bluuebunny/crossref_metadata_2025_split huggingface dataset:
La Chronique universelle d’Orléans : un manuscrit d’histoire enluminé
Authors: Hurel Nathalie 
Published: June 2021

The Universal Chronicle of Orleans : an illuminated historical manuscript.
During the reign of Charles VII, after the one hundred years’ War, the production of works of history witnessed a considerable revival. Between 1457 and 1520-21, some twenty Universal Chronicles on scrolls were written and illuminated. The manuscript no. 470 at the Orleans Municipal Library is representative of such historical compilations of the period. It may be dated from the third quarter of the fifteenth century and probably comes from northern France, but we know nothing about who commissioned it, who produced it or who owned it. The chronicle deals first of all with the Old Testament, Ancient History and the life of Christ and then goes on to the succession of Popes, emperors of Rome, French kings, Breton kings and kings of Great Britain. Sixty-four miniatures in the form of medallions feature in the text at its articulations, sometimes in direct illustration of the text itself, sometimes adding information which is not to be found in the text. The illuminator uses the technique of « pourtraits », which allows him to use physionomies, backgrounds and costumes which are practically identical, repeating scenes and character types with only slight variations. Several of the medallions are analysed here : a representation of the infant Jesus with a cross announcing the Redemption, the murder of the Giants by Bruit (the origin of the foundation of Great Britain), the construction of different cities... The Universal Chronicle of Orleans allows for an in-depth study of the relations between image and text. It also raises the problem of the didactic or propagandist role of such texts. The genealogies and the description of the birth of nations are by no means innocent at this time when memories of the Anglo-French conflict were still fresh. Finally, the narrative confirms an idea of history which is still medieval, that is to say the facts and personalities — even contemporary ones — are always compared with the events and figures of Bible history.
Le grand établissement thermal de Vichy (1894-1903)
Authors: Morillon Cécile 
Published: June 2021

The thermal waters establishment at Vichy.
A rudimentary watering establishment already existed at Vichy during the seventeenth century. This small establishment was considerably modified and enlarged during the nineteenth century. A neo-classical building designed by the architect Rose-Beauvais was opened in 1831. The resort witnessed considerable growth during the mid nineteenth century, under the patronage of the emperor Napoleon III and the influence of the company founded in 1853 to exploit the state monopoly on the waters. During the Third Republic, this company tried to meet the competition coming from German and Austrian spas by building a new, first-class watering establishment. The architect Charles Lecœur was commissioned for the project in 1892. Studies on hygiene were carried out at the same time, concluding that Rose-Beauvais’s building was ill-conceived.
The new building shows a rational design, symetrically organised around horizontal and vertical centre-lines. The pavilions built in 1900 show the influence of the kind of architecture prevalent at the Universal Exhibitions of the time. The external decoration, designed to be noticed from afar, is an eclectic mixture with elements typical of the « picturesque » styles then in fashion. The natural lighting was given particularly close attention : zenithal lighting, bull’s eye windows or light wells. Inside, the decoration shows the influence of the Art Nouveau and orientalist movements. The whole is designed to give an impression of exoticism and luxury, used to mask technical devices of considerable sophistication.
Les gestes du Christ dans les représentations sculptées de l’Entrée à Jérusalem du IVe au VIe siècle
Authors: Schweitzer Florence 
Published: June 2021

Christ’s gestures in sculpted representations of the Entry to Jerusalem, between the fourth and sixth centuries.
The gestures of Christ as he enters Jerusalem, in sculpted representations of the scene, allow us to underline three aspects of this episode recounted in the Gospels, and to suggest three different readings of it between the fourth and sixth centuries. During the fourth century the traditional gesture for speech — the index and middle fingers of the right hand outstretched, the forearm raised to chest level — gives way to a more ample gesture closer to that found in the imperial adventus ; during the sixth century, a specific gesture of benediction emerges.
These gestural modifications reflect the evolution of Christian doctrine during this same period, evolutions which are partially connected to the changing political situation. The emphasis moves successively from a salutation of a personal nature (the conversation with Zacchaeus) to one that represents the proclamation of a faith, seen to be triumphant (over arianism), to one that is intended for the multitude.
Porcelaine et collectionnisme en France au XVIIIe siècle
Authors: Lahaussois Christine 
Published: June 2021

Porcelain and collections in France during the eighteenth century (according to some auction catalogues).
At the beginning of the eighteenth century, there were many different types of porcelain in France ; coming from the Far East or from the West, hard paste or soft paste, with « coloured decoration » or monochrome designs. The examination of a series of eighteenth-century auction catalogues shows that such porcelain objects were not only functional. Old pieces of porcelain, often with modern gilded bronze rims or handles, were not merely the necessary complement for any major decorative ensemble, but also collectable art objects in their own right. The collections include « celestial blue porcelain », « China porcelain », pieces from Saxony, from Sèvres and from other origins. During the second half of the century, blue decoration on a white background seems to have gone out of fashion, whilst the taste for Japanese porcelain reached its apogee in 1720.
Les antiquités péruviennes et la curiosité américaine en France sous l’Ancien Régime
Authors: Riviale Pascal 
Published: June 2021

Peruvian antiquities and curiosity for America in France during the Ancien Regime.
Up until its independence in 1821, Peru was officially closed to all Europeans except the Spanish. The country was nonetheless the destination for many maritime expeditions, and numerous French travellers, traders and adventurers stayed in Peru, setting up a trade in Peruvian objects dating from before the Spanish conquest. The study of how this trade developed, and of how curiosity in France evolved with regards such objects allows us to identify the main centres of interest of the French in the Americas, from 1534 (discovery of Canada by Cartier). From the end of the seventeenth century and throughout the eighteenth, maritime exchanges between France and the New World witnessed remarkable growth, but it is only during the eighteenth
century that we begin to find mentions of pre-Colombian antiquities in French collections. Antiquities from Peru are more frequently to be found than those from Mexico, a phenomenon which the author of the present article explains by the importance of trade between Peru and France, consequence of the decline in the power of the Spanish from the end of the seventeenth century. The scientific expeditions of the eighteenth century also contributed to these commercial exchanges.
Many objects found in Peruvian excavations of pre-Spanish sites find their way directly into the hands of French personalities close to the central state authorities or belonging to the world of science. Otherwise the collections seem to be constituted through public auctions, and it is possible to surmise than many objects circulate by this channel from one collection to another. In 1793, the French Revolution seized many complete collections belonging to nobles who had emigrated, along with the collection at the Jardin du Roi.
These collections are today held by the Musée de l’Homme in Paris. The private collections, however, are far more difficult to identify.
Feliks Manggha Jasieński, un collectionneur polonais au tournant du siècle
Authors: Kluczewska-Wójcik Agnieszka 
Published: June 2021

Feliks Manggha Jasieński, a Polish collector at the turn of the century.
Feliks Jasieński (1861-1921) was first of all a great traveller. He was well acquainted with the literary, musical and artistic circles of Berlin and Paris, where he stayed during the 1880s. He returned to Poland in 1890, settling in Cracow in 1902. It was there that he installed his museum-residence, constantly enriched with purchases of works of art from Europe and Japan. His collections were extensive and significant, covering several fields : contemporary western engravings, ukiyo-é, paintings by young Polish artists (the Zacopane school in particular), popular Polish art, rare books, etc. Jasieński was also a leading member of artistic associations in Poland helping young artists, running a review, giving lectures and publishing articles. As well as a collector, he was also a promoter of new Polish engraving ; he also played a major part in reviving interest in the popular culture of Poland. Finally, his collection of Japanese prints was one of the largest in the world.
After some twenty years of difficult negotiations, he bequeathed his whole collection to the city of Cracow in 1920, stipulating that this collection should never be broken up but presented as an ensemble. This wish was not respected, and even today the origin of works exhibited in the Cracow Museum and coming from Jasieński’s collection is not mentioned. An inventory of his collection has still to be made, and there is no monographic study of the collector himself. Let us hope that such a study will soon be undertaken, and that it will help present to the public the collection of one of the principal donators to Poland’s museums.
De Pékin à Paris (1900-1904) : les tribulations d’une collection de peintures chinoises
Authors: Gyss-Vermande Caroline 
Published: June 2021

From Peking to Paris, 1900-1904 : the tribulations of a collection of Chinese paintings.
The French School of the Far East (Ecole française d’Extrême-Orient, E.F.E.O.) was founded on 20 January 1900 in Saigon. One of its principal missions was to build up a collection of intellectual tools (a library, a museum) for the archaeological and philological study of the Indonesian peninsula and of its nearby civilisations : China, India and Malaya. One of the earliest young students sent from France was Paul Pelliot, who, in 1900, was despatched to Peking where he collected a considerable number of books, manuscripts and art objects for the school. In 1902, the school moved to Hanoi, the collections being stored in a building of the Exhibition pavilion. This building was severely damaged during a cyclone on 7 June 1903, and, since the projected museum had not yet been realised, in 1904 the collections were sent to Paris, to the Louvre and to the National Library. Ten of the Chinese paintings from the Pelliot collection were exhibited to the public at the Louvre. The comments of the contemporary specialists are indicative of the difference between that time and our own with regards to our appreciation and understanding of Chinese painting. Furthermore, the common Chinese custom of copying paintings led to many errors in attribution and dating. Only one inventory register, apparently drawn up on two separate occasions, survives today. In 1922, the Chinese paintings from the Pelliot collection were transferred from the Louvre to the Musée Guimet. They are 125 scrolls, representing three incomplete series of liturgical paintings. These paintings are presently being restored. According to the author of the present article, some of the mould on them date from the cyclone damage of 1903. A new appraisal of these works is also under way. They have long been underestimated, and their interest for the study of Buddhist and Taoist ritual is considerable.
Les Commentaires de Lorenzo Ghiberti dans la culture florentine du Quattrocento
Authors: Dubourg-Glatigny Pascal 
Published: June 2021

The Commentaries of Ghiberti in the Florentine culture of the Quattrocento.
Ghiberti’s Commentaries have so far been little considered in the studies of this artist, but they deserve a closer look in the context of Quattrocento writings. The text presents considerable difficulties both in interpretation and in translation. The author of the present article attempts to deal with some of these difficulties, putting forward some hypotheses about the obscure circumstances in which the text was written, and underlining some other outstanding points. Ghiberti draws attention to the importance of the multi-disciplinarity which is necessary for the training of artists, and also stresses the fact that it is the mastery of theoretical texts on art which distinguishes the artist from the mere artisan-practitioner. Dealing with art history from Antiquity, Ghiberti more or less follows the model of Pliny, paying closer attention to the works which have might actually have been able to see. He attempts to built up a real critical discourse around these works. As for other humanists of his time, classical Antiquity remains for Ghiberti a major reference, both in the writings conserved and in the actual works of art. Ghiberti himself possessed a real private collection of such classical works. As for the contemporary works of his period, Ghiberti paints a broad panorama, based on geographical schools and following a chronological scheme inspired by the notions of the progress, the death and the rebirth of art. He also puts forward some personal preferences, based on the subjective value of the works considered.
Ghiberti’s Commentaries also throw much light on the artist’s own career, giving details which are useful for the history of art in general. The Commentaries, however do not represent an autobiography but a critical text mainly devoted to works of art in their material reality.
Le lycée Louis-le-Grand à Paris : chronique d’une reconstruction différée (1841-1881)
Authors: Le Cœur Marc 
Published: June 2021

The Lycée Louis-Le-Grand in Paris ; chronicle of a delayed reconstruction (1841-1881).
This article sets out ot explain how one of the most prestigious secondary educational establishments in France, the Lycée Louis-Le-Grand, heir to the Clermont College founded by the Jesuits in 1563, had to function in dilapidated and insanitary buildings for over fifty years. Between 1841 and 1885 no fewer than fourteen rebuilding projects, signed by nine different architects, were drawn up, all of them prevented from being put into effect either by political events or by the disagreements between the two authorities on which the school depended, the State and the City of Paris. This paradoxical situation came to an endonly with the new impetus given to school building by Jules Ferry.
Charles Le Cœur’s ambitious project, realised between 1885 and 1898, left precious little of the earlier buildings and marked the apogee of school architecture under the Third French Republic. The country’s leading lycée was also the most expensive one ever built.
Ibn Ġaṭṭūs : une famille de copistes-enlumineurs à Valence (Espagne)
Authors: Dandel Elisabeth 
Published: June 2021

Ibn-Ġaṭṭūs : a family of copyists and illuminators in Valencia, Spain.
The production of a family of copyists and illuminators, active in Valencia during the second half of the twelfth century (seventh century of the Hegira), reveals the work of several different hands.
Ibn Ġaṭṭūs the elder is the author of the following Korans : Sotheby 336, Cairo MS 196 and Tunis MS 1879. Ibn-Ġaṭṭūs, the son, is responsible for the Tunis MS 13727 and Istanbul BU A 6754 Korans. Furthermore, each of these artists had a brother who also contributed to the reputation of the atelier, one of the best known in Al-Andalus, as its influence on other manuscripts clearly demonstrates.
Le graveur Jacob Matham et les chambres de rhétorique à Haarlem
Authors: Widerkehr Léna 
Published: June 2021

The engraver Jacob Matham and the debating chambers of Harlem.
The engraver Jacob Matham (Harlem, 1571-1631) took over the Harlem atelier of his father by adoption, Hendrick Goltzius, in 1598. His rapid and successful integration into the town’s circles of notables and intellectuals is attested by several emblems, often inspired by motifs of Goltzius or Karel van Mander. These emblems were commissioned by the town’s leading debating chambers — De Witte Angierken, the Pelicanists and the Wijngaarddranken — or were festive engravings for the Christmas guilds of Saint Hubert and Saint Jacques. These pious, allegorical compositions, along with a curious, unpublished religious engraving made up of pictographic signs, are characteristic of the social and emblematic life of Holland during the first third of the seventeenth century.
Miró et ses collaborateurs en gravure
Authors: Novarina-Raslovleff Françoise 
Published: June 2021

Miro the engraver and his collaborators.
From 1929 on, the work of Miro as an engraver developed without any major interruption. In the period after the Second World War, Miro decided to concentrate even more on engraving, and he was to become one of the most prolific artists of the twentieth century in this field. His researches where engraving is concerned cannot be isolated from his other work, but have their own particularities. From 1945 Miro developed a new vocabulary, experimenting in particular with complex engraving methods which often called on haphazard and even light-hearted effects. He preferred engraving on metal to lithography, the latter being less open to technical novelties.
The author of this article draws on the unpublished recollections of three engravers who counted amongst Miro’s closest collaborators : Louis Dutrou in France and Torralba and Barbara in Spain.
Miro’s approach to engraving depended on complete confidence in these engravers. With Dutrou, the emphasis was placed on the apprenticeship in all sorts of non-traditional techniques, with halo or print effects. They were also interested in « objets trouvés », incorporated in various ways into the engraving. One of their favourite ploys was also the re-use of old plates, re-etched in a new context. With Torralba and Perralbà, Miro appreciated the possibility of experimenting with large-scale engraving. With these two also, Miro often went in for the re-use of old plates. The style developed with Barbarà is recognisable in the use of craquelure, of resins and of cut copper plates.
To conclude, the author looks at the episode of the unfinished book about the Valley of the Marvels, clear evidence of Miro’s evolution towards the book as an autonomous art object. Indeed, through his engravings, Miro aimed to bring together several different art forms, including sculpture and even music.
La composition comme symbole politique : David, Winckelmann et Carlo Fea
Authors: Martens Didier 
Published: June 2021

Composition as a political symbol : David,
Winckelmann and Carlo Fea.
During the years 1770 to 1780, the painter David moved from a diagonal organisation of his works to a composition based on horizontal lines, and from a principle of the reciprocal subordination of Figures to their juxtaposition. The present article examines this evolution, from the earliest works of the artist (the paintings done for the Prix de Rome competitions of 1770 and 1772) up to the Serment des Horaces and including the crucial work of 1774, Antiochus. The article then goes on to offer an explanation for this evolution.
This change is characteristic of a « return to Antiquity » and shows certain affinities with the ideas of Winckelmann who, as early as 1767, had praised isocephaly and the horizontal composition used in the art of Antiquity. For this author, these features were characteristic of the liberty of an artist working in a democratic society. For David too, this aesthetic principle may perhaps have corresponded with an ideal of modernity, parallel to the ideal of equality of rights in the new social order. After 1800, when David became the official painter of the imperial regime, the principles of a hierarchical, diagonal composition reappeared, used to exalt the personality of the Emperor. This does not mean to say, however, that he turned his back on the lessons of the art of Antiquity : from 1783 Carlo Fea, the Italian translator of Winckelmann, maintained that, contrary to what the German author had supposed, this type of hierarchical composition had indeed existed in Greek and Roman art.
L’asile public des aliénées de Bordeaux : hygiénisme en psychiatrie et rationalisme architectural
Authors: Lecler Liliane 
Published: June 2021

The public lunatic asylum at Bordeaux ; psychiatric hygiemsm and architectural rationalism.
In 1885, the board of commissioners of the Saint-Jean lunatic asylum at Bordeaux recognised the degradation of the conditions in which the mentally sick were confined in this hospital, and decided to transfer the institution to another property, on the outskirts of the city, the Château Picon. The Château itself was set aside for the wealthy patients whilst an entirely new asylum was constructed for the poor. The architect chosen was Jean-Jacques Valleton (1841-1916), a pupil of Abadie. This architect had studied the theories of his time on mental health and was particularly inspired by a text written in 1818 by J. Esquirol, head doctor at the Charenton asylum.
He also studied asylums built in France and England. The construction work started in 1887 and was completed in 1890. The article describes the new buildings and the way they were arranged in isolated pavilions, each one corresponding with a defined category of mental illness : slight, tranquil convalescent, semi-tranquil, semi-agitated, agitated, furious, epileptic. A circulation gallery ran through the ensemble, with the pavilions branching off it like teeth from a pair of combs. The decoration, of Gothic inspiration, is very muted, in keeping with theories on mental health at the time which had long since denounced the pernicious influence of sculpted motifs on the mentally deranged.
Les arcs de triomphe d’Arles
Authors: Fornasier Bruno 
Published: June 2021

The triumphal arches of Arles.
The author of this article takes a new look at a question which has been much debated over the last century, concerning the three Roman arches at Arles. The only documentation on these arches consists in a few ancient texts and some membra disjecta which authorise several different restitutions. For the present author, the « Arc Admirable » to the north of the town is probably a quadrifons, dating from the era of Augustus. The municipal arch, located on the road to Italy, is probably a single arch structure dating from the end of the reign of Augustus (5-14 A.D.). The « Arc du Rhône », marking the passage of the river Rhone, is probably the oldest arch.
Its structure and ornamentation allow it to be dated to the beginning of the principate of Augustus, around the year 25 B.C.