Articoli di riviste: "Château de Guémené (France)"

1

Schmitt, Dorit. "R&S setzt auf Tierwohl". Lebensmittel Zeitung 74, n. 40 (2022): 52. http://dx.doi.org/10.51202/0947-7527-2022-40-052.

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2

Melonio, Françoise. "Les tribulations du libéralisme en France". Tocqueville Review 17, n. 2 (gennaio 1996): 3–18. http://dx.doi.org/10.3138/ttr.17.2.3.

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En France Tocqueville est depuis les années 1950 un auteur « à la mode ». Le château de Tocqueville est pour nos présidents de droite et de gauche, pour Messieurs Giscard d’Estaing et Mitterrand, un lieu de pèlerinage de sorte que la France rejoint sur le tard la « tocquevillâtrie » américaine. En lisant Tocqueville, l'Amérique et la France semblent célébrer le jumelage de leurs deux histoires, si proches depuis la fin du XVIIIe siècle.

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3

Lafarge, Ivan. "Tremblay-en-France (Seine-Saint-Denis). Ferme du château". Archéologie médiévale, n. 51 (20 dicembre 2021): 207. http://dx.doi.org/10.4000/archeomed.41725.

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4

Boudon-Padieu, E., J. Larrue, D. Clair, J. Hourdel, A. Jeanneau, R. Sforza e E. Collin. "Detection and prophylaxis of Elm Yellows phytoplasma in France". Forest Systems 13, n. 1 (1 aprile 2004): 71–80. http://dx.doi.org/10.5424/815.

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Surveys conducted since 1998, showed that symptoms typical of Elm Yellows (EY) were quite frequent in the elm conservatories of Nogent-sur-Vernisson and Guémené- Penfao, France, and on forest trees in several locations in western Europe. Phytoplasmas were detected in symptomatic trees and plants using Polymerase Chain Reaction amplification followed by Restriction Fragment Length Polymorphism analyses of conserved regions of 16S rDNA of phytoplasmas, or of the EY group-specific non ribosomal DNA fragment FD9. Potential vectors were searched among leafhoppers and planthoppers trapped in conservatories and tested for the presence of phytoplasma in their body. Sanitation of multiplication material was experimented using soaking of dormant cuttings and branches in hot water, according to the method devised for destruction of phytoplasma in grapevine multiplication material. Phytoplasmas detected in a number of the elm clones held in the conservatories and in several forest or hedgerow elm trees, showed some diversity, according to restriction analyses of the FD9 fragment. Both American and European types were characterized. Four leaf- and planthopper species were found to carry an EY phytoplasma. Plants grown from cuttings taken from EY-infected clones and soaked in hot water (50 °C, 45 mn) never developed symptoms and tested phytoplasma negative. Most of untreated control plants were all symptomatic and positive. In the future, EY phytoplasma should be carefully checked, especially in sensitive cultivars. More studies of EY phytoplasma variability and potential vecteurs and the assessment of routine use of hot water therapy in multiplication of material should be conducted.

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5

Witman, Richard, e Richard Wittman. "Félix Duban's Didactic Restoration of the Château de Blois: A History of France in Stone". Journal of the Society of Architectural Historians 55, n. 4 (1 dicembre 1996): 412–34. http://dx.doi.org/10.2307/991182.

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Félix Duban's restoration of the Château de Blois (1843-1870), one of the most ambitious and celebrated of the nineteenth century in France, has been neglected by historians more concerned with the restoration of medieval monuments and with the activity and influence of Eugène-Emmanuel Viollet-le-Duc. This study interprets some of Duban's archaeologically unjustified alterations to this complex monument in the light of the historicist architectural theory associated with Duban and the other Romantic architects Labrouste, Duc, and Vaudoyer. The château is an accretion of buildings from several centuries in a variety of styles, and Duban's restoration of the medieval segment, the Salle des États-Généraux, is shown to be particularly crucial. It emerges from this study that Duban was concerned to highlight specific, politically meaningful aspects of the long and rich history of the monument, and to illustrate the Romantics' views about the dependence of architectural style on the evolution of human society. Duban's restoration presents a sharp counterpoint to the idealist theories of restoration associated with Viollet-le-Duc, and shows that restoration could be a powerful polemical weapon. The reading presented here places the restored château in the thick of the theoretical conflicts that characterized contemporary architectural debate.

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6

Guillaume, Jean. "Château, jardin, paysage en France du XVe au XVIIe siècle". Revue de l'Art 124, n. 1 (1999): 13–32. http://dx.doi.org/10.3406/rvart.1999.348442.

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7

Moulin, Jacques. "Le château d'Aunoy et l'apparition en France du jardin à l'anglaise". Bulletin Monumental 149, n. 2 (1991): 201–24. http://dx.doi.org/10.3406/bulmo.1991.3244.

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8

Block, Elaine C. "Italian Influence on French Gothic Choir Stalls". Reinardus / Yearbook of the International Reynard Society 12 (15 settembre 1999): 19–34. http://dx.doi.org/10.1075/rein.12.03blo.

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Abstract French gothic choir stalls flourished during the fifteenth century. Hundreds of sets were commissioned for cathedrals, collegiate churches and private chapels of the nobility. The stalls were adorned with carvings on dorsal panels, jouées (end panels), arm-rests and misericords. Motifs included inventive monsters and realistic narratives. The miniature figures wore contemporary clothing and performed ordinary tasks to illustrate tales, proverbs and daily life. In the sixteenth century the Italian Renaissance slowly made its way through France leaving a magnificent mingling of Gothic and Renaissance on the stalls of the château of Gaillon (Eure), commisioned by the influential cardinal Georges d'Amboise. The stalls, but not the château, survived the Revolution and may be seen today at the Basilica St. Denis.

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9

Lafarge, Ivan. "Tremblay-en-France (Seine-Saint-Denis). Ferme Dubois – ancienne Ferme du Château". Archéologie médiévale, n. 49 (20 dicembre 2019): 245–46. http://dx.doi.org/10.4000/archeomed.25037.

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10

Guillaume, Jean. "Château, jardin, paysage en France du XV e au XVII e siècle". Revue de l'art N° 124, n. 2 (1 febbraio 1999): 13–32. http://dx.doi.org/10.3917/rda.124.0013.

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11

Frau, Camille. "Upper Aptian ammonites from Roussillon, southern France". Fossil Imprint 79, n. 1 (2023): 89–101. http://dx.doi.org/10.37520/fi.2023.005.

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The present contribution describes a new rich ammonite material from the Aptian-type area, Vaucluse, France, made accessible by the expansion of the wine cellar of Domaine de Château-Blanc at Roussillon, located at ca. 8 km northwest of Apt. This temporary outcrop exposed a few meters of sandstones and sandy, glauconitic marls, characterising the fifth unit of the Aptian-type series. The ammonite specimens are preserved as crushed, internal moulds with phosphatised shells, and are assigned to the Acanthohoplitidae Egoianiceras angulatum, Egoianiceras lautum, ?Egoianiceras exiquecostatum, and Acanthohoplites sp., together with poorly-preserved Parahoplitidae (Parahoplites sp.). This assemblage is coeval to the Fallot black shale episodes occurring in the nearby Vocontian Basin, and correlates to the uppermost Epicheloniceras martini Zone of Dutour (2005), or the lower Colombiceras tobleri Zone of Dauphin (2002), an age which challenges the younger ammonite-age calibration previously established for the fifth unit.

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12

Gutierrez, Michel. "Représenter l’égyptologue, rendre hommage au Boulonnais. Le portrait d’Auguste Mariette par Florent Buret". Studies in Ancient Art and Civilisation 26 (18 dicembre 2022): 183–96. http://dx.doi.org/10.12797/saac.26.2022.26.09.

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In this paper, we propose the first study of the portrait of Auguste Mariette kept in the Château Comtal – Musée de Boulognesur- Mer (France). Painted by Florent Buret in 1899, the work pays tribute to the Egyptologist born in this city in 1821. Artificially composed from photographic sources, this portrait evokes his work for the Louvre and Boulaq museums in France and Egypt. It was included in the “historical gallery” of the town hall of Boulogne-sur-Mer with fourteen other personalities of the city. As such, it reflects the pride of a late 19th century French town and its scholarly and political networks.

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Argant, Alain, e Jacqueline Argant. "La brèche à carnivores du Pléistocène moyen de Château (Saône-et-Loire, France)". Quaternaire, n. 29/3 (1 settembre 2018): 271–85. http://dx.doi.org/10.4000/quaternaire.10390.

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14

Fantasia, Rick. "Everything and Nothing: the Meaning of American Popular Culture in France". Tocqueville Review 15, n. 2 (gennaio 1994): 57–88. http://dx.doi.org/10.3138/ttr.15.2.57.

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As one drives westward toward Geneva from the small city of Thonon-les-bains, with its stately perch on the Southern shore of Lac Leman, its fading Victorian-era hotel spas and 17th century château, and its remarkable views of the French Alps, one comes upon a stretch of road that, to an American, appears perfectly familiar and thus seems completely "foreign" in its French context. Quite suddenly, from both sides of the road, one's view is seized by the intrusion of brightly-colored placards, dazzling neon signs and coarse structures that signal a steady string of auto dealerships, gas stations, furniture outlets, garden supply stores, a kitchen appliance store, a bowling alley and a sprawling supermarket complex.

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15

Corp, Edward T. "The Exiled Court of James II and James III: A Centre of Italian Music in France, 1689–1712". Journal of the Royal Musical Association 120, n. 2 (1995): 216–31. http://dx.doi.org/10.1093/jrma/120.2.216.

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Following the Glorious Revolution of 1688–9, James II and the Stuart royal family lived in exile as the guests of Louis XIV at the Château de St-Germain-en-Laye, near Paris. James II died in 1701 and was succeeded as king-in-exile by his son, James III. The court of these two kings remained at St-Germain-en-Laye for well over 20 years, until James III was expelled from France at the demand of the British government.

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16

Picot, Nicole. "Museum Libraries in France: Their Wealth and Their Influence". Art Libraries Journal 24, n. 4 (1999): 17–19. http://dx.doi.org/10.1017/s0307472200019751.

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The following words preface Francoise Cachin’s introduction to Marie-Thérèse Cavignac’s Les bibliothèques des musées en Aquitaine: Richness and diversity! Reading this volume demonstrates how wide and varied is the subject matter of the museum libraries in the Aquitaine region, whether it be the library in the Bonnat Museum in Bayonne or in the national museum at the Château de Pau, those in museums specialising in the history of Aquitaine, the Pays Basque or the Périgord, or those in museums dealing with prehistory or contemporary art or seaplanes, the customs service or folk art.This description is just as valid for the rest of France. Considerable effort has been put into the modernisation of French museums during the last twenty years or so and their libraries have benefited from this renewal as well. I would like in this paper to describe some of the strengths of libraries and documentation centres in museums of art, and to try and define their role within their institutions and within the network of French art libraries.

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17

Nejedlý, Martin. "Fauvel en bohême ? Réflexions sur la diffusion d’un thème littéraire et iconographique au xiv e siècle". Revue du Nord 446, n. 2 (14 marzo 2023): 315–29. http://dx.doi.org/10.3917/rdn.1446.0315.

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Dans l’une des chambres du vieux château de Strakonice, en Bohême du Sud, on peut trouver une peinture gothique représentant la roue de Fortune. Elle date probablement de la première moitié du xiv e siècle. Du haut de la roue, un être est en train de tomber : mi-homme mi-cheval, il est doté d’un buste humain mais le bas de son corps est celui d’un équidé, avec une queue et des sabots. La présente étude tente de proposer une hypothèse basée sur la vivacité des relations politiques et culturelles entre la France et le royaume de Bohême sous le règne des deux premiers rois de la dynastie des Luxembourg. Le sujet est peut-être à rapprocher du Roman de Fauvel : l’histoire d’un cheval qui voulait assujettir les gens et devenir roi. Ce texte nous est connu grâce au magnifique codex qui fut probablement rédigé entre 1317 et 1322 et dont le destinataire fut vraisemblablement le comte Charles de Valois, beau-père du futur roi de Bohême Charles IV. Le château de Strakonice appartenait a Vilém de Strakonice, un seigneur extrêmement cultivé, entretenant des relations étroites tant avec le roi Jean de Luxembourg qu’avec son fils Charles IV, élevé à la cour royale de France. Il est possible qu’il ait connu l’histoire de Fauvel au moins de manière indirecte. L’éducation, la vie et les activités littéraires de Vilém de Strakonice ainsi que ses contacts avec les souverains de la Maison de Luxembourg et leurs artistes de cour permettent de l’envisager, au moins à titre d’hypothèse stimulante pour la recherche internationale et interdisciplinaire.

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Chekalov, Kirill A. "ALEXANDRE DUMAS AND A GOTHIC NOVEL (DEDICATED TO 150TH ANNIVERSARY OF THE WRITER’S DEATH)". Vestnik of Kostroma State University, n. 3 (2020): 134–40. http://dx.doi.org/10.34216/1998-0817-2020-26-3-134-140.

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The article considers the characteristics of interpretation by Alexandre Dumas père of a genre of gothic fiction based on the writer’s less popular works: Le Château d’Eppstein, 1843 and Le Pasteur d’Ashbourn,1853. Alexandre Dumas père deviates from the genre’s traditional surrounding, i.e. the southern France, Italy, Spain. Le Château d’Eppstein is set in Germany; by connecting the legendary past with the historical time, Dumas enhances one of the genre’s inherent features, at the same time enriching the narrative with a dense intertextual component. The events of Le pasteur d’Ashbourn happen in England. The first part of the book is a rescript of a sentimental novel Leben Eines Armen Landpredigers by August Heinrich Julius Lafontaine (1801; translated in French by Isabelle de Montolieu as Nouveaux Tableaux De Famille Ou La Vie D’un Pauvre Ministre De Village Allemand Et De Ses Enfants – 1802; translated in English as The Village Pastor and His Children – 1803), which beautifully contrasts with a traditional gothic plot of the second part and an extensive ironic epilogue. Both novels demonstrate that Dumas did not intend to imitate the gothic fiction, but rather to transform it by means of witty genre and stylistic experiments.

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19

Delhumeau, Herveline. "Farcheville, un château « méridional » en Ile-de-France. Quelques données nouvelles sur la construction médiévale". Bulletin Monumental 151, n. 1 (1993): 279–92. http://dx.doi.org/10.3406/bulmo.1993.3342.

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20

Goyette, Manon. "The origins of the Château Saint-Louis, the residence of the Governor of New France". Post-Medieval Archaeology 43, n. 1 (giugno 2009): 125–39. http://dx.doi.org/10.1179/007942309x12457508844080.

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21

Merrillees, Robert Stuart. "Another Cesnola Puzzle: A pair of reproduction bracelets from Kourion in the Musée-château d’Annecy, France". Cahiers du Centre d'Etudes Chypriotes 40, n. 1 (2010): 101–23. http://dx.doi.org/10.3406/cchyp.2010.959.

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22

Frère, Dominique. "Les collections étrusques de deux musées de l'Ouest de la France : Beaufort-en-Vallée et Château-Gontier". Annales de Bretagne et des pays de l’Ouest 103, n. 4 (1996): 7–24. http://dx.doi.org/10.3406/abpo.1996.3884.

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23

Griffiths, Richard. "The Château-Rouge and the Père Lunette: Insights into the ‘slumming’ culture of late nineteenth-century France". French Cultural Studies 24, n. 1 (29 gennaio 2013): 3–26. http://dx.doi.org/10.1177/0957155812464160.

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24

Reiller, Hugo, Matthieu Fuchs e Bruno Gavazzi. "Approche multi-méthodes expérimentale pour l’étude d’un site d’occupation romaine et médiévale à Horbourg-Wihr". Archimède. Archéologie et histoire ancienne 7 (6 settembre 2020): 260–71. http://dx.doi.org/10.47245/archimede.0007.act.13.

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L’étude présente des campagnes de prospections géophysiques et de sondages archéologiques qui se complètent pour répondre à un double objectif : 1- comprendre l’enchaînement de l’occupation anthropique du territoire entre l’époque romaine et l’époque médiévale d’un secteur archéologique inédit à Horbourg-Wihr (Haut-Rhin, France) ; 2- tester l’efficacité de l’utilisation combinée de méthodes de prospections géophysiques et de la fouille archéologique pour identifier et caractériser les vestiges. L’utilisation de différentes méthodes géophysiques complémentaires se révèle particulièrement adaptée au contexte du site et les résultats ont permis d’implanter des sondages ciblés et de mieux comprendre la distribution spatiale des vestiges identifiés lors de la fouille. Ainsi, cette étude apporte de nouvelles informations sur la succession et superposition de vestiges d’un château médiéval sur la base d’un théâtre gallo-romain.

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Gagnon, Hervé. "Divertissement et patriotisme : la genèse des musées d’histoire à Montréal au XIXe siècle". Revue d'histoire de l'Amérique française 48, n. 3 (26 agosto 2008): 317–49. http://dx.doi.org/10.7202/305348ar.

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RÉSUMÉ Cette recherche propose une nouvelle source d'information concernant l'étude du discours historique au Québec au XIXe siècle. Les musées d'histoire montréalais sont, en effet, influencés par les grands courants historiques de l'époque. On retrouve, d'une part, une muséologie du divertissement à vocation commerciale où l'histoire, principalement axée sur la Nouvelle-France, est présentée de façon héroïque et hagiographique. C'est le cas de l'Eden Musée and Wonderland et du Musée Lasalle. D'autre part, la muséologie savante de l'histoire véhicule les idéologies des groupes qui ont créé ces musées. Selon qu'il s'agisse du musée de l'Institut canadien ou du Château Ramezay, créé par la Numismatic and Antiquarian Society of Montreal, le discours historique trahit l'influence du radicalisme canadien-français ou d'un nationalisme à teneur pan-canadienne.

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Cooper, Richard. "‘Era una meraviglia vederli’: Carnival in Cognac (1520) between the Bastille and the Cloth of Gold". Nottingham French Studies 56, n. 3 (dicembre 2017): 336–50. http://dx.doi.org/10.3366/nfs.2017.0195.

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The years 1517–20 saw a renewal of court festival in France, following the arrival of Leonardo da Vinci. Machines became a feature, as did elaborate mythological and chivalric pageants, banquets and dances. Although the 1518 celebrations at Amboise and the Bastille have been studied, as has the Field of the Cloth of Gold, little was known about the elaborate Carnival in 1520 held in the birthplace of François Ier. Archival evidence reveals this to have been an innovative Valois festival, lasting over a fortnight, in the Château which the King and his mother had specially rebuilt and decorated to accommodate the whole court and foreign ambassadors, who hunted and feasted every day and danced every night, despite Lenten austerity.

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Gatuingt, Laure, Stéphanie Rossano, Jean-Didier Mertz, Chloé Fourdrin, Olivier Rozenbaum, Quentin Lemasson, Solenn Reguer, Nicolas Trcera e Bruno Lanson. "Characterization and origin of the Mn-rich patinas formed on Lunéville château sandstones". European Journal of Mineralogy 33, n. 6 (11 novembre 2021): 687–702. http://dx.doi.org/10.5194/ejm-33-687-2021.

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Abstract. The formation of iron- and/or manganese-rich dark patinas on sandstones is a common natural phenomenon that occurs also on building stones. Lunéville château, in eastern France, presents such patinas that developed either under natural conditions (rain and time) or after an accidental fire and exposure to significant amounts of water as part of attempts to extinguish the fire. The present study aimed at characterizing both types of patinas in an effort to determine their formation mechanisms and Mn sources. In both cases, Mn required for patina formation likely derives from the reductive dissolution of Mn-rich minerals present in pristine sandstones, as suggested by the contrasting mineralogy and chemistry of Mn-rich phases present in the bulk and in the patina of a given building block. Reduced Mn species then migrate to the exposed surface of building blocks where they are re-oxidized via undetermined processes. Patinas developing “naturally” over time result from the alternation of wetting-reducing and drying-oxidizing cycles and appear to be composed of birnessite. Patinas formed after the 2003 fire result from this single accidental event and form a much thinner, heterogeneous, and discontinuous layer of poorly crystalline lithiophorite at the sandstone surface (∼ 0–150 µm compared to ∼ 300–600 µm for “natural” patinas). The lack of Mn-rich patinas on areas of Lunéville château is likely related to the lower Mn content of pristine sandstone blocks.

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Mélonio, Françoise. "Les Conversations Tocqueville". Tocqueville Review 42, n. 2 (1 dicembre 2021): 121–32. http://dx.doi.org/10.3138/ttr.42.2.121.

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La Fondation Tocqueville a réuni au Château de Tocqueville les 17 et 18 septembre 2021 des intellectuels et des acteurs de la société civile des deux rives de l’Atlantique pour des Conversations sur le futur de la Démocratie en Amérique. Alors que l’Amérique a été le théâtre d’un envahissement du Capitole le 6 janvier, que reste-t-il de la démocratie américaine dont Tocqueville louait la sagesse exemplaire ? Faut-il voir dans les turbulences de la dernière élection présidentielle une bouffée révolutionnaire telle que la France contemporaine de Tocqueville en avait connues, ou bien un signe de l’épuisement de la démocratie américaine et de l’effondrement de la confiance du peuple américain en ses valeurs ? Dans quelle mesure la crise américaine annonce-t-elle des difficultés similaires en Europe ?

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Salas, Denis. "Céline ou le martyr de la collaboration". Les Cahiers de la Justice N° 3, n. 3 (13 settembre 2023): 531–46. http://dx.doi.org/10.3917/cdlj.2303.0531.

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Résumé En juillet 1944, Céline quitte Paris pour se réfugier au Danemark où il arrivera non sans mal en mars 1945. Au cours de cette longue fuite, il traverse une Allemagne sous les bombes, séjourne à Baden-Baden, se réfugie à Sigmaringen où se trouvent Pétain et Laval. Un leitmotiv domine l'écriture torrentielle des trois récits qui composent la trilogie allemande, son œuvre ultime consacrée à cette période (D'un Château l'autre, Nord, Rigodon) et dont il est question dans cet article : se défendre coûte que coûte contre l'injuste accusation qui, selon lui, le poursuit. De ces pages brûlées au feu de la persécution se dégage un scénario qui vise à conjurer toute confrontation avec la loi. À son retour en France, il continuera à plaider sa cause et trouvera des juges indulgents qu'il n'espérait plus.

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Gandia, D., A. Schmitt, P. Gandel, D. Billoin e Y. Ardagna. "L’espace funéraire du camp du château à Salins-les-Bains (Jura, France). Un exemple rare d’inhumations en formae". Bulletins et Mémoires de la Société d'Anthropologie de Paris 31, n. 3-4 (23 agosto 2019): 129–52. http://dx.doi.org/10.3166/bmsap-2019-0061.

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L’établissement fortifié de hauteur du Camp du Château à Salins-les-Bains (Jura, France) est un exemple rare de l’utilisation de structures funéraires particulières et encore peu attestées dans cette région, les formae. Ici, conçues lors de la phase de transformation d’un édifice préexistant en église, elles ont accueilli de nombreuses inhumations dès le milieu du VIIe siècle jusqu’aux alentours de la fin du VIIIe siècle. Elles ne constituent cependant pas les seules structures funéraires du site et des inhumations en fosses ou en coffres, individuelles ou plurielles, dont la plus tardive est datée entre la fin du IXe siècle et le début du XIe siècle, ainsi que des fragments de sarcophages sont également attestés. Les données de terrain et l’étude anthropologique ont permis de déterminer la présence d’au moins 59 individus à l’échelle de l’espace funéraire et d’appréhender, dans une certaine mesure, son fonctionnement ainsi que les pratiques funéraires et notamment la réduction totale ou partielle des ossements des individus précédemment inhumés en vue du dépôt d’un nouveau corps au sein des formae et de certaines des autres structures funéraires.

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Hillman, Jennifer. "St Pientia and the Château de la Roche-Guyon: Relic Translations and Sacred History in Seventeenth-Century France". Studies in Church History 53 (26 maggio 2017): 257–71. http://dx.doi.org/10.1017/stc.2016.16.

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This article explores the connections between the translation of an early Christian relic to the Château de la Roche-Guyon in the mid-seventeenth century and the writing of local sacred histories by the priest and prior Nicolas Davanne. It finds that the translation of a finger bone of St Pientia was the culmination of efforts by a local scholar to revive the sacred history of the Vexin and to celebrate the regional liturgical traditions associated with its early Christian martyrs. In doing so, it finds support for the recent historiography on local, sacred histories which emerged during the Counter-Reformation in response to liturgical standardization. The article also discusses the unstable nature of relics as material objects and explores the ways in which relics were continually reinvested with meaning. It is shown that Pientia's relic was not only part of a defence of a local spiritual heritage in response to Trent, but also part of a claim to an early Christian spiritual heritage for a deviant and heretical movement within the Church.

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Bocquet-Liénard, Anne. "Jean-Yves Dufour (sous la direction de), Le château de Roissy-en-France (Val-d’Oise). Origine et développement d’une résidence seigneuriale du Pays de France (". Archéologie médiévale, n. 45 (1 dicembre 2015): 307–8. http://dx.doi.org/10.4000/archeomed.2849.

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Tarkowski, R. "Les études géologiques du naturaliste français Jean-Étienne Guettard en Pologne (1760-1762)". Boletín Geológico y Minero 127, n. 2-3 (30 settembre 2016): 653–62. http://dx.doi.org/10.21701/bolgeomin.127.2-3.024.

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L'article est un essai de synthèse des résultats des recherches géologiques menées en Pologne par J.-É. Guettard de 1760 à 1762. Il a été réalisé à partir des publications polonaises et à partir de celles de Guettard lui-même (Mémoire sur la nature du terrain de la Pologne et des minéraux qu’il renferme et Mémoire sur les mines de sel de Wieliczka en Pologne) ainsi qu’a partir de manuscrits et documents du Musée National d’Histoire Naturelle de Paris et de l’Académie des Sciences de Paris (une liste du XVIIIème siècle de fossiles de coraux provenant du château de Nieswiez ´ , un document concernant la mine de sel de Wieliczka, une collection d’échantillons de sel transmise par Guettard à l’ambassadeur du roi de France, etc..). Cette analyse met en évidence l’importance du voyage de J.-É Guettard pour la géologie de la Pologne.

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Laurent, Dominique. "Supporting and Enhancing Research on Cultural Heritage in France: the PATRIMA Project". Digital Presentation and Preservation of Cultural and Scientific Heritage 4 (30 settembre 2014): 41–48. http://dx.doi.org/10.55630/dipp.2014.4.5.

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In this paper, we first overview the French project on heritage called PATRIMA, launched in 2011 as one of the Projets d'investissement pour l'avenir , a French funding program meant to last for the next ten years. The overall purpose of the PATRIMA project is to promote and fund research on various aspects of heritage presentation and preservation. Such research being interdisciplinary, research groups in history, physics, chemistry, biology and computer science are involved in this project. The PATRIMA consortium involves research groups from universities and from the main museums or cultural heritage institutions in Paris and surroundings. More specifically, the main members of the consortium are the two universities of Cergy-Pontoise and Versailles Saint-Quentin and the following famous museums or cultural institutions: Musée du Louvre, Château de Versailles, Bibliothèque nationale de France, Musée du Quai Branly, Musée Rodin. In the second part of the paper, we focus on two projects funded by PATRIMA named EDOP and Parcours and dealing with data integration. The goal of the EDOP project is to provide users with a data space for the integration of heterogeneous information about heritage; Linked Open Data are considered for an effective access to the corresponding data sources. On the other hand, the Parcours project aims at building an ontology on the terminology about the techniques dealing with restoration and/or conservation. Such an ontology is meant to provide a common terminology to researchers using different databases and different vocabularies.

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Massie, Henry. "Les suites des traumatismes chez les enfants". Perspectives Psy 57, n. 3 (luglio 2018): 168–74. http://dx.doi.org/10.1051/ppsy/2018573168.

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Pendant la guerre, la perte de son toit, celle d’un membre de la famille, les blessures, la peur, la menace de la mort, et un monde qui n’a plus aucun sens, tout cela peut marquer les enfants à vie. Cet article va examiner les syndromes psychiatriques que les enfants réfugiés de guerre pourraient éprouver, en commençant par l’impact initial, en continuant avec des troubles de stress post-traumatique, qui deviennent plus tard chez l’adulte des traumatismes complexes. Des études de cas d’enfants et d’adultes de la Deuxième Guerre mondiale et des guerres actuelles au Moyen-Orient et en Afrique vont illustrer la symptomatologie. Le Château de la Hille, refuge dans le sud de la France pour les enfants dont les parents avaient été envoyés aux camps de la mort pendant l’Holocauste illustre les caractéristiques d’une communauté thérapeutique pour les enfants réfugiés. D’autres études de cas vont décrire des interventions psychothérapeutiques.

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Galletti, Sara. "Philibert de L’Orme’s Dome in the Chapel of the Château d’Anet: The Role of Stereotomy". Architectural History 64 (2021): 253–84. http://dx.doi.org/10.1017/arh.2021.11.

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ABSTRACTThe coffered dome designed by Philibert de L’Orme (1514–70) for the chapel of the Château d’Anet in northern France between 1549 and 1552 is a masterpiece of stereotomy — the stone vaulting technique characterised by the custom cutting (or dressing) of a vault’s components or voussoirs. The dome was executed by first individually dressing its large voussoirs, so that they would fit one another precisely, and then dry assembling them like the pieces of a three-dimensional jigsaw puzzle. The spiralling ribs that form the coffers added a layer of complexity to the work, for they are embedded in the voussoirs; thus the exact shape and position of the rib sections belonging to each voussoir had to be calculated precisely before dressing to ensure that, after assembling, they would form the correct pattern over the vault’s surface. The dome’s execution method continues to baffle historians, in particular with regard to the transfer of the complex pattern formed by the ribs on to the templates used by the stonecutters to shape the voussoirs. Based on a new 3D laser scan of the dome and on the analysis of late medieval and early modern stereotomic practices and theories, this article offers a new interpretation of the methods that de L’Orme adopted at Anet and of their significance within the panorama of sixteenth-century architectural practice and theory.

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Aan De Wiel, Jérôme. "Le deuxième bureau et les républicains irlandais, 1900-1904 : contacts, invasion et déception". Revue Historique des Armées 253, n. 4 (1 dicembre 2008): 74–85. http://dx.doi.org/10.3917/rha.253.0074.

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Un livre britannique, paru en 2001, traitant de l’impact international qu’eut la guerre des Boers sur les grandes puissances de l’époque, ne mentionne pas une seule fois, selon l’index, le nom de l’Irlande ce qui est bien surprenant dans la mesure où les nationalistes et séparatistes irlandais soutenaient ouvertement les Boers contre les Britanniques. Dans le chapitre consacré à la France, on lit que Théophile Delcassé, ministre des Affaires étrangères, estimait que cette guerre devait cesser. Mais, était-ce bien le cas ? Ou bien est-ce que Delcassé représentait les vues de tous les membres du gouvernement français ? C’est ainsi que les archives du Service historique de la Défense au château de Vincennes révèlent que le deuxième bureau, le service de renseignement militaire français, avait eu des contacts avec des républicains irlandais dans le but, semblerait-il, d’envahir ou de libérer l’Irlande afin d’encercler la Grande-Bretagne dont les soldats se trouvaient dans la lointaine Afrique du Sud.

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38

de Rode, Iris. "Finding the American Revolution in France: François-Jean de Chastellux's Private Papers and Beyond". Early American Studies: An Interdisciplinary Journal 22, n. 1 (gennaio 2024): 156–93. http://dx.doi.org/10.1353/eam.2024.a920463.

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Abstract: With the exception of the renowned Marquis de Lafayette and, to a lesser extent, General Rochambeau and Admiral de Grasse, French soldiers and officers have historically received little attention in the literary of the American War for Independence. This is due to a number of factors, including restricted or closed access to private archival collections in France. This essay will demonstrate that it is possible, under certain conditions, to study personal, unpublished source material of "forgotten" French officers who participated in the American Revolutionary War, thereby providing new opportunities for research into early American history. To demonstrate the historical significance of such materials, this paper will concentrate on the (mainly) unpublished papers of François-Jean de Chastellux (1734-1788), an influential major general who served directly under Rochambeau. The Chastellux family has preserved his private papers for more than 240 years in their Château de Chastellux. This article details the contents of this private archive as well as the history of its creation and preservation. Additionally, the existence of Chastellux's archive raises questions about the possible existence of similar unpublished French archival collections, which may also offer new perspectives on the American Revolutionary War. Furthermore, in the contemporary digital era, families that choose to preserve their records in private archives may now make them digitally accessible to the academic community. This introduces new circumstances and opportunities for the access and translation of previously inaccessible information.

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de Saint-Vaast, Pierrick. "Le château en sortie de guerre : les élites face à de nouveaux enjeux (France du Nord-Est, 1918-v. 1925)". Revue historique 700, n. 4 (1 dicembre 2021): 1047–65. http://dx.doi.org/10.3917/rhis.214.1047.

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Faure, Pierre, e Claude Guernet. "Ludien marin de Château-Thierry, Ostracodes et corrélations stratigraphiques entre Bassin de Paris (France) et Bassin du Hampshire (Grande-Bretagne)". Geobios 21, n. 4 (gennaio 1988): 507–13. http://dx.doi.org/10.1016/s0016-6995(88)80047-0.

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41

Lerouge, Catherine, Jean-Charles Robinet, Mathieu Debure, Christophe Tournassat, Alain Bouchet, Ana María Fernández, Christine Flehoc et al. "A Deep Alteration and Oxidation Profile in a Shallow Clay Aquitard: Example of the Tégulines Clay, East Paris Basin, France". Geofluids 2018 (2018): 1–20. http://dx.doi.org/10.1155/2018/1606753.

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The oxidation profile of a surficial clay aquitard was studied on a 35-meter borecore from the Albian Tégulines Clay near Brienne-le-Château (Paris Basin, France). Mineralogical, geochemical, and petrophysical data showed evidences of gradual oxidation taking place down to a depth of 20 m. Below 20 m, the clay material was nonplastic and nonfractured, and it inherited reduced redox conditions from bacterial sulfate reduction that occurred after sediment deposition. Above 20 m, the clay material was plastic. Up to a depth of 10-11 m, only rare yellowish aggregates of glauconite attested to limited oxidation, and pore water chemistry was unmodified. The 5–11 m depth interval was characterized by intensive pyrite oxidation, calcite dissolution, and formation of sulfate and iron hydroxide minerals. The upper 2-3 m was ochrous and entirely oxidized. These mineralogical changes were mirrored with pore water chemistry modifications such as an increase of alkalinity and sulfate concentration in the upper part of the profile. The presence of siderite at ~11 m evinced the reactivity of Fe(II) in the structure of clay minerals with dioxygen from meteoric waters that infiltrated into the Tégulines Clay through vertical fractures.

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Riall, Nicholas. "The Diffusion of Early Franco-ItalianAll'AnticaOrnament: The Renaissance Frieze in the Chapel of the Hospital of St Cross, Winchester, and the Gaillon Stalls, Now at St Denis, Paris". Antiquaries Journal 88 (settembre 2008): 258–307. http://dx.doi.org/10.1017/s0003581500001438.

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In Volume 82 (2002) of theAntiquaries Journal,the canopied benches at St Cross were described, along with a discussion of their date and patronage. This paper takes the subject further by suggesting a reconstruction of the layout of these fittings. Conclusions reached in the earlier paper are further refined: the distinctive mouldings on the frieze, benches and desks clearly demonstrate that all three elements are integral to the same work and not added to preexisting benches, as previously argued. Further research suggests that the imagery and style of the frieze at St Cross had little impact on the aesthetic of the works patronized by Bishop Fox in Winchester Cathedral. Instead, parallels are drawn between the St Cross frieze and other modes ofall'anticawork in France, including the celebrated Renaissance stalls from the chapel of the archiepiscopal palace at the Château de Gaillon (Eure) and the cathedral stalls at Amiens (Somme). It has also become apparent that there is no other extant work in England that directly parallels the frieze at St Cross, and that the nearest analogue is the stallwork from Gaillon.

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Bastet, Delphine. "Étude iconographique des Bacchanales Richelieu de Nicolas Poussin". Studiolo 4, n. 1 (2006): 167–86. http://dx.doi.org/10.3406/studi.2006.1168.

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Cet article étudie l'iconographie du décor du cabinet du roi Louis XIII au château de Richelieu, présentant conjointement les tableaux du Studiolo d'Isabelle d'Este entrés dans la collection du cardinal de Richelieu, les trois triomphes de personnages de la légende de Bacchus commandés à Nicolas Poussin dans les années 1630 et une allégorie de La Libéralité de Titus peint par Jacques Stella. Un bilan des interprétations auxquelles ce décor a donné lieu est dressé, puis une nouvelle lecture iconographique est proposée. Elle se base sur l'examen des interprétations existantes dans la peinture et la littérature du thème du Triomphe de Bacchus et sur la consultation des thèmes retenus dans les ballets ou les panégyriques adressés à la gloire du roi Louis XIII. Ces éléments permettent d'avancer que le décor rend hommage aux victoires militaires de Louis XIII au travers du personnage de Dionysos revenant de la conquête des Indes et célèbre le retour en France de la paix et de l'abondance, consécutif à la grande valeur militaire du roi.

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Brown, Elizabeth A. R. "Philip the Fair of France and His Family’s Disgrace: The Adultery Scandal of 1314 Revealed, Recounted, Reimagined, and Redated". Mediaevistik 32, n. 1 (1 gennaio 2020): 71–103. http://dx.doi.org/10.3726/med.2019.01.03.

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In the spring of 1314, the three daughters-in-law of King Philip the Fair of France were seized as adulteresses, and two young knights, their alleged lovers, were brutally put to death at Pontoise, their property confiscated.1 The knights in question were brothers, Philippe and Gautier d’Aulnay, whose actions brought singular dishonor to their line and to their father Gautier, a faithful vassal and supporter of Count Charles of Valois, Philip the Fair’s brother and close confidant.2 Two of the king’s disgraced daughters-in-law were sent to the Norman fortress of Château-Gaillard. The oldest, Marguerite of ducal Burgundy (ca. 1289‐1315), the daughter of the late Duke Robert of Burgundy (1248‐1306) and of Saint Louis’s daughter Agnes of France († 1327), was married to Louis (1289‐1316, r. 1314‐1316), king of Navarre and heir to the throne of France. Taken with her was Blanche of Artois and comital Burgundy (1296/1297‐1325/1326), wife of the king’s third son Charles of La Marche (1294‐1328, r. 1322‐1328), and daughter of the late Count Othon of Burgundy († 1303) and of Mahaut († 1329), countess of Artois and Burgundy. Jeanne (1287/1288‐1330), Blanche’s elder sister and wife of Philip of Poitiers (1290/1291‐1322, r. 1316‐1322), enjoyed prestige and standing the other two lacked because of the great landed inheritance, the county of Burgundy, which she had brought to her marriage. Perhaps because of this, perhaps because her guilt seemed less clear than that of the others, she was treated differently and imprisoned near Paris, at Dourdan. After Philip the Fair died on 29 November 1314, Jeanne was released, around Christmastime, declared innocent after proceedings in the Parlement of Paris. News of the shocking and unprecedented scandal spread throughout the realm of France and beyond its borders. Marguerite and Blanche were generally considered guilty, even though there was wonderment at how the affair could have taken place.3

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Michel, Anne-Sophie. "Une communauté d’artistes et d’artisans français à l’étranger : Le cas des sculpteurs au château royal de Stockholm au XVIIIe siècle". 1700-tal: Nordic Journal for Eighteenth-Century Studies 12 (5 novembre 2015): 117–31. http://dx.doi.org/10.7557/4.3528.

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A Community of French Artists and Craftsmen Abroad: A Case Study of theSculptors of the Royal Palace of Stockholm in the Eighteenth Century Following the approach of Linda Hinners’s research, this article comprises a study of French sculptors who worked on the construction of Stockholm’s royal palace in the eighteenth century. Indeed, between 1732 and 1765, the superintendent of royal buildings had recruited, through the action of social networks, thirty French sculptors. To encourage them to leave France, the superintendent offered them very attractive conditions of life and work, and the prospects of a career. Once there, these sculptors created the royal palace decoration from the sketches of the Swedish architects. Beyond their artistic ability, the Swedes utilized their great experience of construction work and technical know-how. Soon, they took over the management of the sculpture works and training of young Swedish craftsmen present on the site. With the recruitment of French experts, the Swedes therefore had skilled and knowledgeable work teams, which created autonomous production workshops. These latter also underwent a modernization process induced by the creation of the Superintendence of royal buildings and the Swedish Royal Academy. Thus, the French appear to have been the actors of a modern artistic policy that allowed Sweden to utilize the French aesthetic model.

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Halgrain, Mohan. "La tradition manuscrite des Fables de Marie de France: Le manuscrit 474 de la Bibliothèque du Château de Chantilly (X), un témoin négligé". Reinardus / Yearbook of the International Reynard Society 20 (12 dicembre 2008): 17–28. http://dx.doi.org/10.1075/rein.20.02hal.

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Les "Fables" de Marie de France font partie des textes français du Moyen Âge les plus appréciés de leurs contemporains, si l’on en croit le grand nombre de copies qui nous en est parvenu. Karl Warnke, pour son édition de 1898, en avait, en effet, recensé vingt-trois. Or ce chiffre est venu s’accroître depuis, avec la découverte d’un très petit fragment du texte à Nottingham, mais surtout grâce à un nouveau recensement des témoins effectué par Françoise Vielliard en 1989 et qui a permis la "découverte" de deux nouveaux manuscrits. C’est l’un d’entre eux qui est ici évoqué, d’un point de vue codicologique d’abord, mais surtout à travers sa très forte tendance à modifier le texte original, qui fait de lui le manuscrit de loin le plus remanieur de la tradition. Nous nous sommes ainsi attaché à cerner la nature et les raisons de ces nombreux remaniements, avant d’aborder finalement les quelques cruciales questions d’ordre éditorial que pose un tel document.

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Suma, Rossella, Georgia Stavropoulou, Elisavet K. Stathopoulou, Luc Van Gool, Andreas Georgopoulos e Alan Chalmers. "Evaluation of the effectiveness of HDR tone-mapping operators for photogrammetric applications". Virtual Archaeology Review 7, n. 15 (15 novembre 2016): 54. http://dx.doi.org/10.4995/var.2016.6319.

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<p class="VARAbstract">The ability of High Dynamic Range (HDR) imaging to capture the full range of lighting in a scene has meant that it is being increasingly used for Cultural Heritage (CH) applications. Photogrammetric techniques allow the semi-automatic production of 3D models from a sequence of images. Current photogrammetric methods are not always effective in reconstructing images under harsh lighting conditions, as significant geometric details may not have been captured accurately within under- and over-exposed regions of the image. HDR imaging offers the possibility to overcome this limitation, however the HDR images need to be tone mapped before they can be used within existing photogrammetric algorithms. In this paper we evaluate four different HDR tone-mapping operators (TMOs) that have been used to convert raw HDR images into a format suitable for state-of-the-art algorithms, and in particular keypoint detection techniques. The evaluation criteria used are the number of keypoints, the number of valid matches achieved and the repeatability rate. The comparison considers two local and two global TMOs. HDR data from four CH sites were used: Kaisariani Monastery (Greece), Asinou Church (Cyprus), Château des Baux (France) and Buonconsiglio Castle (Italy).</p>

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Daumy, Jean-Charles. "De la Révolution à la nostalgie de la grandeur passée: les La Rochefoucauld-Liancourt et la reconstruction de leur système de représentation sociale dans le premier XIXe siècle". Memoria y Civilización 27, n. 1 (7 maggio 2024): 17–43. http://dx.doi.org/10.15581/001.27.1.002.

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Sous l’Ancien Régime, le duc de Liancourt (1747-1827) était non seulement grand maître de la Garde-robe du roi, mais il était également à la tête d’un vaste capital social, économique et foncier. Aristocrate éclairé, il s’investit dans les événements révolutionnaires de 1789 mais dut partir en exil après le 10 août 1792 alors que son cousin le duc de La Rochefoucauld était assassiné. Devenu duc de La Rochefoucauld-Liancourt sous la Restauration, il entreprit avec son fils aîné la reconstruction symbolique et économique du système de représentation sociale de la famille. Elle passait par le rachat de terres perdues, de domaines, mais également par le retour en force des expériences de la philanthropie libérale: vaccination, caisse d’Epargne, industrie. Personnage illustre de son vivant, le duc a laissé une quantité considérable d’archives réparties dans trois grands fonds qui ont été dépouillés: un dépôt familial conservé au château de La Rochefoucauld (Charente, France), le chartrier de Liancourt aux archives départementales de l’Oise, et les diverses liasses qui se trouvent aux archives nationales (Pierrefitte-sur-Seine). La Rochefoucauld-Liancourt manifestait ainsi une forme de nostalgie sociale et politique qui exprimait un regret pour la haute noblesse libérale et ses aspirations politiques et sociales d’avant la Révolution.

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Leme, Mariana. "Versailles Revival (1867‐1937) : Curated by Laurent Salomé and Claire Bonnotte, Château de Versailles, Versailles, France, 19 November 2019‐15 March 2020". Journal of Curatorial Studies 10, n. 2 (1 ottobre 2021): 271–75. http://dx.doi.org/10.1386/jcs_00047_7.

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Lézaud, Hélène, e Henri Lavagne. "« Dans la vieille tour d’Aigues ». Un relevé par Peiresc de l’emblématique peinte dans le château de la Tour d’Aigues (Vaucluse)". Journal des savants 1, n. 1 (2020): 147–209. http://dx.doi.org/10.3406/jds.2020.6424.

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Les murs de la grande salle du donjon de la Tour d’Aigues avaient été ornés au Moyen Âge d’une frise de 33 écus peints, qui avaient presque entièrement disparu lors de l’incendie du château à la Révolution. Heureusement, Peiresc avait pris soin d’en faire un relevé au début du XVIIe siècle, sous la forme de quatre planches coloriées conservées aujourd’hui à la Bibliothèque Inguimbertine de Carpentras. Ce sont ces documents, datables de 1327 environ, que nous publions, en analysant chacune des plus illustres familles provençales dont les écus donnent ici les armoiries. On peut ainsi présenter un tableau de l’aristocratie méridionale au début du XIVe siècle et de ses liens avec les représentants des grandes familles de l’Italie du sud qui sont étroitement liées à la conquête des Angevins et à l’administration des deux royaumes. L’étude de cet inédit de Peiresc permet également d’en étudier la méthode comme héraldiste. tunately Peiresc had made a painstaking record of the frieze at the beginning of the XVIIth century. This takes the form of four coloured sheets held to-day at the Bibliothèque Inguimbertine in Carpentras. These are the documents which we are publishing with an analysis of each of the prominent provençal families whose arms are shown on the shields, dating to about 1327. This makes it possible to present a picture of the aristocracy of the south of France at the beginning of the XIVth century and of their links with representatives of great families of the south of Italy, links which are closely connected to the Angevins’ conquest and administration of the two kingdoms. The study also makes possible an analysis of Peiresc’s approach to heraldry.

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