513 and 1539.
et Giovanni Battista Cavalcaselle. Ce corpus d’environ quatre-vingt-dix lettres, est accompagné d’une biographie d’Eugène Müntz et d’une étude de la fortune critique de la traduction italienne de son ouvrage Histoire de l’art pendant la Renaissance.
Podcast:
http://torch.ox.ac.uk/alice-leg%C3%A9-6-%E2%80%98torre-alfina-cahen-d%E2%80%99anvers-manor-italy%E2%80%99
Éditeur : LGDJ et IFJD (20 décembre 2022)
Langue : Français
Broché : 1008 pages
ISBN-10 : 2370323744
ISBN-13 : 978-2370323743
Poids de l'article : 1.59 kg
Dimensions : 16 x 5.5 x 24 cm
On December 2nd Claudio Impiglia, a collaborator in the Department of Architecture of the Roma Tre University, summarizes the history of the naturalistic oasis of Portus, the theme of his doctoral thesis Prince John Torlonia (1873-1938) and the cult of the Picturesque: Architectures and landscapes of waters on the Porto estate in Fiumicino, further deepened in the context of the collaboration with the "Fondazione Portus" non-profit organization.
Olimpia Ratto Vaquer, PhD student in Art History and History of Architecture (ÉCOLE PRATIQUE DES HAUTES ÉTUDES - PSL and University of Florence), illustrates the theme of research on “Charles Percier: an architect among Italy and France ", financed by the Lazio Region and carried out in parallel with the theme of the doctorate on Antiquity in Giuliano da Sangallo's drawings: reanalysis and rereading of drawings and representations.
On December 9th, Rossana Nicolò, a lecturer in History of Medieval and Modern Architecture at the University of Tuscia, presents the theme of her doctoral thesis on The Belvedere of Innocent VIII in the Vatican, later increased by further research on papal commissions in the 15th and 16th centuries.
Giuseppe Morganti, president of the regional direction of FAI (Fondo Ambiente Italiano) Lazio, tells the theme of the exhibition he conceived and curated: The Palatine Hill and its secret garden. In the charm of the Horti Farnesiani (Rome, 21/3 - 28/10/2018). The theme is closely linked to his experience as an architect officer at the Archaeological Park of the Colosseum.
December 16th, Alice Legé, PhD student in Art History (Université de Picardie Jules Verne and University of Milan), based on two unpublished inventories, presents the little-known events of the disappeared Bindo Altoviti's villa, canceled from urbanization of the Prati district and linked to the themes dealt with in his thesis Les Cahen d'Anvers en France et en Italie.
The prospects for further study of Villa Altoviti are illustrated by Alessandro Cremona, historical curator of the art of the Villas and Historical Parks Office of the Capitoline Department for Cultural Heritage. As responsible for the design and management of maintenance and restoration activities of territorial areas, villas and historical parks of Rome, dr. Cremona presents - at the end of the conference cycle - the research methodology, linking historical-artistic, archival, iconographic investigations to the protection and conservation of heritage.
Nell’ambito del corso di Storia dell’Architettura 1 B, un ciclo di conferenze presso il Dipartimento di Architettura di Roma Tre nell’ex Mattatoio di Testaccio – Architettura, paesaggio e giardini nel contesto romano – illustrerà il tema dei giardini storici a Roma.
Lunedì 2/12 l’architetto Claudio Impiglia, collaboratore a contratto nel Dipartimento di Architettura Università Roma Tre, sintetizza le millenarie vicende dell’Oasi naturalistica di Portus, tema della sua tesi di dottorato Il Principe Giovanni Torlonia (1873-1938) e il culto del Pittoresco. Architetture e paesaggi d’acque nella tenuta di Porto a Fiumicino, ulteriormente approfondito nell’ambito della collaborazione con la “Fondazione Portus” onlus.
Di seguito, la dottoressa Olimpia Ratto Vaquer, dottoranda in Storia dell’Arte e in Storia dell’Architettura (ÉCOLE PRATIQUE DES HAUTES ÉTUDES – PSL e Università degli Studi di Firenze), illustra il tema della ricerca su “Charles Percier: un architetto tra l’Italia e la Francia”, finanziata dalla Regione Lazio e svolta parallelamente al tema del dottorato su L’antico nei disegni di Giuliano da Sangallo: rianalisi e rilettura dei disegni e delle rappresentazioni.
Lunedì 9/12 l’architetto Rossana Nicolò, docente a contratto di Storia dell’Architettura medievale e moderna presso l’Università della Tuscia, presenta il tema della sua tesi di dottorato su Il Belvedere di Innocenzo VIII in Vaticano, poi incrementato da ulteriori ricerche sulla committenza papale nel XV e XVI secolo.
L’architetto Giuseppe Morganti, presidente della direzione regionale del FAI (Fondo Ambiente Italiano) Lazio, racconta il tema della mostra da lui ideata e curata: Il Palatino e il suo giardino segreto. Nel fascino degli Horti Farnesiani (Roma, 21/3 – 28/10/2018). Il tema è strettamente legato alla sua esperienza di funzionario architetto presso il Parco archeologico del Colosseo (già Soprintendenza Speciale per i Beni archeologici di Roma).
Lunedì 16/12 la dottoressa Alice Legé, dottoranda in Storia dell’Arte (Université de Picardie Jules Verne e Università degli Studi di Milano), basandosi su due inventari inediti, presenta le vicende poco note della scomparsa villa di Bindo Altoviti, cancellata dall’urbanizzazione del rione Prati e legata ai temi trattati nella sua tesi Politiques culturelles d’une famille d’entrepreneurs: les Cahen d’Anvers en France et en Italie.
Le prospettive di ulteriori approfondimenti su villa Altoviti sono illustrate dal dottor Alessandro Cremona, curatore storico dell’arte dell’Ufficio Ville e Parchi storici della Sovrintendenza Capitolina ai beni Culturali. Come responsabile della progettazione e direzione delle attività di manutenzione e restauro di aree territoriali, ville e parchi storici di Roma, il dott. Cremona presenta – alla conclusione del ciclo di conferenze – la metodologia della ricerca, legando alla tutela e conservazione del patrimonio le indagini storico-artistiche, archivistiche, iconografiche.