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The fact that the main element of the Ottoman Empire, which reigned on three continents, consisted of Turks, enabled many of the state and palace traditions to be the old Turkish traditions. One of the old Turkish traditions that took place in the state, palace and social traditions of the Ottoman Empire in this way was the dish plunder which continues its existence in different ways in Anatolia today. The dish plunder is based on potlach which is seen in the Central Asian Turks. Potlach is the name given to the plundering of the food by the people in the big festivities of the khans or on the occasion of the feasts. Although the word plunder means forced seizure, volunteering is essential in the plunder which is one of the old Turkish traditions. The fact that the person who allows the plundering is volunteer rather than plunderers use force made this event a tradition in the ancient Turks. This tradition has been continued in the Ottomans due to both its stated characteristics and other meanings it imposes. In large-scale festivals such as weddings and circumcision feasts belonging to Ottoman dynasty members, it was also called dish plunder to the grabbing of the bowls filled with food by the people or janissaries. The dish plunder seen in the Ottoman palace festivals was carried out at the Horse Square, where the Blue Mosque is located today; in these festivals, large bowls filled with meat and rice were placed in suitable places in the square and then opened to plunder with the sign given. Dish plunders were the most important event of the festivities held on the occasion of palace weddings, which were devoted directly to the people. As a result of this activity, it was ensured that the people would witness the generosity of the sultan. The dish plunder was applied not only at the festivities, but also during the payment of the three-month salaries of the janissaries which was called ulûfe. This form of dish plunder was carried out in a certain section in the second courtyard of the Topkapı Palace, where the dishes containing traditional meals such as rice and zerde were grabbed by the janissaries. The fact that it was exhibited in festivals and palace ceremonies ensured that the dish plunder was both state and palace tradition. Dish plunders are described in detail in local and foreign sources as they create unforgettable scenes. The fact that tradition is based on voluntarism shows that its aim is not plunder but the meanings attributed to it. Although essentially it is based on generosity, the fact that it has been applied to different classes such as people, janissary and ulama allows this tradition to have different meanings. Therefore, the dish plunder as one of the state and palace traditions of the Ottoman Empire was a symbol with multifaceted meanings. Regardless of how it was applied, the dish plunder which was a beneficence of the sultan, increased the respect and loyalty of the people to the administration. At this point, dish plunders for the people in the Ottoman Empire focused on the "beneficence" dimension of this tradition, whereas dish plunders for the janissaries focused on the "obedience" dimension rather than the beneficence. [ABSTRACT FROM AUTHOR]

Made from a mixture of silt, clay, sand, and straw formed into regular molded units, unfired mud-bricks were the primary construction material employed in ancient Egypt—being quite literally the most basic of building blocks for all levels of domestic structures, from simple one-room buildings to lavishly decorated palace complexes, as well as administrative and storage structures, and even early phases of temples. Modern methods of mud-brick fabrication accord with ancient evidence, suggesting that the production of unfired mud-brick has remained a stable technology through the millennia. Ancient evidence concerning mud-brick not only illuminates mud-brick production organization, but also highlights the symbolic significance of bricks in religious contexts, especially relating to birth and death.

The possible intervention to authorise the construction of two residences in a farmhouse listed as an area of presumed archaeological interest in Usurbil, Spain, entailed carrying out archaeological, historical and architectural studies. Before the beginning of the studies, it was known that the lineage of the Urdaiagas counted two palaces in Usurbil, a modest one about which there is not much information, which authors such as Manso de Zúñiga (Spanish ethnographer, 1902-1982) situated in the property of the caserío (farmhouse) Urdaiaga, and another large late-medieval palace about which 16th century plans and elevations are preserved in the Ducal House of Hijar (archive of noble relatives), and whose precise location was unknown. Studies conducted around the property have proven that the caserío Urdaiaga, which has reached the present day totally transformed, was the large building described in the historical documentation, being, therefore, of great patrimonial value.

This article presents two inventories of the Lviv Archbishop of the Latin Rite in Obroszyn in the form of a source edition. They were analysed and labelled with back matter. Their content includes information about the design and organization of the entire palace/park establishment, as well as external appearance, floor plan and furnishings of the palace. In addition, they contain extensive lists of exotic plants grown in the orangery. It is also worth noting that the documents in this publication fill a significant gap in the history of the palace in Obroszyn. Never before have these inventories been published

Keraton (the Javanese palace) cannot be separated from the existence of sacred spaces and profane spaces manifested in the spatial hierarchy values. Magersari, a settlement located within the palace’s land, still recognizes the existence of profane and sacred spaces, and the condition has implications for the management of spaces. This article focuses on the discovery of the sacred spaces in Magersari and on finding the people’s ways to interpret a sacred place. The method employed in this research was the qualitative-descriptive method with the case study approach where the phases were observing the sacred spaces in Magersari, finding patterns of the layout of the sacred space, and conducting in-depth interviews with key informants in Magersari to find the way the people interpret the sacred spaces. The results have shown that: (1) sacred spaces are not always in the midpoint of space nor the centre of space; (2) sacred spaces are spaces that were firstly built by kings called the original space; (3) the people of Magersari interpret sacred spaces through the oral storytelling told from generation to generation, and this storytelling is in the form of orders (dhawuh) that must be followed by the people as the sign of obedience their kings; (4) The interpretation of sacred spaces is related to the reproduction of power. The people’s obedience to the rules of space management inside the palace area has caused the maintenance of a sacred and profane hierarchy in the palace’s spatial order; hence, not harming the palace’s layout, architecture, and landscape.

This article discusses the use and evolution of the royal bedchamber in seventeenth century England, through a unique case study of a surviving bed rail from Hampton Court Palace. This remarkable survival from the royal bedchamber has recently been discovered to date from before the English Commonwealth. It had previously been forgotten for many years before it was rediscovered in the nineteenth century, when it was first shown to the public as an altar rail from the royal chapel. More recently it has been associated with King Charles II: however, new technical and historical research has revealed that this rail was in fact made much earlier, during the reign of his father, Charles I, and before the period when English kings adopted the French ceremony of the lever and coucher. It now appears likely to have been made for his French queen, Henrietta Maria, who brought many novel fashions and possessions to England, including the use of a bed rail for her accouchements. Later alterations to the rail suggest it was soon adapted for Charles II, and perhaps his Queen, Catherine of Braganza, and then again used in the early eighteenth century by first Hanoverian King of Great Britain, George I. The final section of the article discusses how this unique object contrasts with the bedchamber furnishings of other English kings and queens in the later-seventeenth century, who developed their own distinctive form of bedchamber ceremony using a very different mode of bed rail. It is argued that this was in response to the new parliamentary monarchy in England, and contrasted to the focus on the royal body placed in the palaces of absolutist monarchs of France and many other European countries at this time.

This article discusses the use and evolution of the royal bedchamber in seventeenth century England, through a unique case study of a surviving bed rail from Hampton Court Palace. This remarkable survival from the royal bedchamber has recently been discovered to date from before the English Commonwealth. It had previously been forgotten for many years before it was rediscovered in the nineteenth century, when it was first shown to the public as an altar rail from the royal chapel. More recently it has been associated with King Charles II: however, new technical and historical research has revealed that this rail was in fact made much earlier, during the reign of his father, Charles I, and before the period when English kings adopted the French ceremony of the lever and coucher. It now appears likely to have been made for his French queen, Henrietta Maria, who brought many novel fashions and possessions to England, including the use of a bed rail for her accouchements. Later alterations to the rail suggest it was soon adapted for Charles II, and perhaps his Queen, Catherine of Braganza, and then again used in the early eighteenth century by first Hanoverian King of Great Britain, George I. The final section of the article discusses how this unique object contrasts with the bedchamber furnishings of other English kings and queens in the later-seventeenth century, who developed their own distinctive form of bedchamber ceremony using a very different mode of bed rail. It is argued that this was in response to the new parliamentary monarchy in England, and contrasted to the focus on the royal body placed in the palaces of absolutist monarchs of France and many other European countries at this time.

The room above the Chapel is located on the upper floor of the Wilanów Palace, in the southwest corner of the main body of the building. During the research and conservation works conducted in this space, it proves possible to investigate the hitherto unknown history of its decoration. The most important discovery is the painted decoration most probably dating from the 1720s. The illusionistic paintings indicate that in the past, the room used to be decorated in a manner similar to that seen in the Cabinet with a Parrot, located on the north side of the palace. Originally, each of those spaces had two entrances. The room above the Chapel used to have a fireplace in its north-west corner. Fragments of wall paintings in the en grisaille technique have been discovered during the explorations. The space was altered several times. For a while it was a part of a staircase, but in 1861 this was closed off to create the still-existing Chapel. Since then, the space above its cupola played only a technical role in the residence and then the museum. The wall paintings that have been revealed during the recently conducted conservation works are now on show; owing to their condition and several areas where the decoration is rubbed off, they are presented with no conservation retouches. Now that the door to this space is open, the museum's visitors have an opportunity to inspect the authentic substance of this repeatedly altered building. [ABSTRACT FROM AUTHOR]

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Balai Besar Kedah is a royal audience hall built within the complex of Kota Setar Palace. The grand hall has witnessed coronations of The Sultans of Kedah as well as a number of highly ranked social events throughout its existence since the year 1735. The architecture of this majestic structure is portraying the traditional Malay style, featuring some influences from Siam and the western world. The arrangements of spaces and ornamentations of Balai Besar signifying the high status of the Sultan, primarily as a host of the social events. The Sultan being well travelled, were said to be inspired by buildings in his journey and decided to build his own mixed style building as part of the royal complex. This study aims to reassess the architectural style of Balai Besar, focusing to explore the traditional Malay architecture of Kedah Tua. The methodology of the research is site visits, observation and interview. The architectural elements of Balai Besar were analysed and compared with the local traditional architecture to trace the underlying local and borrowed styles. The styles found is based on two major influence which is British colonial and Siamese. The Malay architectural element would fuse with these foreign styles and create a totally new form of Malay architecture. [ABSTRACT FROM AUTHOR]

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The palace in Kukizów of King of Poland John III Sobieski is known only to a narrow group of architecture and art historians. The palace and park complex ceased to exist in the 19th century. The architecture of the palace is known especially from the descriptions in the inventory documents from the early 18th century. Although the authorship of the palace design belongs to the well-known artists of the era - Augustyn Wincenty Locci and Piotr Beber, its architecture has not yet been reconstructed. A specific feature of the royal residence in Kukizów was the construction of royal buildings and town buildings in a wooden material. The intention to create a city complex and an entirely wooden residence was a unique experiment in the field of European architecture and urban planning of the 17th century. In the paper we present the results of our research on the architecture of the palace and town for the end of the 17th century. [ABSTRACT FROM AUTHOR]

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In contrast with the relatively rich documentation from the el-Amarna archive related to the main city-states of the southern Levant in the Amarna Age (Late Bronze Age IIA; 14th century b.c.e.), archaeological data from these sites is still wanting. This unfortunate situation highlights the importance of the ca. 60,000-item plant collection from the recently exposed Late Bronze Age IIA palace at Tel Beth-Shemesh. Room L1505 in the palace—apparently a pantry due to its contents of foodstuffs and vessels for food preparation and consumption—contained eight deposits of carbonized crop plants. Deposits of almost pure grains and very low numbers of weed seeds were found, indicating that these stored food plants were ready to be used in food preparation. Of special interest is the presence of a sizeable amount of two rare pulses in Levantine archaeobotany—fenugreek (Trigonella foenum-graecum) and Cyprus vetch (Lathyrus ochrus)—only found in two other Bronze Age royal contexts: Tutankhamun's tomb in Egypt and the Late Minoan II Unexplored Mansion in Knossos. Thus, in addition to attesting to the agricultural practices and culinary preferences of a Canaanite ruling court during the Amarna Age, this botanical assemblage also hints at prestigious royal gift exchanges of exotic food plants. [ABSTRACT FROM AUTHOR]

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Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Zasadniczym celem pracy jest przeanalizowanie możliwości wykorzystania danych o rezydencjach w Czechach i Polsce dla charakterystyki zróżnicowań regionalnych między tymi krajami. Artykuł ma także zdać sprawę z technicznego stanu i cech zachowanych rezydencji w Czechach i Polsce. Uwzględnienie istotnych odmienności historycznych obu krajów ułatwia identyfikację przyczyn stojących za różnicami w stanie rezydencji oraz pozwala na prześledzenie skutków tych różnic. Autor dokonuje analizy struktury i stanu rezydencji oraz czynników mających na to wpływ w przeszłości oraz w okresie tużpowojennym.

Suitable graphic documentation is essential to ascertain and conserve architectural heritage. For the first time, accurate digital images are provided of a 16th-century wooden ceiling, composed of geometric interlacing patterns, in the Pinelo Palace in Seville. Today, this ceiling suffers from significant deformation. Although there are many publications on the digital documentation of architectural heritage, no graphic studies on this type of deformed ceilings have been presented. This study starts by providing data on the palace history concerning the design of geometric interlacing patterns in carpentry according to the 1633 book by López de Arenas, and on the ceiling consolidation in the 20th century. Images were then obtained using two complementary procedures: from a 3D laser scanner, which offers metric data on deformations; and from photogrammetry, which facilitates the visualisation of details. In this way, this type of heritage is documented in an innovative graphic approach, which is essential for its conservation and/or restoration with scientific foundations and also to disseminate a reliable digital image of the most beautiful ceiling of this Renaissance palace in southern Europe.

The palace in Krzesimów was built in the classicist style at the beginning of 19th century. The building is the part of the palace-park complex entered into the register of monuments because of its historical, aesthetical and landscape values. From 1970s, it is the headquarters of a social welfare home. Over the years, this function enforced many changes in the functional layout of the building to adapt it to the needs of people with various types and levels of disability. Despite many minor renovations and modifi cations, the palace didn’t undergo complete overhaul, which would greatly improve the technical condition of the original fabric. This aim of article is to analyse introduced functional changes, which were supposed to facilitate the use of the building by the handicapped, and to consider what actions must be undertaken in order to improve its technical condition. The authors of the paper underline the need to start renovation works on the basis of the archive documentation, as well as conducted survey and research of its current technical condition.

The Czech Institute of Egyptology exploration of the archaeological site at Usli came to its fifth season. The site is becoming an important stone in the overall mosaic of the ancient history of the Sudan. The seasons 2014 and 2015 focus - ed on the New Kingdom Temple No. 1 and on the Kushite Palatial Complex including Temple No. 3 and a large circular structure discovered by the 2013 geophys ical survey. The overall length of Temple No. 1 was at the minimum of 40 metres, with its width equating to at least 17.50 metres. The temple was oriented from south-east (front part, entrance) to north-west (rear part), i.e. with the entrance away from the Nile just as in the case of the small brick temple detected further north-west of Temple No. 1. The Sandstone Temple consisted of (at least) one columned court featuring four columns along the shorter and six along the longer walls; of the excavated column bases, more than one half was uncovered in situ. Further, there was a pronaos featuring four columns. This gave way to three sanctuaries (or a triple sanctuary) located at the very rear side of the structure. The 2014 field campaign confirmed the poor state of preservation of this mon ument. In general, the above-ground part of the structure has been entirely eroded and quarried away; the small fragments bearing remains of the original decoration are unfortunately insufficient to study the original decoration motives or to ascertain which deities were actually worshipped in the temple’s sanctuaries. The fact that the structure was of high importance is indicated by the 2009 discovery of a royal statue (Bárta et al. 2013a) and by the presence of numerous fragments of gold foil discovered in 2014. Some important data were acquired from the 2015 spring campaign at Usli. First, considering the large rightangled structure located to the south of the main “palace” building. Its size, sandstone column bases and perfect layout of the sandstone pavement suggest it was a building of a higher status. The discovery of wall paintings creates an extraordinary context that is probably connected to a religious function of the building. The current hypothesis is that this structure might have been a temple servicing the main “palace”. Paintings were originally covering the whole interior surface of the walls of this structure designated as Temple No. 3. The presumption of contemporaneity between Temple No. 3 and the main “palace” building seems to be support - ed by the existence of an outside pavement that we tentatively interpret as a paved courtyard. The “courtyard” pave ment covers almost the whole area between Temple No. 3 and the main “palace” building. The area between these two buildings was later cut by a large circular structure. The circular structure is clearly cutting into the wall of Temple No. 3. The possible functional interpretation of the large circular feature (11 meters in diameter) is that it was a large well. Final chronological consideration will be possible after the comparison of relevant radiocarbon dates and evidence of scarce finds of pottery (Napatan, Meroitic ceramics) and stylistic examination of wall paintings.

The purpose of the article is to discuss the correspondence between Warsaw artists Henryk and Karol Marconi, and a Roman sculptor and architect, Luca Carimini. Found at the Getty Research Institute in Los Angeles, the previously unpublished sources allow a more detailed history of the Sobieski Chapel, which was built at the Wilanów Palace between 1852 and 1863 on the initiative of its owners, August and Aleksandra Potocki, to be traced. The identification of the elements produced by the Italian designer is helpful in identifying references to his Italian works, which allude to the masterpieces of the Quattrocento on the one hand, and, on the other, heavily draw from the repertoire of classicist decorative forms. The correspondence also allows the process by which Polish aristocracy commissioned Italian artwork for import to Polish lands to be trace.

This article offers an overview of the early Babylonian priesthood, as it was organized and operated during the third millennium BCE. It is emphasized that the priests and priestesses proper, i.e., individuals who were specifically concerned with cultic matters, represented a relatively small segment of the employees of temple households. Much more numerous within these institutions (which might more appropriately be termed "temple communities") were the individuals whose roles were of either administrative or economic character. Focusing on the administrators of temple households, and identifying them as "Managerial Class," the article argues that, during Pre-Sargonic times, this social group wielded great economic and political power, which at times even exceeded that of the emerging secular leaders (such as ensiks and lugals). To demonstrate this point, an interaction between these two competing centers of powers (particularly in the city-state of Lagaš) is studied in detail. In memory of Itamar Singer [ABSTRACT FROM AUTHOR]

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The subject of the article is the palace in Przysiek near Toruń, underlining its construction and conservation history over the centuries of its history. The building has Renaissance roots. Originally, it was a small wooden manor of the farm administrator. a relic of this construction phase are two vaulted basement rooms. In subsequent centuries, the manor house survived many wars as a consequence of which it was devastated and rebuilt. the most important changes in its shape occurred in the second and fourth quarter of the eighteenth century and in the fourth quarter of the nineteenth century. First, it received the form of a baroque mansion with polychlorinated facades, and then a small romantic palace architecture, integrated into a small park. From the 1830s, the building was in private hands. The longest time when it was in private hands was in between 1886--1940, when it belonged to the Neumann family. after the second world war the decaying palace was taken over by the State Agricultural Farm. At the beginning of the sixties the building underwent conservation and renovation works. At that time, its functional and spatial layout was also changed at that time, and the nineteenth-century elements of furnishing the interior were removed. After 1989, the building began to decline again. It was only in the years 2002--2004 that the new owner -- the diocese of Toruń -- carried out extensive refurbishment and adaptation work, which significantly improved its technical and visual condition. The work was carried out under the control of the Provincial Conservator. Since 2004, the Bursa Akademicka Caritas has been operating in the palace. The palace in Przysiek has artistic, historical and aesthetic values that should be nurtured and protected. it is an example of changes in the residential architecture of mansions and palaces. it is a testimony to the rich history of Toruń and nearby Przysieka. It represents important historical and emotional value, which appears in the sense of a palace for the local population, for which it is a reminder of the rich history of the settlement. [ABSTRACT FROM AUTHOR]

At the beginning of the 20th century, the city of Skopje is experiencing a transformation, due to changes in the urban structure creating conditions for the current European developments in architecture. In the period between the two world wars in Skopje, the most magnificent buildings are realized and new tendencies begin to apply. Meanwhile, the focus is on the new tendencies, that occur in the period between the two world wars, and the transformation of the urban core of Skopje with the appearance of palaces as an individual type of construction. In the urban core of the city, as a hallmark of the past, objects of public and private character exist, which carry the memory of urban politics from the beginning of the 20th century in Skopje. [ABSTRACT FROM AUTHOR]

The palace in Krzesimów was built in the classicist style at the beginning of 19th century. The building is the part of the palace-park complex entered into the register of monuments because of its historical, aesthetical and landscape values. From 1970s, it is the headquarters of a social welfare home. Over the years, this function enforced many changes in the functional layout of the building to adapt it to the needs of people with various types and levels of disability. Despite many minor renovations and modifications, the palace didn't undergo complete overhaul, which would greatly improve the technical condition of the original fabric. This aim of article is to analyse introduced functional changes, which were supposed to facilitate the use of the building by the handicapped, and to consider what actions must be undertaken in order to improve its technical condition. The authors of the paper underline the need to start renovation works on the basis of the archive documentation, as well as conducted survey and research of its current technical condition. [ABSTRACT FROM AUTHOR]

Contrasting the local specific architecture through an obvious opulent style, "palaces" of Roma population in Romania generate controversial debates. The present study analyses this phenomenon from a socio-geographic perspective in its attempt to draw attention to the new constructions appearing in the post-communist period after 1990. The Roma palaces are a choice of a showy non-constrained way to manifest an ethnic socio-economic status at the local level are perceived differently in Romanian society by the Roma community and by the Romanian population respectively. Our research methodology was correlated with the particularities of this topic and has been very infrequently approached until the present moment. It has hence used as its main tools direct observation, a social survey based on semi-structured interviews and media monitoring. The results of the study have mainly showed that the appearance of the new type of residences is a consequence of the change in the socio-economic statute of the Roma population, the size of the house being directly proportional to the status of the privileged within a community. Moreover, we have already witnessed architectural trends in the aesthetics of these constructions, which were mainly perceived in a negative way by the Romanian respondents and in a positive way by Roma respondents. [ABSTRACT FROM AUTHOR]

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