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A book recently published by AAM is devoted to the architectural firm of Clé Millet Architects and its recent work on the Marigny Theatre. Stéphane Millet gives details on the difficulties inherent in such restoration projects. First of all, in collaboration with the regional cultural services (Direction régionale des Affaires culturelles), an analysis of the existing situation is the delicate prelude, distinguishing between intangible heritage aspects and elements that can be changed. This is followed by the elaboration of solutions which can reconcile the safekeeping of the architecture and its decoration in all its integrity both with the simple stability of the building and with regulatory requirements that are in constant evolution concerning structure, thermal comfort, security and scenography. The Marigny Theatre is an institution open to the public with historic monument protection, and the mission to safeguard it is what is described in this article. The rehabilitation and extension of the theatre accumulated technical challenges associated with the traditional structures designed by Charles Garnier and with materials newly added in contemporary and prospective perspectives.

in the Azbakeya neighborhood within the activities of the theater festival for higher institutes and private academies within the framework of participation in the competition of the Ministry of Higher Education for the 7-color band for students of the Higher Institute of Applied Arts on the sixth of October. The text was written by Salim Kitchener, and revolves around The events of the play are in an absurd framework that tends to symbolism, as it revolves around Antar Ibn Shaddad from the era of pre-Islamic era, coincidentally speaking to him with Shayboub, as they move through time and reach our present era.After reading and analyzing the text and attending several rehearsals for the presentation and discussion with the director, it was agreed to deal with the show in an absurd manner that tends to symbolism, because the text is based on a fantasy idea whose events are inspired by the author's imagination. The researcher identified the main problem, which is: How to create an actual image on the stage that moves the spectator from the era of ignorance to our present time and from place to place where events move six different scenes until they end up in a mental hospital and achieve this despite the weak budget because the show is an activity My students on a limited budget?The researcher wondered, is it possible to find a quick way to implement the decoration and change the scenes to move the spectator from one scene to another without feeling the events stopped or leaving the absurd dramatic atmosphere? Finally, is it possible to design and implement a decor suitable for displaying the text on two theaters, each of which differs in standards and specifications, as the novel was shown on the Romance Theater in May 2018, and then the El-Sawy Culture Wheel Theater in Cairo, Zamalek District, in July 2018?Consequently, the researcher designed a decor in an absurd manner that tends to symbolism, as Antara Ibn Shaddad travels through time from the era of ignorance to our present time and moving from place to place until they end up in a mental hospital, and they do not believe the extent of human degeneration in moral values and humanity.

The Franco-Lebanese mission in Tyre identified a stone dump comprising more than a thousand fragments of architectural members and liturgical furnishings, located in an ancient cistern. These fragments, mainly of marble, but also of limestone, basalt and marine sandstone, had been collected during excavation works carried out on the site in the 1960s and 1970s. After their discovery, all the blocks were removed from the cistern, inventoried, documented and studied in order to identify their various functions and origins. A large part of these fragments seem to have belonged to various Byzantine religious monuments. The article presents the main types to which these fragments have been assigned, following a comparative approach.

The paper discusses the origins of royal representations and their transformation into the divine presence in private tomb decorations. The point of departure is a small fragment of the divine beard of Mentuhotep II recently rediscovered in TT 311. Although the scene with the king in TT 311 is, thus far, the earliest attested representation of a pharaoh in a private tomb, the motif fits well into the evolving pattern of gods’ and kings’ presence in private tombs, initiated in the Old Kingdom with Anubis and Osiris occasionally depicted on tomb walls and the king addressed in offering formulae. The introduction of the image of Mentuhotep II with Osirianizing features in TT 311 also sets up a paradigm of a closed cycle of Osirian presence in private tombs: from prayers to Osiris in htp-dj-nswt formulae, through the king-as-deity to the image of Osiris himself.

The paper is focused on impressed or modelled covering decorations well represented on pottery in the heart of the Paris Basin during the Second Iron Age. After a phase of emergence in the western Hallstattian province, a concentration of these decorations can be highlighted in the second half of the 5th century in the middle valley of the Seine especially between the confluence of the Seine and the Aube and the confluence of the Seine and the Yonne. Their wider diffusion mainly northwards occurs from the 4th century. The discussion focuses on both the characterization of this phenomenon and its delimitation with a more specific reflection on a possible link at the time of the first flourishing with a 'Senon' cultural space. [ABSTRACT FROM AUTHOR]

ne. Many directors in the field of cinema have benefited from these meanings and psychological connotations of color in their works, as the psychological impact of color appears in the theatrical scene.Through research, some artworks are monitored and analyzed by the theory Color has great merit in the process of sight, in addition to the fact that the feeling of color increases the visual sensation, and then the perception and distinction between things very quickly.Color has a different meaning depending on the feelings that it provokes, it also plays a very important role in the world around a person, as it can influence his feelings, thinking, reactions, and the things he chooses.It is well known that the plastic arts are mainly based on the formation with a set of the available materials to the artist, so that he can produce an art work that expresses the aesthetic and utilitarian needs at the same time, and one of the most important of these materials is (colors); as It expresses the culture and history of peoples and reflexes the human impressions, colors indicates the Man’s taste and sophistication, and have their effect on people’s mood, as it convey a strong expression, evoke special feelings, and affect the soul with certain effects that differ from one person to another.. Colors also help in the process of artistic blending between realism, art and aesthetic effects of the visual image through achieving color harmony in the dramatic situation. There are different uses of colors in the artwork, including the use of color for its own aesthetic value, and there is the use of color in a symbolic use.There is no doubt that colors are an important factor in creating the appropriate atmosphere and influencing the theatrical scene with its aesthetic values, besides designing Decoration, lighting, clothing and makeup, to form an integrated artistic vision for the dramatic work. Color plays a vital role in the design of the theatrical scene. It also works to highlight the unity of the dramatic event, and the relationship of the characters with the contents of the composition of the sceclarifying of its meaning and importance.

Au niveau de la répartition spatiale des masses architecturales, le processus d'évolution des mosquées marocaines a donné lieu à deux courants d’architecture : Le premier courant : la salle de prière à nefs parallèles au mur de la qibla. Cette tendance était forte présente dans les premières mosquées monumentales au Maroc. Citons comme exemple la mosquée Al Quaraouiyine et Al-Andalous à Fès. Cette composition de volumes est utilisée plus tard dans la construction de plusieurs mosquées médiévales et postmédiévale au Maroc. Le deuxième courant : la salle de prière à nefs longitudinales ; la salle de prière est appelée aussi hypostyle à nef perpendiculaire au mur de la qibla. Elle s'inspire de la mosquée d’Al-Aqsa à Jérusalem. Ce courant est dominant dans les mosquées Almohades et rarement utilisé dans les mosquées Mérinides et Saadiennes. L’adoption du premier ou du deuxième courant a des répercussions sur l’agencement intérieur de la mosquée. Dans le premier cas, les arcades sont parallèles au mur de la qibla et dans le deuxième cas les arcades sont perpendiculaires au mur de la qibla.

The origin of theater in all civilizations goes back to celebrations related to religious rituals, and the evidence is a manuscript of an Egyptian religious play written before 2000 BC. Greek drama - which is the original in Western theatrical composition - arose as people put masks on their faces, danced and sang in celebration of his memory. It is said that Thespas was the first to separate from the revelers to recite some songs and thus the first actor appeared.The birth of the theater was when Aeschylus added a second actor, and the Greek theater had reached the height of its glory in the 5th century BC, and the Roman theater did not reach the level of Greek drama, and if writers such as Senka in tragedy, Plautus and Terence arrived in comedy, and they had a great influence in drama after 16th century.hen the theater deteriorated under the Roman Empire, almost disappearing from opposition from the Church. And another type of theater appeared in the Middle Ages in Europe, which arose out of religious rituals. The play of miracles and the play of secrets became popular, which gradually changed until it moved away from religious subjects. And in the Renaissance began the movement to revive the sciences and the arts. The stage of the stage went through many stages of development, which added each of those stages a new dimension in the form of the stage of the stage and the methods of dealing with the elements of cynography. The stages of architectural development of the shape of the theater and the way it was built have clearly affected the way the decorator on the stage dealt with changing the scenography of a stage The stage of the stage by presenting the types of theaters architecturally from the ancient Egyptian civilization until now through the Roman and Greek theater and Renaissance theater, and its effect on the decorator's handling of the stage.

t. The evolution of the architecture of the city of Chisinau from the end of the 19th century to the beginning of the 20th century was conditioned by different historical, political, economic factors, etc., which imposed on it a certain stylistic typology of an eclectic nature. The development of industry in European countries and Russia contributes to the widespread use of new technologies and materials in construction. In architecture, the design process is divided into two aspects: 1) technical-constructive and 2) artistic-decorative. There is also a change in the relationship between the two related specialties in the field – engineer and architect. The construction engineer focuses on the construction of roads, bridges, industrial and military edifices, and the activity of architects is limited to the construction of civil and religious edifices with an emphasis on the aesthetic side. One of the architects with engineering training and broad knowledge in architecture is Alexandru Bernardazzi. Its activity includes „technical” constructions (roads, bridges, railway stations, water towers, etc.) and edifices made in various styles (classical, gothic, eclectic, etc.) (City Duma Building, Girls’ High School „Princess Natalia Dadiani”, the Water Tower, etc.).

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This study is dedicated to a special category within the archaeological material preserved in the collections of the National History Museum of Romania, terra sigillata from Feldioara. The analysis was made upon a set of 44 pieces that had been discovered during the archaeological campaigns carried out between 1987 and 1990. Following a stylistic analysis (for copies having decoration), in conjunction with typological analysis and the clay from which are manufactured items analyzed we found that imports come from two main centers producing terra sigillata: Lezoux and Rheinzabern. Therefore, the center from Lezoux represents the origin place of the largest part of terra sigillatta that was discovered at Feldioara. Workshops of Rheinzabern are also one of the main sources of terra sigillata at Feldioara.

The research dealt with the organic Islamic decorative units, and how the Muslim artist reached the highest degree of perfection in the architectural decoration and what was influenced by it in his various decorative arts in the Islamic eras, beginning with the Umayyad, Abbasid, Fatimid and owned ... etc. They are not just shapes, they are forms that have a symbolic function, This is what the artist sought in terms of the monotheistic belief, and also dealt with the Islamic character and the decorative arts in the modification of the decorative elements and the reasons for the modification that the Muslim artist turned to, and the identification of the performance methods that took place during the Islamic eras, and the clarification of the distinctive features and artistic and aesthetic values of the wooden decorative tapes in those ages The various artistic methods used in forming and processing them, and the decorative elements that were used to decorate and beautify the surfaces of the strips in the woodwork. And the Islamic cultural contact with the civilization of the Romanian Christian state by Byzantine, and this is one of the factors affecting the emergence and development of Islamic motifs, and the expansion of the Islamic empire, which extends from the Arabian Peninsula and moved to the Levant and Iraq and to the countries of East Asia, the countries of Asia Minor, the countries of North Africa, and the interest in the Muslim rulers With the arts of the countries they entered, and the social events that arose out of the new religion, namely the economic and scientific life, trade and stability that prevail in the country, this is what leads to the emergence of arts, and the emergence of Islamic art schools in different political roles and eras such as(The Amiriya, Abbasid, Egyptian, Iranian, Turkish, and Andalusian schools), and these schools have their own style and can be influenced by other schools, and the design and implementation of some of the woodwork that are compatible with our present and our needs, and keep pace with the nature of the era, in addition to it bearing the features of our Egyptianity The prestigious, inspired by the authentic Islamic art.

With the end of Joseph Vissarionovich Stalin’s governance, the period of totalitarian Stalinist architecture ended. From monumentalism, aesthetics and unique buildings, architecture was oriented to industrialization, prefabrication, project-type and economy, characteristic of the reign of Nikita Sergeyevich Khrushchev. After the monotony, it was passed to the architectural plasticity, brutalism and Soviet modernism characteristic of the time of Leonid Ilyich Brezhnev’s rule. Creative ambitions change with the succession of Soviet political leaders. Later, the arts did not know so many political “conductors”, the architecture developing more freely and diversified. The research focuses on the analysis and detailed descriptive study of ornaments on some components of “Stalinist” buildings in the Moldovan Soviet Socialist Republic. The author presents for the first time the original sketches of the architects. The images are a collage of past drawings and current photo fixations. Such an approach allows a visual comparative analysis between what was proposed by the author and what was achieved. The architects’ sketches allow the correct “reading” of the decorative elements, because today the buildings no longer keep the original version. Unfortunately, the decorum of socialist classicism has not been preserved over the years and it has been mutilated or even intentionally removed.

Examination of the set of preserved gate lintels from the Temple of Hatshepsut in Deir el-Bahari has revealed two models of the iconographic decoration: one that emphasizes pictorial content in the form of scenes of a cultic or symbolic nature, with inscriptions playing merely a complementary role, and the other based on the textual message alone. The use of a given model of lintel decoration appears to be a measure either of the function of the room or, more broadly, of the space, accessed through the gate, or of the context of the wall decoration around the entrance.

The Ottoman mosques located in the small villages of western Anatolia provinces such as Afyon, Aydın and Denizli were characterized by some unique artistic features that distinguish them from other mosques in major cities in the same provinces, whether in terms of the used artistic style or decorative elements. The used artistic style 's known as a pen or pen Kalem işi, which appeared and carried out in abundance in several places in these villages mosques, especially on the walls that were covered with plaster, and on mihrabs, pulpits, chairs of preachers, and mahafils. As for the decorative elements that carried out in these mosques were varied between floral decorations like lale, karanfil, branches of mersin trees and Tube tree. The writing texts that played an important role in the decoration of villages mosques during this period, as they appeared in abundance executed above the entrances and mihrabs, as well as on the interior surfaces of the walls in these mosques, and these writings were executed in both the Arabic and Turkish Ottoman calligraphy. Its content varied between Qur’anic texts, the Muthanna inscriptions, structural texts, the names of the Ottoman sultans, the names of the great Ottoman mosques. Geometric shapes were carried out in these mosques such as the şarkifelek motif, and the various architectural drawings that represent the Grand Mosque, the Holy Kaaba, and other decorations that represent vertical sectors of some of the great Ottoman mosques. We add to this some drawings that are predominantly religious, such as drawings representing the Day of Judgment and the Mahshar, such as the sirat, the scale, heaven, hell, and the banner of praise. And ornaments representing drawings of various Sufi tools such as tabar, kashkool, turban, flags, hanging panels, and various other drawings that had their own symbolism, such as shapes representing prayer carpets and ship shapes.

It is currently accepted that Sidi Aïch is by far the most important of the so-called “continental” ceramic workshops both in terms of production and its diversification and in terms of the area of dissemination of its products. Our investigations on this workshop, which began three decades ago, have resulted, among other things, in the construction of typologies and catalogs specific to the different productions, in particular tableware, culinary ceramics, lamps and decoration (patterns, decorative and guilloche styles). The latter, subject of the present communication, and although it imitates that of “classic” productions, stands out by a certain number of distinctive features such as the size of the patterns and their arrangement and the originality of some decorative styles. These aesthetic and technical characteristics make the products of this workshop easily recognizable. Chronologically, this decoration spread during the peak phase of production in the 4th and 5th centuries.

Phaleristics is an auxiliary science of history, which studies orders, decorations, medals, insignia of office and distinction. It helps the historian by giving him tools for dating and identifying location.In addition to providing guidelines for identifying and evaluating this little-known heritage, this article shows how the iconography of various metal insignia – lent, given or awarded to the members of the Conseils des Prud'hommes from the early 19th century to the present day – conveys the iconography of power or of local prides dear to each of the Conseils. Our study, which follows the chronological order of appearance, involves:Tokens: following the creation of the “prud'homie à la terre”, created by Emperor Napoleon in Lyon in 1806, the first attendance tokens were created in 1809. During a century, other cities with such industrial tribunals would also adopt this principle of tokens to compensate financially their prud’hommes. Insignia of office: it was not until the Royal Order of 12 November, 1828, which indicated that the prud'hommes must wear a silver medal, suspended from a black ribbon to be worn in saltire, in the performance of their duties within or outside of the courtroom, that such an insignia came to be. This Insignia of Office, which has evolved over time, is still in use today.Medals of Identity and Honour: here we will study, first, the Medals of Identity of the prud’hommes, which appeared locally as early as the 1840s, followed by the very official prud’hommes Medals of Honour, which were issued late in the 19th century and are the precursors of the present-day Medals of Honour of the judicial services which were created in 2011 and are awarded today.

House H10 was one of the buildings located in a Hellenistic-Roman city at the Marina el-Alamein site in Egypt, whose relics were the first to be discovered. Successive research, conducted since 1997 along with initial conservation work, has provided a comprehensive overview. The house is one of the largest and most extensive of this site. Its spatial design is a showcase for the technology typical of houses from Marina. The house is embedded in both Greco-Hellenic and Roman traditions. It is an oikos house with a courtyard with two columned porticoes situated symmetrically on either side parallel to the main axis. A third, perpendicular portico, complementing the layout of the incomplete peristyle, is imitated by the architectural decoration of the courtyard elevation, organised by semi-columns. The layout includes two main rooms located opposite each other on two sides of the peristyle. The house was rebuilt several times, which made for a complicated layout. The studies conducted have cast light on domestic religious practice and the distinctive character of the architectural and artistic interior design, including exceptional examples of figural painting. The architecture and décor of the house document the changes occurring at the intersection of Hellenistic and Roman traditions.

The hôtel de Bourvallais, located at n° 11 and 13 place Vendôme, holds a very special place among the French institutions’ history: since 1718, it never ceased to host the French Chancellery, then ministry of Justice, despite the revolutions and overturns that marked French history. Outstanding example of the sustainability of power places in Paris, the ministry hotel also constitutes an exceptional heritage for the Department of Justice. Through the patrimonialization process of the hôtel de Bourvallais, today listed historical monument, we propose to revisit the history of the iconic building which has undergone, during three centuries of continued occupation, many transformations. This heritage approach will also highlight the various hotel facilities and his interior decoration, mostly dating from the nineteenth century, which are nowadays an incredible testament of more than 300 years of Justice in place Vendôme.

At the archaeological site of Marina el-Alamein in Egypt, many monuments and everyday objects feature motifs related to Aphrodite and her cult. One recurring theme is the seashell that lamps are often decorated with. In one case, it accompanies the depiction of the goddess herself. This article collects oil lamps with the image of a scallop shell from the research of the Polish-Egyptian Conservation Mission, as well as already published specimens from earlier archaeological research. It has been noted to date that this motif is one of the most common on lamps found in Marina el-Alamein. Shells also appear on architectural elements – in the finials of niches with a religious purpose, located in the main reception halls of houses. In such aediculae they are well exposed, but the use of shells does not arise from the shape of the architectural framing. Therefore, other reasons, possibly symbolic ones, for including this motif in decoration should be considered.

This article presents the results of doctoral research centered on manifestations of taste in the home and in decoration. The house is analyzed as a place for acquiring social dispositions and symbolic struggles between elite segments of Recife (Pernambuco). The research is based on 20 interviews with homeowners conducted by an important Recife newspaper, analysis of documentary sources, and observation of interior design shows.

The sets by M. V. Dobuzhinsky for the operas by Mussorgsky and Tchaikovsky based on Pushkin’s works represent an attempt to reconstruct Pushkin’s world and Pushkin’s attitude to history. The libretto required a stylization and standardization of scenography, but Dobuzhinsky continued to interpret the images of St. Petersburg and central Russia, correlating the plots of operas with a new national upsurge. Thus, the plot of The Queen of Spades was understood as part of Pushkin’s view on the successes and failures of the Petrine reforms, about the connection between adventurism and the imperial style, which corresponded to the general cultural myth of Petersburg but was supplemented by a number of observations on the Pushkin text. The plot of Boris Godunov was read not as a Russian story, but as a common one for countries inheriting the Polish-Lithuanian Commonwealth and Russia. The plot of Eugene Onegin was brought closer to the dacha plots of Russian literature, becoming part of the integrated image of a lost Russia. It is proved that Dobuzhinsky in his decisions followed not the structure of the libretto, but a close reading of Pushkin’s texts.

Similar to the situations that existed during wars, the medical personnel involved in combating the pandemic during the state of emergency must be decorated, as an expression of the gratitude of the Nation and the State.

The basketry of Borneo’s traditional ethnic groups is summarily surveyed, from fiber and dye plants, techniques, indigenous knowledge and know-how and their transmission, to practical, social, and ritual functions, decoration and associated symbolism. As the end product of a community’s unique cultural history, a basket or a hat, through its manufacture and use, possesses a meaning beyond its form or primary function, and contributes to the construction of society. It constitutes a cultural reference for the community that created it and for its neighbors, and thus an important foundation for the elaboration and upholding of its ethnocultural identity in the globalized world.

From the earliest excavations on the territory of the central Balkans and up to today, Late Neolithic pottery assemblages have remained one of the most important contributors to our knowledge of the past. To a certain extent, the burned Late Neolithic horizons left a great number of the architectural details preserved in the archaeological record, along with various artefacts, of which pottery makes up the largest part. However, due to the fact that the majority of pottery vessels and sherds were subjected to temperatures that were higher than those they were initially fired in the manufacturing process, decoration makes up a minority of the archaeological record of the central Balkans and, unfortunately, we usually deal with plain assemblages. Therefore, it is not surprising that the discovery of one vessel that has a small preserved portion of applied painted decoration, unearthed from a burned building structure in the latest horizon at the site of Pločnik, introduced a whole new set of questions. Importantly, this instance further emphasises that when deconstructing prehistoric paradigms, our interpretation sometimes must go beyond observation.

The interior layout of the château of Amboise at the end of the fifteenth century is documented by a number of voluminous sources from the archives, which are at times fragmentary but often complementary. These texts give little description of the wooden structures of the beds of Charles VIII and Anne of Brittany, but abound in details concerning the fabrics used to hang on them. Orders, account books and inventories allow us to effect a partial restitution of some of these beds; their décor reveals the importance of the royal colours and emblems, while also providing evidence of the special devotion of the time to the Archangel Michael, of whose Order – created some twenty years earlier – the king was Grand Master.

À partir du Grand Voile de Caroline Coppey, installé de manière éphémère en 2014 à l’Hôtel-Dieu de Tonnerre, l’article développe des réflexions successivement éthiques, esthétiques et métaphysiques pour penser les différents rapports d’une œuvre à l’espace qu’elle vient occuper : espace muséal, espace hospitalier, espace de dévoilement. Dans ce texte de 2015, l’auteur parle encore d’œuvre in situ. C’est tout particulièrement sur l’œuvre décorative et son langage que l’accent est porté.

A fragment of a mold for sigillata was discovered in 2004 in Marcilly-sur-Vienne, near the Gallo-Roman agglomeration, with workshops of potters, of Nouâtre (Indre-et-Loire). It corresponds to sigillata productions of the group called Centre-Ouest, probably from the beginning of the second century. Stylistic comparisons are shown with the sigillata productions of the center of Gaul, and in particular of Martres-de-Veyre.

Through the National Centre for Visual Arts (Centre national des arts plastiques, Cnap) and the various institutions that preceded it—including the Bureau des travaux d’arts—the French State has undertaken a decoration policy for its places of power. This policy is based on a double system of works of art purchased directly at the artist’s studio or on the market and deposited at the place of power, and public commissions for site-specific works. From the end of the Second World War II up to the present day, what does the State tell us about itself through this decorative policy? Under the Fourth Republic, art works made for these places can either glorify the unity of the nation, using an iconography inherited from the Resistance movement, or develop regionalist themes on painted panels in prefectures or town halls. After an important decrease of public commissions for administrations during the first years of the Fifth Republic, the practice reappears in new forms with the creation of the Public Commission Fund (Fonds de la commande publique) in 1983. Even if some themes linked to the sovereignty of the State or to regional identities survive, the art pieces destined to administrative buildings tend to lose all iconographic specificity in favour of a broader policy supporting contemporary art, regardless of its destination.

The study analyzes the Scythian women's headwear based on the discoveries in Scythian barrows with female burials. By decorative elements there were identified several types of headwear. As a rule, they were worn by representatives of aristocratic layers of society and highlighted their social status. Despite the diversity of decorative elements it can be noted a common element for all the head-dresses - the representation of the fertility goddess.

The White Penitents chapel at Villeneuve-sur-Lot was built in 1667, its decoration dating from the eighteenth century. Most of the processional objects that still survive today were made during the nineteenth century. The chapel was deconsecrated after the dissolution in 1937 of the White Penitents brotherhood, leading to the dispersion of the chapel’s works of art. The progressive protection of the chapel and its objects, as well as the study carried out by the General inventory service in 1999, underlined the importance of this heritage ensemble. The regional arts directorate of the new Aquitaine Poitou-Charentes Limousin region (Nouvelle Aquitaine) is currently supporting a project to re-interpret and refurnish the chapel.

El presente trabajo aporta un nuevo punto de vista sobre la función de las tapicerías en la corte española del siglo XVII. Son tres las características esencialmente funcionales que se atribuyen tradicionalmente a las tapicerías, aunque no son las únicas, dado que durante la Edad Moderna las condiciones sociales dieron un notable giro y las obras de arte perdieron en gran parte su tradicional funcionalidad física para convertirse en elementos transmisores de ideas como la magnificencia, la posición social o el poder económico de sus propietarios. This essay presents a new point of view about the role of tapestries at the Spanish Court in the XVIIth Century, which applies not to all, but to three of its main characteristics; three functional qualities traditionally attributed to tapestries which are not exclusive but especially significant at this stage, due to the social changes that evolved during Modern Age. In that sense, art pieces and consequently tapestries lost their traditional functionality to evolve and become a way to convey ideals, such as magnificence and social or economic status of their owners.

Este trabajo estudia la decoración interior de las celdas benedictinas en España durante los siglos XVII y XVIII. Esta investigación se basa en el análisis de unas cartas redactadas por los monjes visitadores de la Orden de San Benito que recogían comentarios sobre el modo de vida y la observancia que se seguía en los monasterios. Hemos examinado estas epístolas para encontrar referencias que nos permitan conocer la ornamentación, los muebles y los objetos que había en las habitaciones privadas. Los datos que hemos localizado demuestran que los benedictinos se rodearon de suntuosos enseres con los que hicieron alarde de su gusto barroco a partir de un lujoso mobiliario que, si bien les alejó de la pobreza y sencillez monacal, vinculó a estos monjes a la moda y la estética de su tiempo.This paper studies the interior decoration of the Benedictine cells in Spain during the seventeenth and eighteenth centuries. This research is based on the analysis of some letters written by the so-called visitor monks of the Order of Saint Benedict who collected comments on lifestyle and the religious observance which was followed inside the monasteries. We have examined these epistles to find references that can allow us to know how the ornamentation, furniture and objects placed in the private rooms were. The data that we have located show how the Benedictines were surrounded by sumptuous furnishings with which they flaunted their Baroque lifestyle, from luxurious furnishings that moved them away from their original monastic poverty and simplicity, linking them to both fashion and the aesthetics of their time.

Built at Hendaye by Eugène-E. Viollet-le-Duc and Edmond Duthoit for the Ethiopist scientist explorer Antoine d’Abbadie, the château d’Abbadia (1864-1884) is characterized by an extraordinary artistical eclectism which mixes gothic inspiration and Eastern sources, among which the fashionable Islamic East and rarer Ethiopia. Proceeding of architectural rationalism, Abbadia’s Easts are distinguished by their relatively contradictory meanings associating aesthetical taste and human engagement.

The concept of Kunstwollen, elaborated by the Austrian art historian Aloïs Riegl in his 1901 book, Late Roman art industry, has been very influent in XXth art theory. This article is therefore an innovative philosophical re-elaboration of this concept that relates it to ornament. According to Riegl and his contemporaries, adornment is often taken as the clearest expression of the Kunstwollen of a culture. This ornemental interpretation of Riegl's concept even authorizes to link it to a school of thought going from Bergson to Deleuze, and including Focillon's Life of forms, where ornament is no longer a simple add but is the expression of a vital force. Adornment is indeed a determining artistic element, to be related to the emergence of Abstract Art and Modernity.