scholarly journals Albrecht Dürer and the Beginnings of Czech Illustration

2019 ◽  
Vol 64 (1-2) ◽  
pp. 45-55
Author(s):  
Petr Voit
Keyword(s):  
19Th Century ◽  
16Th Century ◽  
The Sun ◽  
Graphic Art ◽  
Holy Trinity ◽  
Book Printing ◽  
John The Baptist ◽  
The Poor ◽  
The 19Th Century ◽  
Popular Books

This article deals with printed graphic sheets, cycles and illustrations by Albrecht Dürer, which penetrated into book printing in the Czech language (Nuremberg) and in Bohemia (Prague, Litomyšl) through original printing blocks as well as copies in the first half of the 16th century. Dürer’s graphic sheets were distributed by the Nuremberg printers Hieronymus Höltzel (1509, 1511) and Friedrich Peypus (1534), the Litomyšl printing workshop working for the Unity of the Brethren (Unitas fratrum) in Litomyšl (1520), and the so-called Severin Workshop, connected to the Prague printing workshop of Pavel Severin of Kapí Hora (1529, 1539). Eleven works of religious character associated with Dürer have been discovered among Czech illustrations so far – they were made by means of seven original printing blocks and four copies, which is not so much. In this respect, Dürer was greatly surpassed by his Nuremberg successor, Erhard Schön. After Schön died in 1542, the printer Jan Günther received roughly one quarter of workshop printing blocks (approximately 340 pieces). Two years later, he moved them to Moravia, where they were coming to life in Prostějov, then in Olomouc and eventually in popular books, brochures and broadsides from Skalice until the end of the 19th century. Dürer’s printing blocks that functioned in the context of Czech book printing depict: [1a] the Nativity, [2c] the apocalyptic Woman Clothed with the Sun, and [5a–e] the Saints (James the Greater, Peter, John the Evangelist, John the Baptist and Judas Thaddaeus). The following subjects were copied: [2b] the apocalyptic Woman Clothed with the Sun, [3b] Christ in the Garden of Gethsemane, [4c] Two Angels (Geniuses), and [6b] the Holy Trinity. The woodcut copies are not exact replicas. The poor artistry and craftsmanship of the copyists, whose names are not known, led to the omission of details. The problem is that the copyists were not trying to present Dürer’s graphic art but needed a cheap and simple acquisition of the biblical scene required. More detailed information on the printing blocks and copies is available in the catalogue attached.

scholarly journals What did remain of the worn out editions? The collections of the local and foreign libraries as the base for research of the Polish popular books of the second half of the 19th century (a case study of selected religious and didactic publications)

2019 ◽  
Vol 13 ◽  
pp. 163-176
Author(s):  
Tomasz Nastulczyk
Keyword(s):  
19Th Century ◽  
Roman Catholic ◽  
Catholic Bishop ◽  
Poor State ◽  
The Poor ◽  
Religious Publications ◽  
The 19Th Century ◽  
Insight Into ◽  
Popular Books

The paper offers an insight into the poor state of preservation of the Polish popular publications of the second half of the 19th century, based on systematic queries for the new edition of the Estreicher family Bibliografia Polska XIX stulecia (Polish Bibliography of the 19th century). The queries revealed that many of the editions in question are now completely lost, and quite often the only one or two survived copies can be found either abroad or in small local libraries/museums. The discussed examples include several popular books by the Roman Catholic bishop, Szymon Marcin Kozłowski; the commonly used primer for country children (Elementarz dla chłopców wiejskich for boys and Upominek dla dziewcząt wiejskich for girls); and the religious publications of Blessed Father Honorat OMFCap (Florentyn Wacław Koźmiński). Problems with the preservation of popular books from cultural borderlands are illustrated by the case of the Lutheran catechism published by Rev. Karol Kotschy for the local Silesian evangelical community in Ustroń. Finally, a few examples of the 19th-century Polish-American mass publications are discussed.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

scholarly journals Nauka sztuki kupieckiej w Krakowie XVI–XIX wieku. Zarys problemu

2019 ◽  
pp. 7-20
Author(s):  
Marcin Gadocha
Keyword(s):  
19Th Century ◽  
Foster Parents ◽  
18Th Century ◽  
Birth Certificate ◽  
16Th Century ◽  
The 19Th Century

The article is a survey and an attempt to bring closer the questions connected with the education of future tradesmen in Cracow from the 16th century until the first half of the 19th century. Thus far, there has been no thorough study devoted to this topic. In the 16th century, young adepts of trade would start learning this occupation in their father’s business, further family’s business or in the dynamically developing trading houses in Cracow. In the 16th c. and 17th c. there was no merchants’ guild in Cracow, which could oversee the process of learning the “art of trade”. Only the establishment of the Merchants’ Congregation in 1722 brought about changes in this respect. Ultimately, in the new statute of the Congregation from 1833, the new principles of training were formulated. Candidates had to present their birth certificate, the recommending certificate written by their parents or foster parents. Moreover, the candidate had to be able to read, write and calculate in Polish or German. Learning took three years in the 16th and 17th centuries; in the 18th century this period was prolonged, in the 19th century lasted from 4 to 6 years. According to the author, the problem still requires further in-depth research. After the archival query, it seems that there are good possibilities to obtain valuable material connected with mercantile art in Cracow.

„… wo der Dollmetsch allzeit interpretirt.“

2013 ◽  
Vol 58 (1) ◽  
Author(s):  
Clara Reiter
Keyword(s):  
Present Article ◽  
19Th Century ◽  
Professional Group ◽  
16Th Century ◽  
Habsburg Monarchy ◽  
Complex Group ◽  
Imperial Court ◽  
Main Components ◽  
The 19Th Century

AbstractThe present article focuses on court interpreters at the Imperial court of Vienna, who were employed in the Habsburg Monarchy from the early 16th century until the end of the 19th century. Based on the methodological concepts of professional intercultures introduced by Anthony Pym the article discusses the question whether or not court interpreters formed a professional group at the court. Different aspects of their profession such as competencies, remuneration, duties, reputation and their place in the organization of the court are discussed. For the application of Anthony Pyms model it will be shown that two main components, time and the intern differentiation of the group, are necessary to apply the model on a professional group like the court interpreters that was a highly complex group characterized by strong changes throughout their existence.

The Drawings and the Modine of Francesco Pieroni for the Ministero delle Finanze in Rome

2019 ◽  
pp. 242-272
Author(s):  
Liliana Ninarello
Keyword(s):  
19Th Century ◽  
16Th Century ◽  
Archival Research ◽  
Construction Companies ◽  
Different Types ◽  
The 19Th Century ◽  
Work Done ◽  
Real Scale

The main focus of this chapter is the highly valued work done by the architect Francesco Pieroni at the Ministero delle Finanze in Rome. This contribution can to attribute to Pieroni various drawings and numerous modine, i.e. real scale cardboard templates of various shapes used in the realization phases of the mouldings. Pieroni's activity represents, in the Roman context, one of the first applications of typical 16th century mouldings, to modern and prefabricated metal bar structures, spreading in the 70's of the 19th century. The construction companies were resilient to agree for changes in building techniques due to a lack of expertise. The realization of the Ministero is a case study of this phenomenon. The archival research developed casts new light on the numerous modifications carried out by Peroni during construction phases, which demonstrate the accuracy employed by the architect in designing the stuccos. The chapter analyses two different types of archive documents: the report Spoglio modificazioni lavori di stucco, and the examples of modine authored by Pieroni.

Lacemaker’s Lamps

2021 ◽  
pp. 43-45
Author(s):  
Stephen R. Wilk
Keyword(s):  
19Th Century ◽  
The Sun ◽  
Indoor Lighting ◽  
The 19Th Century

In the years before the 19th century, the options for indoor lighting were limited and sometimes expensive. Yet artisans such as lacemakers, cobblers, and jewelers needed good lighting for their precise and delicate work. But not being very well paid, they needed a solution that would allow as many of them as possible to share the expense of lighting for work. How did they manage after the sun went down, especially in northern countries with long periods of winter darkness? Can the solutions they came up with be applied to present-day problems?

The Ottomans in Northeast Africa

2018 ◽  
Author(s):  
A. C. S. Peacock
Keyword(s):  
Ottoman Empire ◽  
19Th Century ◽  
Red Sea ◽  
16Th Century ◽  
Nile Valley ◽  
The Third ◽  
Red Sea Coast ◽  
Northeast Africa ◽  
The 19Th Century ◽  
Sea Coast

In the mid-16th century, the Ottoman empire expanded to encompass parts of the modern Sudan, Eritrea, and the Ethiopian borderlands, forming the Ottoman province of Habeş. The Ottomans also provided aid to their ally Ahmad Grañ in his jihad against Ethiopia and fought with the Funj sultanate of Sinnar for control of the Nile valley, where Ottoman territories briefly extended south as far as the Third Cataract. After 1579, Ottoman control was limited to the Red Sea coast, in particular the ports of Massawa and Suakin, which remained loosely under Ottoman rule until the 19th century, when they were transferred to Egypt, nominally an Ottoman vassal but effectively independent. Politically, Ottoman influence was felt much more broadly in northeast Africa in places as distant as Mogadishu, at least nominally recognized Ottoman suzerainty.

The Franz Mayer Collection and the Rogerio Casas-Alatriste H. Library

2012 ◽  
Vol 37 (4) ◽  
pp. 27-30
Author(s):  
Miriam Velázquez Martínez
Keyword(s):  
19Th Century ◽  
Mexico City ◽  
Decorative Arts ◽  
16Th Century ◽  
25Th Anniversary ◽  
History Of ◽  
The 19Th Century ◽  
Temporary Exhibitions

The existence of the Franz Mayer Museum is due to the German philanthropist and naturalized Mexican, Franz Gabriel Mayer Traumann Altschul (1882-1975), who bequeathed to the Mexican people his library and decorative arts collection. Considered the most important of its kind in the country, it includes works from the 16th through the 19th centuries, from America, Europe and Asia. It is located in Mexico City, in a building dating from the second half of the 16th century, and celebrated its 25th anniversary in 2011. The Library, which is open to researchers, is currently made up of around 22,000 volumes, and specializes in decorative arts and the history of Mexico in the 19th century, among other subjects. As well as displaying the Mayer Collection the Museum also presents temporary exhibitions on decorative arts, contemporary design and photography, while the library holds two exhibitions a year highlighting the bibliographic collections.

King Narasiṁha I Before his Spiritual Preceptor

1971 ◽  
Vol 103 (2) ◽  
pp. 134-138
Author(s):  
O. M. Starza-Majewski
Keyword(s):  
19Th Century ◽  
Religious Beliefs ◽  
New Delhi ◽  
The Sun ◽  
13Th Century ◽  
Spiritual Instruction ◽  
Carboniferous Shale ◽  
The 19Th Century ◽  
Victoria And Albert Museum

The collection of Indian sculpture in the Victoria and Albert Museum includes a fine relief from Koṇārka. It is about 2 feet 6¾ inches (78·1 cm.) in height and depicts King Narasiṁha I (a.d. 1238–64), the founder of the celebrated Sun temple at Koṇārka in Orissa, sitting at the feet of his spiritual preceptor (Plate I). Acquired in the 19th century, this relief, which is carved in carboniferous shale, was long believed to be Nepalese. Havell, writing in 1911, notes that this sculpture is “said to have come from Nepal. Its date is uncertain. It appears to represent a Vaishnava adaptation of some old Buddhist jātaka story.” Some years later it was realized that the style of this sculpture belonged to that of the Eastern Ganga of the 13th century a.d., and that it represented the conversion of a kṣatriya noble to the worship of Viṣṇu by a Vaiṣṇava priest. The figure of the warrior sitting at the feet of the priest was identified as that of Narasimha I receiving spiritual instruction from his guru. This relief is one of a number showing scenes from the life of Narasimha which come from the great Koṇārka temple dedicated by him to the sun-god Sūrya. Of these, the panel already mentioned and another in New Delhi throw an interesting light on Narasiṃha's religious beliefs.

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