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Les valeurs les plus consacrées ont leur histoire. Ce « Tombeau de Léonard de Vinci » rassemble et analyse les textes qui à l’époque des Décadents et des Symbolistes ont contribué à faire de Léonard et de la Joconde les modèles de référence de la culture picturale occidentale. À un moment où les sciences et les techniques occupent une place dans la civilisation moderne qui interroge nécessairement la capacité des pratiques culturelles traditionnelles, Léonard de Vinci, esprit universel et peintre, apparaît comme une figure mythique de conciliation des antagonismes. À un moment où la peinture « moderne » et la photographie mettent en crise la fonction « réaliste » du tableau, la Joconde, un portrait, devient le plus beau tableau du monde. Deux absolus d’autant plus mythiques que le réel est plus irrépressiblement éclaté et la prétention interprétative totalisante des élites plus désespérément vaine. Le culte que le xixe siècle inaugure, apparaît ainsi comme la plus haute dénégation de l’impuissance de la culture telle que nous la vivons encore. Le propos n’est pas technique, il ne vise pas la « vérité », par quelque voie qu’on prétende la constituer, de Léonard et de son œuvre. Il ne s’agit que de décrire un processus complexe d’élaboration des représentations culturelles françaises en matière de peinture. Cela implique que les textes occupent le devant de la scène et que la critique d’art soit prise pour ce qu’elle est : l’organisation d’une croyance et un exercice d’écriture. La critique communique donc davantage avec la littérature qu’avec la connaissance, d’où la coexistence ici de textes qui appartiennent aussi bien à l’essai qu’au roman et qui sont produits par Taine, Michelet, Barrés, Valéry, Laforgue, Péladan... mais aussi, le vincisme français convoquant l’Europe, par Walter Pater, D’Annunzio ou Merejkovsky.

Thematology --- French literature --- Painting --- Leonardo da Vinci --- Literature, Modern --- Painting in literature. --- History and criticism. --- History and criticism --- Leonardo, --- In literature. --- Da Vinci, Leonardo, --- Leonardo da Vinci, --- Léonard, --- Lieaonaduo, --- Lionardo, --- Liyūnārdū Dāvīnshī, --- Vinchi, Leonardo da, --- Vinci, Leonardo da, --- Леонардо да Винчи, --- Леонардо, --- לאונרדו, --- ליאונארדו, --- ליאונרדו דא וינצ׳י --- ליאורנרדו, --- tombeau --- peinture --- symbolisme --- invention

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Exploring the intricacy and complexity of Walter Pater's prose, Transfigured World challenges traditional approaches to Pater and shows precise ways in which the form of his prose expresses its content. Carolyn Williams asserts that Pater's aestheticism and his historicism should be understood as dialectically interrelated critical strategies, inextricable from each other in practice. Williams discusses the explicit and embedded narratives that play a crucial role in Pater's aesthetic criticism and examines the figures that compose these narratives, including rhetorical tropes, structures of argument such as genealogy, and historical or fictional personae.

Pater, Walter --- Historicism. --- Pater, Walter, --- Knowledge --- History. --- Aesthetics. --- Pater, Walter Horatio, --- פאטר, וואלטר, --- Peiter, Ouolter, --- Pater, Walter H. --- Peitā, Worutā, --- ペイター ウォルター, --- Pater, Valʹter, --- Патер, Вальтер, --- History --- Philosophy --- historicism --- romanticism --- Marius the Epicurean --- astheticism --- Leonardo da Vinci --- figural strategies --- Victorianism --- Renaissance --- literary theory --- Plato and Platonism --- Greek Studies --- Walter Pater

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The application of advanced techniques to the study of ancient materials has increasingly led to a range of fundamental to deeper knowledge on artistic and historic artefacts, contributing to their conservation and restoration. An important role is played by materials science: scientific techniques developed in this field allow a multidisciplinary approach in archaeology, history of art, and conservation. By studying the materials that constitute an artefact, a great amount of information relevant to a work of art can be accessed, such as the elements and compounds with which it was made and their level of degradation by the time of the examination. The final goal is the possibility of determining the chronology of the making of the various parts of a work of art, its provenance, the techniques of realization, the attribution to an author, and the method of intervention for restoration. This Special Issue collects papers dealing with the application of materials science to different types of human artefacts, such as ceramics, glass, paintings, and metal objects. The considered topics range from instrumentation and technical developments to case studies and methodological innovations, from theoretical simulations to new data handling.

characterization --- ceramic --- glaze --- tin opacified --- cuerda seca --- lead isotopes --- SEM --- ICP-QMS --- Islamic --- obsidian --- sourcing --- trade and exchange --- pXRF --- trace elements --- Italy --- central Mediterranean --- Neolithic --- prehistory --- thermoluminescence --- dating --- clay-core --- bronze statue --- Leonardo da Vinci --- drawing --- multispectral reflectography --- microprofilometry --- optical coherence tomography --- archaeological glass --- archaeometry --- VIS–RS --- SEM–EDS --- Raman spectroscopy --- XRPD --- EPMA --- LA–ICP–MS --- dice --- gaming pieces --- Ligurian --- Etruscan --- clay spheres --- n/a --- VIS-RS --- SEM-EDS --- LA-ICP-MS

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[English version below]
Seit der Antike wurden immer neue Kunstgriffe ersonnen, um den menschlichen Körper an sich und in seiner künstlerischen Darstellung zu perfektionieren. Der Band versammelt Texte, die dieses Streben nach Schönheit bezeugen, von dessen Anfängen bis zum Ende des 18. Jahrhunderts. Spätestens seit der antiken Erzählung von der schönen Helena gilt körperliche Schönheit als ein Kunstprodukt: Für sein Bildnis der Helena soll der griechische Maler Zeuxis die fünf hervorragendsten Jungfrauen ausgewählt und von jedem Modell den jeweils schönsten Körperteil gemalt haben. Nach dieser Vorstellung ist vollkommene Schönheit erst durch einen künstlichen Eingriff zu erzielen. Kunst und Körperpflege stehen damit in einem spannungsvollen Wechselverhältnis. Denn die Grundlagen und Mittel zur Erzeugung und Steigerung von körperlicher Schönheit, die in beiden Bereichen zur Verfügung stehen, überschneiden, ergänzen und beeinflussen sich. Das Buch beleuchtet dieses Wechselverhältnis anhand ausgewählter Grundlagentexte, allesamt in deutscher Übersetzung, ergänzt um fundierte Kommentare zum historischen Kontext.

For many centuries, new tricks have been devised to perfect the human body itself and in its artistic representation. The volume brings together texts that testify to this striving for beauty, from its beginnings to the end of the 18th century.
For his portrait of Helena, believed to be the most beautiful woman in the Ancient world, the Greek painter Zeuxis is said to have selected the five most outstanding virgins and to have painted the most beautiful body part of each model. According to this idea, transmitted by Ovid, perfect beauty can only be achieved through an artificial intervention. Art and personal hygiene are thus in an exciting interrelation. Because the basics and means of creating and enhancing physical beauty, which are available in both areas, overlap, complement and influence each other. The book illuminates this interrelation using selected basic texts, all in German translation, supplemented by well-founded comments on the historical context.

Aesthetics. --- Human body (Philosophy) --- beauty --- Apuleius --- Ovid --- Schönheit --- Leonardo da Vinci --- Agnolo Firenzuola --- body --- history of ideas --- Körper --- cosmetics --- Isidor von Sevilla --- Ideengeschichte --- Kosmetik --- Alexander Cozens --- Ästhetik --- Alessandro Allori --- Gérard Audran --- Baldassare Castiglione --- Benedetto Varchi --- Giambattista della Porta --- Leon Battista Alberti --- Erasmus von Rotterdam --- Lodovico Dolce --- Gian Lorenzo Bernini --- William Hogarth --- anthology --- aesthetics --- Francisco de Goya --- Lorenzo Valla --- Peter Paul Rubens --- Cicero --- Giovanni Paolo Lomazzo --- Gerard de Lairesse --- Hildegard von Bingen --- Francesco Petrarca --- Albrecht Dürer --- Vincent von Beauvais --- art theory --- Giovanni Marinello --- Girard Thibault --- Kunsttheorie --- Anthologie --- Franco Sacchetti --- William Shakespeare