Family Palace Research Articles

The dispersing of the Lubomirski Collection from Przeworsk

This article concerns the post-war fate of elements of historical furnishings of the Lubomirski family palace in Przeworsk owned by successive Tenants-in-Possession, who were also literary curators of the Ossolineum. The ownership structure of the collections stored in the palace and outbuildings was uneven. Some items belonged to the Przeworsk Entailed Estate, and some were personal property of Andrzej Lubomirski. A significant share belonged to his wife, Eleonora née Hussarzewska and originated from her family’s collection, and from a donation her husband made in 1932. The outbreak of the Second World War initiated the process of dispersing items that had survived in the Przeworsk residence of the Lubomirski family until the autumn of 1939. After the looting perpetrated by the Nazis, land reform proved equally painful in its consequences. As a result, the so-called Museum Storehouse was set up in the Lubomirski residence in Przeworsk to house its nationalised equipment. It was a temporary repository for the remaining elements of the Tenants-in-Possession and family collection in Przeworsk. The decision by the communist central authorities led to the dispersion of the most valuable items, distributed among museums in Warsaw (antiquities), Łańcut (paintings, graphics, furniture and artistic craftsmanship) and Rzeszów (jewellery for the Polish costume). The pieces considered useful were left in place. This text, along with its accompanying tables, represents an attempt to wrap up the existing knowledge regarding the post-war fate of the items that remained in the Przeworsk Palace until 1944 and can serve as a starting point for further detailed investigations. This text could also serve as a starting point for deeper reflection on the political and administrative mechanisms of dispersal of the land owners’ and aristocrats’ collections and the establishment of new museum collections after the Second World War.

Release of Energy from Groundwater/with Reduction in CO2 Emissions of More Than 50% from HVAC in the Extension and Revitalization of the Former Palace of the Sobieski Family in Lublin

The direct release of energy from the groundwater under the building of the Sobieski Family Palace in Lublin, Poland, and the obtainment of heat and cooling energy for Heating, Ventilation, and Air Conditioning systems (HVAC) provide an opportunity to reduce electricity and heat consumption and to limit CO2 emissions by 15–50%. The upgrade to the Sobieski Family Palace and the addition of new educational and administrative functions require state-of-the-art, energy-saving, and environmentally friendly solutions such as Fuel Cells and Hydrogen for Heating, Ventilation, and Air Conditioning (FCH HVAC) systems. As part of the program “Research for high-quality air in architecture and urban studies,” carried out since 2018 at the Institute of Architecture Planning, Department of Contemporary Architecture, Faculty of Civil Engineering and Architecture of the Lublin University of Technology, in 2021, further research was carried out in order to prepare for the potential implementation in 2022 of the project entitled “Development and Upgrade of the Former Sobieski Family Palace in Lublin. The main body of the building—educational and administrative function,” whose chief designer was Architect J. Wrana, Lublin University of Technology, 2021. The objective of this paper is to identify technologies and solutions specifically designed for HVAC systems in upgraded and renovated historic buildings. This paper is also a call for cooperation among institutions, scientists, higher education institutions, as well as an expression of appreciation for the immense energy stored in groundwater. This energy not only has the lowest carbon footprint but also is the only generally accessible large storage source from which we were unable to obtain ecologically pure energy before the introduction of FCH technology.

Review Essay: A Tale of Two Women: Botteghe Oscure and U.S. Literature in Italy

Review Essay: A Tale of Two Women: <i>Botteghe Oscure</i> and U.S. Literature in Italy

The Matterozzi collection of Early Christian gold-glass at the British Museum: An investigation of textual records and an edition of archival sources

Abstract This article recounts the story of an outstanding and yet little-known eighteenth-century character, the collector of sacred art Alessandro Matterozzi (1713–1783). He displayed in his family palace in Urbania (Marche, Italy), among paintings and antiquities, a select collection of Early Christian gold-glass, a form of decorative glass made of two layers of glass with a design in gold leaf fused between them. The seventeen pieces acquired from his collection by the British Museum consist of the bases of glass vessels found mainly in Early Christian catacombs. The drawings filed in Gaetano Marini’s sylloge entitled ‘Inscriptiones christianae’ (1765–1801), now in the Vatican Library, together with other newly studied written sources, document how Matterozzi assembled one of the largest gold-glass collections of his time, which was later added to the collections of the British Museum.

La herencia de Doña María de Mendoza, VII condesa de Ribadavia, y la dispersión de la colección familiar de su palacio en Valladolid

Cinco días antes de su muerte el 11 de febrero de 1587, María de Mendoza, VII condesa de Ribadavia, otorgaba en carta de donación a su hija María Sarmiento, duquesa de Sessa, la posesión de todos sus bienes libres no sujetos al mayorazgo familiar. Este artículo pretende reconstruir el relato de esta rica herencia y explicar cómo fue el proceso por el que el palacio familiar en Valladolid fue vaciado por la duquesa.

Fluid City: River Gods in Rome and Contested Topography

Fluid CityRiver Gods in Rome and Contested Topography Charles Burroughs (bio) Introduction: Blurred Boundaries—Conceptual and Topographical Few major cities have undergone so thorough a transformation as early modern Rome, where a shrunken “gigantic cadaver”1 became a paradigmatic early modern theater of architectural magnificence, worthy of its ancient predecessor. No single site better exemplifies this transformation than the Campidoglio, the ancient Capitoline Hill, surmounted by a grand piazza bordered on three sides by palaces but open to the city on the fourth side where St. Peter’s dome, designed by Michelangelo for Pope Paul III (r. 1534–49), rises above the distant skyline. The same architect and patron played key roles in the sixteenth-century remodeling of the Campidoglio (Fig. 1), though the only building actually erected on the hill by the pope was not part of Michelangelo’s Capitoline ensemble. Early in his long pontificate, Paul saw to the construction of the Torre Farnese (or Paolina), a fortified residence designed with an eye to defense and domination, certainly not aesthetics. Until its demolition to make way for the Victor Emmanuel Monument (1885), the Torre Farnese was a looming presence on the hill, overlooking a city where by now numerous palaces exemplified the classicizing, formal language of the Renaissance, of which it showed hardly a trace.2 Nor could there be a stronger contrast with Michelangelo’s highly innovative and allusive designs for the civic palaces on the Campidoglio, though these were not realized until long after Paul’s death (the date of the design is a different issue, as noted below), or indeed with the same architect’s work, from 1546, on Paul’s own family palace, the Palazzo Farnese. It has recently been suggested that we should see the rustic character of the Torre Farnese, traditionally sometimes referred to as a villa, in a more positive light, and as [End Page 187] qualifying not just the traditional image of Rome but also prevailing notions of an urban/rural disjunction.3 This may be too large a claim for so undistinguished a building, but I will argue that it is applicable, in principle, to the remodeling of the Campidoglio, whatever the contrast in formal terms. If so, Michelangelo’s Campidoglio both drew on and helped to shape a wider setting—Rome itself—that already defied such binary stereotyping. Click for larger view View full resolution Figure 1. “The Roman Campidoglio ideally completed according to Michelangelo’s design,” Stefano Duperac (Etienne DuPérac), etching 1569, included in the Speculum Romanae Magnificentiae, published by Antoine Lafreri. Metropolitan Museum of Art, inv. 41.72(1.14). Courtesy the Metropolitan Museum of Art, New York. A related indeterminacy exists, moreover, in the visual rhetoric of the Campidoglio, embracing both the architectural framework and, emphatically, a number of sculptures prominently installed on the hill.4 I will focus especially on statues of river gods, specifically on a motif expressive of both stability (the river as enduring topographic identifier) and fluidity (the allusions to flowing hair [End Page 188] and water). Though such contradictions apply to all images of river gods, in the light of the complex history of this pair of statues they constitute a special case: one statue underwent a radical change of iconography, and both were subjected to a drastic shift of location and, presumably, meaning. The introduction of statues or related objects into a site as fraught with historical and political associations as the Campidoglio is certainly evidence of existing prestige, but they inevitably take on new significance, especially when integrated—as happened with the river gods—into a newly designed configuration likely to be expressive of current agendas. With its associations with ancient authority and ritual, as well as the municipal government in the city of the popes, the Campidoglio was a place of memory, or rather conflicting memories; as Kathleen Christian has eloquently pointed out, it was a site where civic and papal concerns and claims—sometimes competing, sometimes in balance—affected the course and nature of architectural or sculptural elaboration.5 Christian discusses an earlier period, but her characterization also applies to the sixteenth-century Campidoglio, seat of the medieval city republic, now increasingly hollowed out...

Palača Benzoni – primjer stambene arhitekture 18. stoljeća u riječkom Starom gradu

U članku se govori o povijesti gradnje i obnova palače Benzoni na riječkom trgu Grivica. Dvokatna građevina podignuta je u drugoj četvrtini 18. stoljeća, prema projektu arhitekta Antonija de Vernede, kao obiteljska palača senjskog biskupa Giovannija Antonija Benzonija (1693. – 1745.). Utvrđuje se da je palača obnovljena koncem 18. stoljeća, u doba kada je vlasnik bio biskupov nećak, gradski vijećnik Giulio Benzoni (1732. – 1798.), koji je dao preoblikovati pročelja u duhu kasnobaroknog klasicizma, s reprezentativnim ulaznim portalom i dvama balkonima te bogatom opremom od kovanog željeza. Nove adaptacije izvode se tijekom druge polovice 19. stoljeća kada palača mijenja namjenu, prvo kao zgrada sirotišta, nakon toga vojarna, a zatim i najamna zgrada, dok u 20. stoljeću dolazi do većih zahvata, uvjetovanih potrebama korisnika, koji su u izvjesnoj mjeri značili degradaciju arhitekture palače. Na temelju arhivske dokumentacije, u članku se donose nacrti prijedloga rekonstrukcije kasnobarokno-klasicističkog pročelja te njegova valorizacija u kontekstu stambene arhitekture Rijeke s kraja 18. stoljeća.

What The Sister Knew

This essay looks beneath the surface of the “Annanmar Katai,” a major folk epic from Tamilnadu, to discover how the lone female in a set of three siblings leads a life very different from that of her two elder brothers. In the absence of their parents, these men enjoy their life as twin rulers of a small kingdom. Meanwhile their sister sits alone on her swing inside the family palace. Her brothers undertake many wondrous adventures while she slowly develops her own ability to see into the future through dreams. Gradually, however, this unmarried girl discovers that her brothers are not keeping their side of the traditional sibling contract. Brothers should listen to and protect their female siblings. Their sisters (especially virgin ones) will then reciprocate by magically transferring their stored-up powers to their brothers’ swords. When, in this folk legend, two powerful brothers withhold information, their sister starts to keep her insights secret too. The family kingdom now starts to fall apart as this key understanding between a sister and her brothers grows frayed. In sum, the essay reveals the major importance given to the maintenance of a positive, life-long brother-sister bond of reciprocity in traditional Tamil culture.

Review: The Culture of Architecture in Enlightenment Rome by Heather Hyde Minor

Heather Hyde Minor. The Culture of Architecture in Enlightenment Rome . Buildings, Landscapes, and Societies series, University Park: Pennsylvania State University Press, 2010, 312 pp., 36 color and 112 b/w illus. $95 (cloth), ISBN 9780271035642 Despite its importance as the focus of the Grand Tour, eighteenth-century Italy—especially papal Rome—has traditionally been perceived as a cultural backwater, remaining relatively unaffected by the engagement with Enlightenment thought that catalyzed the transformation from early modern to modern culture in northern European countries. Since at least the 1960s, scholars in various disciplines have been working to dispel that antiquated notion, and in her recent book, Heather Hyde Minor ambitiously strives to follow suit by illuminating the influence of enlightened ideas on seven important building projects, initiated by popes or their cardinal-nephews, that spanned the years 1730 to 1758, when Clement XII Corsini and Benedict XIV Lambertini reigned as the supreme pontiffs. Minor's handsomely produced, well-illustrated study is divided into three parts, the first examining ecclesiastical commissions: the new facades of S. Giovanni in Laterano and S. Maria Maggiore as well as other renovations at the latter and the building of the Corsini Chapel at the former. The second section concerns the enlargement of two types of papal palaces: the family home of the Corsini, constructed for the pope's nephew, Cardinal Neri Corsini, and the “official” palace complex built for the pontiffs on the Quirinal Hill. The last part considers two important kinds of public institutions of learning, the newly founded Capitoline Museum and the Corsini Library at the family palace. Minor is mostly able to show how these projects were influenced by new and enlightened notions, but her claim that they constituted a distinctive “culture of architecture” is less effectively demonstrated; it stands in for a more comprehensive and serious consideration of the ways in which the …

Paradigma Baru Dalam Museum Seni dan Budaya Jawa Ullen Sentalu

The existence of the museum building as conservation collection of historic objects often give the impression that the museum is an ancient building, dark and disheveled. While the new paradigm in the management of the museum is a museum not only as a place to store historical objects, but need to present the collection in an attractive package so that visitors interested in coming back again to the museum. Museum of art and culture of Java Ullen Sentalu, in Kaliurang has provided a new insight to the culture, especially Javanese culture in the family palace of Yogyakarta and Solo Palace. The main attraction of this Sentalu Ullen is to deliver information about the historic collection from the family palace is presented as a whole, so that leaves a deep impression for visitors. This museum has given the world a new concept in museums in Indonesia, which certainly can be applied to other museums in Indonesia.

AT HOME WITH THE DEAD: THE POSTHUMOUS REMEMBRANCE OF WOMEN IN THE DOMESTIC INTERIOR IN RENAISSANCE FLORENCE

Previous articleNext article No AccessAT HOME WITH THE DEAD: THE POSTHUMOUS REMEMBRANCE OF WOMEN IN THE DOMESTIC INTERIOR IN RENAISSANCE FLORENCEMaria DePranoMaria DePrano Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Source Volume 29, Number 4Summer 2010 Sponsored by the Bard Graduate Center, New York Article DOIhttps://doi.org/10.1086/sou.29.4.23208975 Views: 40Total views on this site © 2010 Ars Brevis Foundation Inc.PDF download Crossref reports no articles citing this article.

Donatello's decapitations and the rhetoric of beheading in Medicean Florence*

AbstractWhile Donatello's bronze sculptures of Judith and David are stylistically discrete, and may have been originally created in and for different contexts, they are firmly connected to one another through their content: both figures clearly are characterized as active agents of decapitation. As this article argues, the Medici fostered a familial association with the iconographic, symbolic and practical language of decapitation in Florence since the Albizzi coup of 1433–4, when the family came to be associated with the feast of St John the Baptist's martyrdom, through the placement of the Donatello sculptures in the family palace in the 1460s. Although rarely mentioned in the vast art‐historical literature on the Medici, visual allusions to beheadings in paint, performance and sculpture served a rhetorical function in Florence to describe the shifting political status of Cosimo de'Medici and his family. By outlining a cultural map by which this visual rhetoric of decapitation may be charted in relation to the Medici family, this article contributes yet a further layer of meaning to the Donatello sculptures within the larger context of early Medici patronage and politics and offers a new methodological approach for the investigation of early modern Florentine visual culture.

:Caravaggio and His Two Cardinals

This study focuses on three paintings done by Caravaggio for the two Mattei brothers - a cardinal and a marquis who shared the family palace and, for a time, had Caravaggio as a house guest. The Mattei family has been given short shrift in the literature about Caravaggio, which otherwise has rightly devoted great attention to his patrons. This context enriches our understanding of the paintings - the Pastor Friso, often dubiously said to represent John the Baptist, the Supper at Emmaus in the London National Gallery, and the newly rediscovered Kiss of Judas in Dublin - then implicates wider contexts, including a comparative study of the artist's most famous works, the Matthew cycle in the Contarelli chapel, and his other patrons, specifically Cardinal Del Monte. An examination of these relationships allows valuable insight into the question of Caravaggio's naturalist style, his peers, and his period. Gilbert devotes separate discussions to the Marquis and to Cardinal Mattei in developing his argument that each of them influenced Caravaggio in different ways. A collector of classical sculpture, the Marquis is connected to the classical mythological themes that are here identified in specific paintings. A study of Cardinal Mattei indicates that he was outstandingly devout, which was true of only a small number of cardinals during the period. Gilbert shows that the artist's two paintings for the Cardinal alter the previous patterns of representing their religious themes, in ways related to Counter-Reformation ideas. Scholars have long searched for the specific religious figure who inspired this quality in Caravaggio's work, resolved here by Gilbert's meticulous scholarship andcarefully drawn connections. In its intellectual approach, Caravaggio and His Two Cardinals is a series of extended essays on diverse topics that involve the politics of Counter-Reformation religion and propaganda; neo-Latin poetry; the social status of homosexuality in the period; diale

Images of nepotism: the painted ceilings of Palazzo Barberini

This book explores the impact of papal nepotism on the visual arts of seventeenth-century Rome through an examination of the painted vaults of Palazzo Barberini, the family palace of the foremost patron of the High Baroque, Pope Urban VIII (1623-1644). The study focuses on the intersection of art and power in the ceiling paintings commissioned by Urban's nephews in the 1620s and 1630s to adorn their new palace. Viewed against the backdrop of the changing social codes and power relationships that characterized the ferment of Rome in this period, Palazzo Barberini stands as a remarkable document asserting the divine sanction of that family's emergence. The author presents a new analytical approach for appraising the form and content of ceiling imagery, allowing for a thorough assessment of the painted scenes that functioned as vehicles of the social and political agenda of the Barberini. The vast fresco painted by Pietro da Cortona in the palace salone--the largest ceiling painting in Rome since Michelangelo's Sistine Ceiling--and Andrea Sacchi's Divine Wisdom fresco receive major consideration for their novel pictorial illusionism and their poetic symbolism. These principal components of the Barberini Palace cycle embody the definitive statement of Baroque allegory as a mode of optical and intellectual persuasion. Propagandistic purpose here finds exalted theo-political expression. In sum, this study undertakes to define the linkage between art patronage and social aspirations in the last great age of papal nepotism and to establish within this societal context a new means for grasping the technical and iconographic novelties of Roman Baroque ceiling painting.

Wit and Humour in the Work of Paolo Veronese

John Ruskin in 1860 drew attention to Veronese's humorous and sympathetic use of domestic animals in his religious paintings. The paper begins with the example cited by Ruskin, the paintings commissioned for the Coccina family palace at the beginning of the 1570s. Veronese's humorous treatment of animals is a feature of his work from all stages of his career and, in the great Feasts, was combined with a feeling for decorum. The animals underline the narrative without distracting from the central message. A comparable approach can also be found in Veronese's treatment of the programme and of the Olympian gods and goddesses in the fresco cycle of the Villa Barbaro at Maser. This approach is extended to his mythological paintings, where the eroticism of Giulio Romano is defused through a sense of wit, which was developed from an older Quattrocento tradition.

Project of revitalisation of the area next to the Potocki family Palace in Lublin

The old baroque palace of the Potocki family is located in the heart of Lublin. In 1967 it was entered in the register of Lubelskie voivodeship under the number A/236. Nowadays, this historic building requires a thorough reconstruction and its surroundings – revitalisation. The aim of this study is to suggest a concept of land development around the palace taking into consideration the contemporary needs of its users.

The Origin of Baroque Painting

In 1589, the year of Cardinal Alessandro Farnese's death, Giacomo della Porta (1539–1602) completed the palace which Antonio da San Gallo, the younger (1485–1546), had begun in 1514 for another Cardinal Alessandro Farnese (1468–1549), who lived to be Pope Paul III (1534–1549). The palace had been inhabited by Cardinal Ranuccio Farnese (1530–1565), whom his grandfather had elected cardinal in 1545, at the same time as his brother Alessandro. The “Great Cardinal,” vice-chancellor of the pontifical states, lived in his official residence, the Palazzo San Giorgio (now called the Cancelleria) near the Palazzo Farnese. The family palace remained empty until young Odoardo Farnese (1574–1626) was raised to the purple in 1591 and settled in Rome. Odoardo took in hand the decoration of the wing between the two courtyards finished by Della Porta.