Neo-Classicism

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Robert Adam’s folio volume Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia (1764) was one of the most significant architectural publications of the eighteenth century. It vividly revealed the emotional impact of the Palace remains, linking them forever with the name of Adam. But the book took several years to complete, largely because the illustrations were undertaken by two separate teams of artists, in Venice and London, whose progress in the early 1760s was monitored through regular correspondence be- tween Robert Adam in Britain and his brother and architectural part- ner James, who was at the time on his Grand Tour in Italy. This paper considers some of the difficulties inherent in compiling such a book in this way, by correspondence, especially at a time of war. It also reassesses James Adam’s role in managing the book’s production and looks afresh at the contributions of some of the artists involved, most notably Charles-Louis Clérisseau, Francesco Bartolozzi and Edward Rooker – all through the medium of the letters circulating between James in Italy and Robert and his sisters in London.

This project charts the development of a brand inspired by an ancient symbol of three rabbits with interlocking ears.
The process documented in this book details the evolution of the brand, charting its history and the deciphering of its language. The symbol is explored through a collection of artifacts in a variety of media: print, ceramics, glass, and metal. My practice develops a fictional archaeological history which evolves our brand identity.
The collection draws from diverse cultural traditions and will inspire our future projects in various fields of interest: organic streetwear, sustainable home décor, and holistic body care products.

In addition to producing limited editions of products and publications, and managing our home and forest garden, the creative team at Three Rabbits Farm also provides consulting services for natural building, garden and interior design, as well as food styling and event planning for a range of international clientele.

This essay addresses the return of classicism as a presumed vanguard aesthetic in many contemporary architecture schools and the wider turn towards historicism in vanguard contemporary architectural aesthetics. It recovers another, far more provocative, vision of classical aesthetics in the work of recent scholars and that challenges the role of classicism as emblematic of timeless, disciplinary, architectural values. The title of the essay is a play on the second Chicago Architecture Biennale's theme of "Make New History"(2017-18). That exhibition was emblematic of the manner in which a turn towards history was and is positioned against more explicit political engagements in contemporary architecture.

Le peintre Ingres a vécu avec son épouse à Florence de 1820 à 1824 chez Lorenzo Bartolini. A cette occasion il a copié la «Vénus d'Urbino» du Titien (1538) de la collection du Palais Pitti. La version d'Ingres est de la même taille que l'original et a servi de modèle à son ami proche Bartolini pour créer un marbre sur le même sujet qui se trouve au Musée Fabre de Montpellier (France).

in: Horkay Hörcher Ferenc: Fejezetek a kora modern esztétikai gondolkodás történetéből 1450-1650., Budapest: L'Harmattan, 2013.
A régiek és a modernek vitája az antikvitás feltétlen híveit állította szembe azokkal, akik saját koruk nagyszerűségét hirdették. A vita egyfelől a haladás problémájának ízig-vérig felvilágosodás kori kérdését vetette fel. másfelől pedig a
szabályesztétikát egy másik normarendszerrel, a természetelvűséggel mérte össze.
Az alábbiakban a vita három klasszikus fázisát fogjuk érinteni röviden. Először a versailles-i udvarban kirobbant konfliktust elevenítjük fel. aztán a kérdéskör brit továbbélésére vetünk egy pillantást. végezetül kitérünk a Homérosz-vitára is.

The impact of the Virginia Capitol on architecture in the early republic of the United States, and the subsequent zeal for neo-classical architecture. Working closely with Charles-Louis Clerisseau, Thomas Jefferson took an antiquated model and modernized it in an early example of revival architecture.

Women, mostly young and elegant and often merged with nature, are everywhere in art nouveau: from commercial poster girls to allegorical figures, from conservative role models to icons of feminism—but rarely women of flesh and blood. The female artists who were able to stand their ground in the male-dominated world of art nouveau also used allegorical female figures.
The fin de siècle was a period of incis ive  change: urbanisation, the rise of mass consump tion and advertising, industrialisation, the class struggle, the women’s movement, the large-scale distribution of print. Artists and designers went in search of new forms; the new art, art nouveau, became popular throughout Europe as it was distributed through magazines and posters, but also through the world expositions which presented the latest applied art for the modern bourgeoisie to embellish their lives with.
Goddesses of Art Nouveau sheds new light on an extraordinary era and on the question as to how the image of woman was used in paintings, spectacular jewellery, the Rolls-Royce mascot, advertising posters and book covers, made by women and men. The book also contains a selection of the most striking art-nouveau objects from the collections of the  Allard Pierson in Amsterdam, the Badisches Landesmuseum Karlsruhe, and the Braunschweigisches Landesmuseum Braunschweig.

Bronze statuettes after the antique produced by the eighteenth-century Zoffoli, Righetti and Boschi foundries were purchased in great numbers by Grand Tourists visiting Rome. They were taken home and displayed in the domestic interior both as travel mementos and symbols of taste and learning.  Although numerous statuettes from these foundries now form part of several major private and public collections in Europe and North America, they have received little recent scholarly attention.  This paper explores the history, production and collecting of the neo-classical bronze statuettes, as well as their eighteenth-century reception and place today in the canon of art history.

While scholars have theorized the emergence of early nineteenth-century British Hellenism from a preceding pan-European classicism, inflected by philhellenist Romanticism after 1822 (if not before), the literary synthesis of these dueling Hellenisms during the last years of the Georgian era and the first years of the Victorian is not well understood. It is particularly difficult to track how this synthesis was attempted in minor works written by major women writers; to begin to understand how Mary Shelley and Elizabeth Barrett Browning created a space for feminine, even feminist classicism in the years between 1834 and 1844, this essay first situates Romantic, activist philhellenism in the context of P.B. Shelley's famous aphorism, " We are all Greek, " before showing what the somatico-ideological contents of Shelley's seemingly-universal 'we' really are, and how Shelley and Browning forged a disjunct but largely functional relation to them at opposite ends of each writer's working life.

arina Mattei, The Roots of the Myth. The Personification of Eros and Psyche; Francesca Longo, The Physical and Psychic Components of the Human Being in the Cultural Tradition of Ancient Egypt; Marina Mattei, The Sufferings of the Soul, the Divine Couple, the Embrace and the Kiss. The Iconography of Cupid and Psyche; Marina Mattei, Literary and Figurative Themes. Cupid and Psyche in Apuleius' fabula, crucible of all the fairy-tales in the world; Marco Bussagli, Anatomy of the Soul; Maria Grazia Bernardini, The Tale of Cupid and Psyche; Livia Montagnoli, The Master of the Die Series: Thirty-two Prints Illustrating the Tale of Cupid and Psyche; Maria Grazia Bernardini, The Frieze by Perin del Vaga in Castel Sant' Angelo and the Tale of Psyche in the Art of the Renaissance; Sonia Cavicchioli, Romantic Mythical Revival in the Neoclassical Age; Mario Guderzo, An artistic enjoyment of great beauty. Cupid and Psyche by Antonio Canova; Miriam Mirolla, The Map of Cupid and Psyche in Rome. Instructions for Use; Catalogue: Section 1 - The Roots of the Myth, the Personification of Cupid and Psyche, the Sufferings of the Soul, the Divine Couple and Apuleius' Fabula.; Section 2 - The Tale of Eros and Psyche in the Art of the Renaissance; Section 3 - The Scene of the Lamp: the Irresistible Fascination of Mysterious Love; Section 4 - The Romantic Mythical Revival in the Neoclassical Age; Bibliography.

The young T. S. Eliot spent a year as a student in Paris, in 1910-1911. Why did he come there? What experiences did he have during that year? The paper focuses on Eliot's fascination for French poetry, his attending Bergson's lessons at the Collège de France and the lasting impact those lessons had on his poetry, and his encounter with the Action française.

Amongst the works of art theory produced during the central
decades of the sixteenth century, Ludovico Dolce’s Dialogo della
Pittura, intitolato l’Aretino, published in Venice in 1557, although
presented as dialogue, stands out by its systematic nature and
its attempt to devise rules to be used in the production and assessment
of art.  While the Aretino remained extremely influential throughout
the following century, its first reprint, in Italian and French, appeared as late as 1735, though by the end of the century four more had followed, in Dutch, German and English. No Renaissance art treatise, apart from Leonardo’s Trattato, went through as many editions and translations
during the century of the Enlightenment. As we shall see, all these editions were linked and some resulted from the interest of figures connected with art academies. What was it that prompted the widespread success of Dolce in the eighteenth century? What were the ingredients of the Aretino that appealed to the aesthetic and pedagogical aims of academicians and to theorists of classicism?

The paper describes the case of an architectural style, which was worked out and made a political career during the last decades of the Polish-Lithuanian Commonwealth’s existence (ca. 1760–1795), and was later, after the Napoleonic wars, recognized as the sole appropriate style of the new state (1815–1830). The restructuring of urban centres after 1815 entailed the need for an architectural style that could easily adapt to many functions. The aesthetic order and clarity of neoclassicism found its best expression in edifices built during the period of restructuring, which created order in spatially chaotic towns in the Kingdom of Poland. Examples are drawn from the cities and towns of Warsaw, Kalisz, Radom and Lublin, which underwent such restructuring after 1815.

Il Bello Ideale: il concetto che attraversa l'intero corso della storia dell'arte, sin dagli albori dell'antica civiltà greca, viene qui letto nei suoi sviluppi critici moderni. La tesi analizza il momento storico in cui si elabora la dottrina del classicismo seicentesco per opera di Giovan Pietro Bellori. Istituisce un confronto diretto e puntuale nel campo della teoria artistica e delle fonti con un momento successivo, quello del cosiddetto Neoclassicismo settecentesco. Nell’articolazione di questi momenti vengono ad istituirsi le basi dello sviluppo in senso moderno della storia dell’arte, che vedrà in Johann Joachim Winckelmann un punto di svolta ormai maturo nel processo di sviluppo della disciplina storico-artistica, tanto da meritare l’appellativo da parte di Schlosser di «vero padre della storia dell’arte». Il metodo analitico del confronto tra i due momenti critici verte sul rapporto con l'Antico, sul ruolo della Natura nel concetto di Bellezza e sulle forme ed i contenuti della letteratura artistica. Infine si monitorano le tendenze stilistiche e le novità nella prassi artistica nel passaggio dal Seicento al Settecento, seguendo il percorso artistico del pittore-filosofo Mengs.

Antoine-Ignace Melling (1763 – 1831) a German of French descent,
was one of the pioneering artists of XVIIIth century Orientalist painting;
also a competent architect and a skillful designer. He was born into an
artistic/artisan family; therefore received his first training from his father
Christoph Melling and his uncle, Joseph Melling - both painters and
sculptors. While he was nineteen years old, he embarked on a journey (a
‘Grand Tour’ – possibly with the help of some art loving gentlemen of
wealthy background) headed off to the East and finally arrived in
Istanbul, the Ottoman capital. He worked for some foreign ambassadors
in the city (which was the quite typical way of getting income for an
European artist in Ottoman capital), then he met Hatice Sultan, sister of
Ottoman monarch Selim III. For nearly fifteen years, he mainly worked
as an architect for Hatice Sultan and his brother Selim III. He was
instrumental in introducing newly bloomed French Neo-Classicism to the
Court and merged it into Baroque/Roccoco taste; building palaces with
distinctively European facades. He also designed pleasure gardens that
looked like labyrinths, sharply different from Islamic garden concept.
Melling was also a master painter, captured different and exotic views of
Istanbul; especially from Bosphorus. After the French invasion of
Ottoman-governed Egypt, Melling was expelled from the Court but
French ambassador Pierre Ruffin kept him in his service; he hereby went
on to create the groundwork for his most important oeuvre, Voyage
Pittoresque de Constantinople et des Rives du Bosphore – an elaborately
and richly illustrated book about life, people, nature and architecture of
Istanbul, published by Treuttel and Würtz, in 1819, Paris.

Melling had a special and personal relationship with Hatice Sultan;
therefore, one might easily think that he had some privileges that any
other artist at the Ottoman Court couldn’t possibly enjoy. This highly
unusual and occasionally friendly relationship between a Western artist,
a native of Christendom, and one of the members of the Ottoman dynasty, a Muslim woman, opened a door to a ’women's world’ for the painter and gave him a drastically different working attitude, compared to most of the Orientalist painters, who had never set foot in the Orient and had not seen their subject with their own eyes. Those Orientalist painters
described the information they had received from various written or oral
sources and completed the rest with their own imagination. Melling, on
the other hand, structured his work upon his own observations, rooted
in deep realism, and rarely fell into Orientalist clichés – his work on
Voyage Pittoresque de Constantinople et des Rives du Bosphore is richly
detailed, inventive, original and still fresh. His treatment of Oriental,
Muslim or Turkish figures are probably more accurate and less
prejudiced than most of his contemporaries. In fact, Melling was a part
of a group of artists, called “Peintres du Bosphore” (“Painters of
Bosphorus”) along with Jean-Baptiste Van Mour (1671 – 1737), JeanEtienne Liotard (1702 – 1789) and Antoine de Favray (1706 – 1798). While easily classified as Orientalists, these painters were neverthless realistic and they were especially faithful to details of the everyday life in the Ottoman capital. Melling concentrated on topographical paintings of
Istanbul – his meticulous approach and master skills resulted a series of
Istanbul paintings (which later served as basis for Voyage Pittoresque de
Constantinople et des Rives du Bosphore). More importantly, his works
represented the rapid change in the city; from architectural features of
buildings to the clothing of ordinary people, Melling’s illustrations
captured the sheer transformation of the XVIIIth century Ottoman
society. But this transformation was also evident on poetry and painting
– they shared a common language that reflected increasing influence of
Western culture. Publicness was becoming more and more important for
Ottoman society (at least, for a significant part of it) and a new aesthetic
slowly came in sight – this was a mixture of increasing Western influences but it also had some elements of Persian culture as well. Lavishness and pomposity were two importants features of it and one can easily find traces of them in both poetry and painting of the Tulip Era.
Meanwhile, XVIIIth century Ottoman painters, such as Refail or
Kapıdağlı Konstantin showed some real curiosity for the European
painting – after all, Refail was educated in Italy and Konstantin seemed
already familiar with main techniques of European painting. It’s not a
coincidence that some of their paintings showed the new taste of Ottoman society and this taste shared many similarities with Melling’s work. Yet, one should carefully note that, they were disciples of such different traditions; Konstantin and Refail were part of the Ottoman miniature tradition and Melling had a European peinture background. But while the Westernization period of XVIIIth century transformed the life, the city and its inhabitants; it also had an noticeable effect on arts and from that point of view, Melling and his Ottoman contemporaries were close in spirit; both captured the main essence of this period and its effects on everyday life. Melling was the main reflector of Ottoman society’s metamorphosis and one of the first chroniclers of its Westernization period. This article, evaluating him as an important Orientalist artist of the XVIIIth century; focuses on his works as a painter, an architecture and a designer and reviews his towering work, Voyage Pittoresque de Constantinople et des Rives du Bosphore.

This is my Italian Master's Degree Thesis in American Literature and translation in Italian.
IF YOU FIND IT INTERESTING, PLEASE GIVE ME A FEEDBACK or A RECOGNITION ON YOUR FOOTNOTE :)

Stesichorus of Sicily is the first poet that revisits the myth of Helen of Troy, declaring that the real Helen had been transported to Egypt. Hilda Doolittle, as a mythmaking modernist poet, returns to the roots of traditional buildings of the woman in the Homeric figure of Helen of Troy, stereotyped embodiment of all women,  re-reading Stesichorus and re-writing the Greek myth. She questioned the binary value of the femme fatale and the angelic woman she has ever represented, seeing it as a hieroglyph to be deciphered and discussing the patriarchal value attributed to her.

This book explores the work of a writer, Annie Chartres Vivanti (1866–1942), who brought a transnational dimension to the marked provincialism of the Italian novel by addressing issues of gender, ethnicity, and sexuality on personal and international levels, and by creating work that distanced itself from much of the female-penned literature of the day, scorning both decorum and social respectability. Chapters in this book examine Vivanti’s output from multiple perspectives, taking into account her politics and her career as a journalist, writer, and singer, as well as her literary work.

Questa analisi delle opzioni teoriche e critiche che strutturano e connotano in profondità le Vite belloriane ne illustra e valorizza la fondamentale funzione di restauro del Classicismo ben temperato dopo l'esperienza barocca, in grado di legittimare teoricamente le successive scelte che porteranno, in Roma, all'Arcadia.-

Plethon’s impact on western philosophy has two major features: he inspired a complex attitude toward ancient wisdom, and lives on in the myth that Ficino’s philosophy of religion drew upon Plethon’s initiative to re-found ancient theology. This paper focuses on the first aspect, namely the specific attitude towards the past. That is to say that Plethon initiated a new awareness of past history. Plethon’s Hellenism is more than familiarity with the past of the Greeks, it is an ‘–ism’ about Greece, a new attitude; and in that sense, Plethon as “the last of the Hellenes”, as Woodhouse had it, is also the first Philhellene. The paper will outline some main features
of 18th/19th-century Philhellenism and then show their presence in the early reception of Plethon: the desire to appropriate and invent ancient glory in one’s present time already characterized the fame of Plethon from the very beginning.

La mostra comprende tutte le sculture della prima metà dell'Ottocento conservate nei Civici Musei di Brescia, con opere di Canova, Thorvaldsen, Bartolini, Baruzzi ed altri protagonisti dell'arte del primo Ottocento in gran parte provenienti dalla collezione di Paolo Tosio.  Si aggiungono altre opere posteriori di autori bresciani

In his article "Into the cinema? Yuppie nights, innocent noirball and new classicism" Mariusz Koryciński describes several movements in 1980s cinema that are similar, yet differently named by various scholars. He emphasizes that many productions which are included into those movements – like, for instance, "Into the Night" by John Landis and "After Hours" by Martin Scorsese – are similar not only in terms of their main character, a yuppie, but also in terms of their references to the history of cinema and a plot which takes place at night. In this context, the author refers to two Polish works: "Ćma" ("The Moth") by Tomasz Zygadło and "Nocna korekta" ("Nighttime Prooffing"), an unfilmed novel by Jolanta Słobodzian and Marek Kreutz. Koryciński also wonders whether the movies that he describes reflect – as some commentators claim – the crises of the period in which they were made. For this purpose, he refers to productions from other decades of the 20th century ("La Strada", "Ewa chce spać", "La Notte", "Eyes Wide Shut"), comparing their reception with the reception of the movements from the 1980s which he analyzes. Next, by referring to the crime novel "Drugie Dno" ("Hidden Meaning") by Dominik Damian, he combines the basic motifs, proposing a new interpretation of cinema at that time in terms of the notion of film classicism.

(ITALIANO)
La monografia sul mecenate milanese Angelo Maria Durini (1725-1796), pubblicata a distanza di un secolo dal saggio di Marchesi (1904), si apre con la genealogia dei conti di Monza e con un ampio capitolo introduttivo dedicato alla famiglia del protagonista.
Di origine comasca, i Durini sono l’emblema della nuova nobiltà che garantì il ricambio del patriziato milanese compiendo la scalata sociale nella Milano spagnola e asburgica grazie alla fortuna accumulata con il commercio di tessuti e il banco. Lo studio ricostruisce l’attività di collezionisti e mecenati dei membri della famiglia nell’arco di quattro generazioni, attribuendole un ruolo fondamentale nella promozione del Barocco e del Barocchetto lombardi. L’iniziativa artistica dei Durini, distribuita tra i poli di Milano e di Monza, feudo Durini dal 1648, si esplica con particolare magnificenza nel palazzo milanese di via Durini – con l’annessa collezione ricca di opere del Seicento lombardo, parzialmente confluita nelle Civiche Raccolte del Castello Sforzesco di Milano –, nella cappella gentilizia della chiesa francescana di Sant’Angelo e nella villa monzese del Mirabello. Tre snodi imprescindibili, qui analizzati compiutamente per la prima volta e collegati ai documenti esumati da un’esplorazione sistematica dell’archivio privato della famiglia.
Eroe carismatico di un’ode di Parini (“La gratitudine”) e dedicatario di innumerevoli rime di Balestrieri, il cardinale Angelo Maria Durini è riscoperto in questa monografia come un protagonista irresistibile della vita politica e culturale di un’Europa in trasformazione. Da Parigi a Malta, da Varsavia ad Avignone, lo studio ripercorre la carriera diplomatica del prelato coronata dal cardinalato (1776) e sancisce il ruolo di primo piano giocato dal suo mecenatismo nella cultura lombarda della matura stagione dei Lumi, alla luce di una messe di fonti documentarie, letterarie e visive.
Durini è l’uomo dei paradossi: in lui convivono l’avversario accanito di Voltaire e Stanislao Augusto, il nunzio ribelle paladino dei patrioti polacchi, il latinista irriducibile e il cultore del dialetto, il mecenate illuminato dei Lumi lombardi e il primo a celebrarli con un moderno pantheon degli "Uomini illustri" contemporanei.
Nelle sue ville di Monza e del lago di Como (Mirabello e Mirabellino, Balbiano e Balbianello), che accolgono le istanze razionaliste e preromantiche del più aggiornato gusto internazionale, il cardinale raduna l’intelligenza e la cultura lombarda, rianimando l’estinta Accademia dei Trasformati e offrendo il suo generoso patrocinio ai poeti Parini e Balestrieri, rappresentanti del nuovo Parnaso milanese in lingua e in dialetto, al latinista Guido Ferrari, esponente di un neoumanesimo gesuita, e perfino al “philosophe” Pietro Verri, caposcuola della fronda laica e radicale dell’“École de Milan”. Il mecenate delle arti appare così complementare al mecenate delle lettere, entrambe espressioni di una personalità impetuosa e ammaliante, capace di comporre vecchio e nuovo senza riuscire incoerente.
Il volume, presentato da Mauro Natale e Juliusz A. Chroscicki, è corredato da quattro Appendici, che radunano un’ampia selezione di testi e documenti inediti, di interesse sia artistico, che storico e letterario. I testi poetici in latino e in milanese sono tradotti in italiano da Felice Milani.
L’Indice dei nomi costituisce uno strumento basilare per la consultazione analitica del testo.

(FRANÇAIS)
Le mécène milanais Angelo Maria Durini, héros irrésistible et charismatique d’une ode célèbre de Parini, est redécouvert dans cette monographie comme un protagoniste de la vie politique et culturelle d’une Europe en pleine transformation. De Paris à Varsovie, le travail reconstitue la carrière diplomatique du prélat couronnée par le cardinalat (1776), et rétablit le rôle de premier plan joué par ce mécène dans la culture lombarde de l’époque des Lumières, à l’aide des sources documentaires, littéraires et visuelles.
Dans ses villas de rêve de Monza et du lac de Côme le cardinal abrite le nouveau parnasse milanais, dominé par Parini et Balestrieri, ainsi que par le latiniste Guido Ferrari et le « philosophe » Pietro Verri. Il est le premier qui les honore avec un moderne panthéon des hommes illustres contemporaines. Le mécène des arts apparaît donc complémentaire au mécène des lettres, mettant en lumière un personnage passionné, à la fois hors de la norme et représentatif de son temps.
Durini est un homme de paradoxes: d’un côté, le conservateur à outrance, le cardinal fastueux et aristocrate, l’adversaire acharné de Voltaire et de Stanislas-Auguste, l’humaniste, l’arcadien latin; de l’autre, le nonce rebelle défenseur des patriotes polonais, l’amateur du dialecte, et finalement le mécène éclairé des Lumières lombardes. Il ne suffit pas d’interpréter ces ambivalences comme le reflet d’une époque de changements : le cardinal Durini nous oblige à remettre en question la vision manichéenne du siècle des Lumières.
Le volume est enrichi de 4 annexes de documents inédits, d’intérêt artistique, historique-diplomatique et littéraire (y figurent des textes de Durini, Balestrieri, Giovio, Verri et Voltaire).

AVVERTENZA: Sulla base della normativa in materia di diritti d’autore, oltre che di una norma etica fondamentale, non è concesso utilizzare questo testo illustrato in qualsiasi forma – copia, citazione, riassunto etc. – senza menzionare la fonte.

WARNING: Under copyright law, as well as a fundamental norm of ethics, any use of this published paper – copy, citation, abridged version etc. – is not authorised without mentioning the source.

This article examines the changing signification of originality in the theory of art from Mimesis, Neo-classicism, Romanticism, Structuralism to the Post-structuralist period and argues that the modern conception of originality is problematic.

If we want to understand how and why classicism could become such a key concept for T. S. Eliot’s criticism, we must absolutely go back to the origins of this concept, that is to French literature and especially to one of the main defenders of classicism in the twentieth century, Charles Maurras. Then we shall see that there was at least as much difference between Eliot’s and Maurras’s classicisms as between Anglo-Catholicism and Roman Catholicism.

Documentation of the special exhibition "Hellas in Munich. 200 Jahre bayerisch-griechische Freundschaft" in the State Collections of Antiquities and Glyptothek Munich, German Greek, Γερμανικά Ελληνικά;
200 years of the Greek Revolution, classical buildings on the Königsplatz in Munich (Glyptothek, Propyläen), Isar-Athens, the Bavarian philhellenes King Ludwig I, Friedrich Thiersch and Leo von Klenze, the first Greek King Otto and his wife Amalie, Otto monuments in Bavaria (Otto's Column, Mary's Column, Ottokapelle)

Dokumentation der Sonderausstellung "Hellas in München. 200 Jahre bayerisch-griechische Freundschaft" in den Staatlichen Antikensammlungen und der Glyptothek München, deutsch griechisch, Γερμανικά Ελληνικά;
200 Jahre griechische Revolution, klassizistische Bauten auf dem Königsplatz in München (Glyptothek, Propyläen), Isar-Athen, die bayerischen Philhelenen König Ludwig I., Friedrich Thiersch und Leo von Klenze, der erste griechische König Otto und seine Gemahlin Amalie, Otto-Denkmäler in Bayern (Ottosäule, Mariensäule, Ottokapelle)

Classicism held incontestable sway in Washington, DC. Even so, Henry Adams was far from alone among his countrymen in favoring late Romanesque and early Gothic, as he did in Mont Saint Michel and Chartres. In 1864, an American published a remarkable piece that celebrated the construction of the in New York City (see Fig. 3.1). The palatial building led a piteously foreshortened life, suffering before the nineteenth century even concluded. Yet while still standing, the palazzo made an outsized impact. The first specimen of revival mode in the nation, it took as its principal architectural inspiration the Doge’s Palace in Venice.

The book contains is the proceedings of the round table “Contemporary Architect and Classical Tradition” held on the 8th of April 2015 in MARHI. Presented papers show classical tradition as the universal ideal of anthropogenic environment, which has been created by science and art for a great period of time — from antiquity to the present day. The edition has been published with the support of the Russian Science Foundation within the framework of the scientific project “The Past and the Future of Classical Architecture” (project №14-18-01601), performed under the direction of D.O. Shvidkovsky in the Moscow Institute of Architecture (State Academy).

U knjizi su predstavljena saznanja prikupljena konzervatorsko-restauratorskim istraživanjima stancije Seget provedenima 2016. godine. Arhitekturu stancije čini stambena palača (vila) te gospodarske i infrastrukturne zgrade koje ju okružuju u planski izgrađenom krajoliku. Detaljno se razmatraju prostorna, razvojna i oblikovna obilježja palače, a s obzirom na značaj i kvalitetu, donesen je prikaz podrijetla njezina stilskog rješenja, s naglaskom na veliku klasicističku obnovu 1843.-1845. prema paladijevskim uzorima, pri čemu se ona stavlja u širi kontekst onodobne ladanjske i općenito stambene arhitekture u Istri i Furlaniji. Na kraju knjige je prijepis arhivskih dokumenata u kojima se spominje izgradnja, izgled ili uređenje stancije, kao i rodoslovlje obitelji de Franceschi.

Ausgehend von den Entwürfen für das Hamburger Nationaltheater und in Auseinandersetzung mit Kurt W. Forster erörtert der Aufsatz die Kontroverse um das "Architektonische Lehrbuch" Schinkels. Entgegen der jüngeren Forschung versucht er nachzuweisen, dass ein solches Lehrbuch tatsächlich geplant war, allerdings lediglich als kommentiertes Tafelwerk, mit dem Schinkel eine neue historische Stillehre propagierte. Es war Teil der lebenslangen Versuche Schinkels, die durch Traditionskritik erschütterten Kategorien der Architekturgeschichte durch ein neues, epochenübergreifendes Normensystem zu ersetzen.