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Entre 1760 et 1870, les stucateurs, plâtriers et entrepreneurs italiens de la Valsesia sont la seule population d’étrangers présente dans le Val de Saône, structurée par ses liens familiaux et la relation conservée avec ses villages d’origine, ouverte au milieu d’accueil par la communauté de techniques. Les décors qu’ils réalisent à la veille de la Révolution, en particulier dans les églises, sont déjà néoclassiques. Les sources permettent d’identifier ces œuvres et documentent presque au quotidien la vie de plusieurs générations de ces artisans. Between 1760 and 1870, the only foreign population in the Val de Saone was made up of stuccowork artists, plasterers and Italian entrepreneurs from the Valsesia region. Even if they were a close-knit community with strong family links and close ties with their native villages, they had a large influence on their host environment thanks to their technical skills. The ornaments and decorations they undertook on the eve of the French Revolution, in churches in particular were already neo-classical in style. A series of sources allows identifying their works and documenting the everyday life of several generations of these craftsmen.

Au xixe siècle, dans le contexte de revendication d’une filière d’excellence des vins de Bourgogne, la chambre de commerce de Beaune se devait de participer à l’Exposition universelle de 1889 pour rendre visible cette activité économique importante de la Bourgogne. Le décor original conçu à cette occasion sous forme d’un buffet présente les différents terroirs de la Bourgogne et leurs appellations. La carte en relief de la Côte des vins en est le fleuron. Ce meuble buffet est réadapté et enrichi dès la fin de l’Exposition pour constituer, de façon pérenne, le décor des nouveaux locaux de la chambre de commerce de Beaune : un décor total qui inclut non seulement les boiseries mais aussi les portes et fenêtres avec leur quincaillerie, les peintures murales, les vitraux, les luminaires et le mobilier. La chambre de commerce fait appel à son secrétaire-trésorier, Arthur Montoy, également administrateur des Hospices de Beaune mais surtout artiste de formation. La redécouverte du fonds de dessins de ce maître d’œuvre montre à quel point celui-ci s’est investi dans chaque élément de décor, aussi modeste soit-il. Demeuré intact, ce décor illustre de façon remarquable cette construction iconique de la Bourgogne viticole et de son terroir. Il revendique déjà ce qui constituera cent ans plus tard l’argumentation de la candidature à l’Unesco des « climats de Bourgogne ». During the nineteenth century, as the wines of Burgundy were trying to establish their reputation for excellence, the Beaune chamber of commerce and industry (CCI) participated in the 1889 Paris world fair in order to give greater visibility to this important economic activity of the region. The original décor designed on this occasion was a buffet presenting the different wine-growing territories of Burgundy and their appellations. The main piece of this buffet was a relief map of the wine-growing slopes. This buffet piece of furniture was added to and improved upon after the Paris world fair and installed permanently in the new premises of the Beaune chamber of commerce. The decoration of these premises was total and comprised wooden paneling, doors and windows with their metallic fixtures, murals, stained-glass windows, lamps and the furniture. The chamber of commerce commissioned the decoration from its treasurer Arthur Montoy, who was also an administrator of the Hospices de Beaune but above all a trained artist. The recent discovery of his drawings shows how thoroughly he was involved in the design of every element of the decorative ensemble, however modest. This decor is still intact and is a remarkable and emblematic illustration of the wine-growing region and its soils and landscapes, its ‘terroirs’. It already seems to be an argument for what, one hundred years later, was to constitute the justification for the inscription on UNESCO’s list of world heritage of ‘The climates, terroirs of Burgundy’.

italianoIl testo documenta una selezione di vetri di eta tardo antica provenienti dagli scavi archeologici di Villa Medici: i reperti sono datati tra la meta del IV e la prima meta del V sec. d.C. e si presentano suddivisi in vasi decorati ad incisione e/o abrasione, vasi decorati con applicazione di foglia d’oro o di gocce di vetro colorato. L’analisi si apre con un esemplare di coppa/lucerna con decorazione incisa ed excisa di tipo complesso: il vaso viene attribuito al gruppo del piatto con scene di vita marina e mostra campi circolari con cavalieri e riquadri rettangolari con scene dell’infanzia e dell’educazione di Achille presso il centauro Chirone. Un secondo esemplare analizzato approfonditamente e costituito da un calice decorato con lamina aurea che presenta un motto augurale in latino. Un ampio gruppo di frammenti e costituito da vasi incisi riconducibili al gruppo con incisioni lineari e abrasioni. Tra i ritrovamenti sono documentate anche lucerne con decorazione abrasa e orlo molato e coppe con applicazioni a goccia. EnglishLate Roman glass from Villa Medici. This paper offers a selection of late Roman glass coming from the archaeological excavations of Villa Medici; the finds are dated between the middle of the fourth and the first half of the fifth century A.D. and are presented subdivided in groups according to the processing technique in vases decorated with engraving and/or abrasion, vases decorated with gold leaf application, vases decorated with application of glass drops. The analysis opens with a cup with engraved decoration that shows circular motifs with knights and rectangular patterns with scenes of the childhood and education of Achilles at the centaur Chiron; this specimen is attributed to the group of the plate with marine life scenes. A goblet decorated with gold lamina with a Latin motto is individually analyzed. The largest group of the presented fragments is made up of incised vessels connected to the group with linear incisions and abrasions. Lamps decorated with abrasions and cups decorated with applications of blue glass drops are also attested among the finds.

Lorsqu’Albert Lévy (1891-1976) prend la direction de la maison d’édition La Librairie centrale des Beaux-Arts en 1919, celle-ci jouit d’une notoriété certaine depuis la fin du xixe siècle. Les publications d’A. Lévy, aux rênes de l’entreprise familiale jusqu’en 1936, s’inscrivent dans une période riche en évolutions critiques, tant pour le renouveau des arts décoratifs que pour celui de la reconnaissance de la photographie. Le fonds d’archives photographiques de la maison d’édition, conservé au musée des Arts décoratifs de Paris, se trouve ainsi au croisement de cercles complémentaires : ceux des arts décoratifs du début du xxe siècle et de la photographie. Dès 1928, l’éditeur semble se détacher de la photographie en noir et blanc au profit d’illustrations colorées au pochoir. Alors, il est nécessaire d’interroger quels rôles photographie et photographes occupent dans son projet éditorial et comment la concession du laboratoire photographique de l’Union centrale des arts décoratifs, assurée par la famille Lévy de 1907 à 1936, s’inscrit dans ses activités. When Albert Lévy (1891–1976) took over the publishing house La Librairie Centrale des Beaux-Arts in 1919, it had enjoyed a certain fame since the late 19th century. The publications of Lévy, at the helm of the family business until 1936, were part of a period rich in critical developments, both for the revival of decorative arts and for that of the recognition of photography. The publishing house’s photographic archives, now in the Musée des Arts Décoratifs de Paris, also find themselves at the crossroads of early twentieth-century decorative arts and photography. From 1928, the publisher seems to have abandoned black-and-white photography in favour of stencil-coloured illustrations. Thus it was necessary to examine the roles occupied by photography and photographers in his editorial project and how the concession of the photographic laboratory of the Union Centrale des Arts Décoratifs, run by the Lévy family from 1907 to 1936, became part of its activities.

Abstract The Begumpuri or Jamiʿ (Friday) Masjid of Jahanpanah (Delhi) is an impressive monument built during the Tughluq period, circa 1343. Although often credited to Firuz Shah (1351–88), the mosque was probably ordered by Muhammad Shah Tughluq (1325–51), since it was situated next to his royal palace in the heart of his capital (Jahanpanah). The Begumpuri Masjid represents a particular phase in the sequence of Tughluq architecture, both for its plan and elevation, and for its architectural decoration. It has often been described as a “Persianate” four-iwan mosque, although such a designation seems inappropriate. This article explores the probable patronage of the mosque by Muhammad Tughluq and its siting at the center of Jahanpanah. The plan and elevation of the mosque are detailed, with a discussion on the possible models for the building, together with its vernacular characteristics. We then present a study of the architectural decoration, made in stone, stucco, and turquoise glazed tiles. The peculiar features of the Begumpuri Masjid make it a unique monument celebrating the grandeur of Muhammad Tughluq through its huge and void court, as well as in its mulūk khāna (Royal Loggia).

La mayor parte de las esculturas y de las inscripciones funerarias de Barcino proceden del interior de las torres y del lienzo externo de la muralla tardía de esta colonia, lugar donde fueron reutilizadas al construirse el recinto defensivo a partir le finales del siglo III. En el presente artículo se analizan los datos que aporta este material al conocimiento del entorno funerario barcinonense. A pesar de tratarse de disiecta membra hallados en un contexto de reutilización, estos materiales, en su mayoría labrados en piedra local de las canteras de Montjuïc, enriquecen considerablemente los escasos hallazgos de enterramientos in situ de época altoimperial, de los que los sepulcros exhumados en la plaza Vila de Madrid son los más representativos. Los epígrafes dan a conocer gentilicios itálicos, llevados en muchas ocasiones por individuos de ascendencia servil. Los restos escultóricos permiten discernir un número destacable de monumentos funerarios, predominando dos tipos, los turriformes y los grandes altares con pulvinos. En los relieves es patente la influencia itálica y la perduración del estilo triunviral. Most of the sculptures, and the funerary inscriptions of Barcino come from inside of the towers and the external stretch of the late wall of this colony. There they were re-used to build the defensive enclosure of the 4th century. This article analyzes the data that this material brings to the knowledge of the funeral environment of Barcino. In spite of being disiecta membra found in a context of reuse, these materials, in its majority carved in the local stone quarries of Montjuïc, enrich considerably the few findings in situ of burials of the highimperial period. Between them the tombs exhumed in the Vila de Madrid square are the most representatives. The epigraphs made know Italic names, brought on many occasions by individuals of servile descent. The sculptural remains allow us to discern a remarkable number of funerary monuments, predominantly two types: the mausoleums in form of tower and the big altars with pulvini. In the reliefs is evident the Italic influence and the persistence of the triumviral style.

The lack of thorough studies of the significant number of examples of applied brocade found in the last two decades in Spain, originated in 2009 a European PhD thesis with Honours. This investigation presents an analysis and classification of the patterns, making procedures and combinations of materials of the applied brocades of the wooden altarpieces of the Basque province of Gipuzkoa, Northern Spain. Further studies have focused on the use of other analytical techniques that have completed the previous results and more recently, are being examined patterns of applied brocades belonging to the altarpieces sited in the other two provinces of the Basque Country. L’absence d’études approfondies relatives au nombre important d’exemples de brocarts appliqué trouvés au cours des deux dernières décennies en Espagne, a été mise en évidence en 2009 dans une thèse de doctorat européen, obtenue avec distinction. Cette enquête présente une analyse et une classification des modèles, des procédures et des combinaisons de matériaux utilisées dans les brocarts appliqués des retables en bois de la province basque de Gipuzkoa, dans le nord de l’Espagne. Des études ultérieures ont porté sur l’utilisation d’autres techniques d’analyse lesquelles ont complété les résultats précédents et, plus récemment, sont en cours d’examen des modèles de brocarts appliqués présents dans les retables de deux autres provinces du Pays Basque.

Dans la seconde moitié du xvie siècle, les princes européens et en particulier les princes allemands commencèrent à collecter des armes et des armures. Ces cabinets d’armes étaient principalement composés de trophées de guerre, mais la plupart des pièces qui s’y trouvaient étaient des cadeaux offerts par d’autres cours ou des objets achetés par le prince lui-même. Cette contribution s’intéresse tout particulièrement à la collection d’armes des électeurs de Saxe et notamment aux armes décorées (épées, dagues, pistolets) que ces princes de la branche albertine semblaient rechercher avidement. Durant cette période, les thèmes religieux dominent la décoration des armes : Adam et Ève, l’arche de Noé, la Crucifixion, la loi et la grâce. Ce choix iconographique est à relier au mouvement de confessionnalisation intense qui touche la Saxe électorale et aux efforts continus des électeurs pour défendre et établir une orthodoxie luthérienne, dans un contexte de luttes intraconfessionnelles. Il propose également un discours sur le pouvoir du prince qui a été redéfini par Martin Luther dans sa théorie dite « des deux règnes » appelée aussi « théorie des deux glaives ». In the second half of the sixteenth century, European rulers, and in particular German princes, began collecting weapons and armour. These armouries were mainly composed of war trophies, but most of items were gifts from other courts or bought by the prince himself. This article focuses on the Electoral Saxony armoury, and particularly on the decorated weapons (swords, daggers and guns) that were eagerly collected by the Albertine branch. During this period, religious themes dominated the decoration of arms: Adam and Eve, Noah’s Ark, the Crucifixion, law and grace. This iconographic choice is related to the strong confessionalization movement in Electoral Saxony and the ongoing endeavour of the Albertine branch to defend and impose a Lutheran orthodoxy in a context of intradenominational struggles. Above all, this religious subject on weapons proposed a discourse on princely power that was redefined by Martin Luther in his “two-kingdoms theory” also called the “theory of the two swords”.

International audience; The Mid-Upper Paleolithic (Gravettian) karstic Grotte de Cussac (France) contains two areas of human remains in the context of abundant (and spectacular) parietal engravings. The first area (loci 1 and 2) includes the skeleton of a young adult male in a bear nest, rearranged by postdecomposition inundation, and the variably fragmentary remains of at least two individuals distributed across two bear nests, sorted anatomically and with most of the elements constrained to one side of one nest. The second area (locus 3) retains remains of two adults and an adolescent, in upper hollows and variably distributed down the slope, largely segregated into upper versus lower body groups. The only decoration associated with the human remains is red pigment on some of the bones or underlying sediment. The human remains indicate variable nonnatural deposition and manipulation of human bodies, body portions, and skeletal elements of at least six individuals. Moreover, Cussac is unusual in the association of these remains with exceptional parietal art. The complex Cussac mortuary pattern joins growing evidence from other Gravettian sites of variable treatment of individuals after death, within and across sites, in terms of formal deposition of the body versus postmortem manipulation versus surface abandonment. It provides a window onto the social diversity and the complex interactions of the living and the dead among these successful Late Pleistocene foragers.