Çigdem Kafesçioglu and Walter B. Denny
Çigdem Kafesçioglu and Walter B. Denny
Islamic dynasty and rulers of Morocco since 1631. Like their predecessors the Sa‛dis, the ‛Alawis are sharīfs (descendants of the Prophet Muhammad), and both dynasties are sometimes classed together as the ‘Sharifs of Morocco’. From a base in the Tafilalt region of south-east Morocco, the ‛Alawi family was able to overcome the centrifugal forces exerted by the Berber tribes who had destroyed the Sa‛di state in the first half of the 17th century. To restore political authority and territorial integrity, Mawlay Isma‛il (reg 1672–1727) added a new black slave corps to the traditional tribal army. Although royal power was weak during the 19th century and the early 20th, when the French and Spanish established protectorates, the ‛Alawis’ power was fully restored after independence from the French in 1956.
‛Alawi building activities (see Islamic art, §II, 7(v)) were concentrated in the four cities that have served as their capitals: Fez and Marrakesh at various times from ...
(b Cobham, Kent, June 9, 1862; d Cobham, Feb 4, 1946).
English architect and writer, also active in South Africa and India . He was articled to a cousin, Arthur Baker, a former assistant of George Gilbert Scott I, in 1879 and attended classes at the Architectural Association and Royal Academy Schools before joining the office of George & Peto in London (1882), where he first met and befriended Edwin Lutyens. Baker set up in independent practice in 1890 but moved to South Africa in 1892 to join his brother Lionel Baker. In Cape Town he met Cecil Rhodes, Prime Minister of the Cape Colony, who directed his attention to the traditional European Cape Dutch architecture of the province and asked him to rebuild his house Groote Schuur (1893, 1897), now the official residence of South Africa’s prime ministers. Applying the ideas of the English Arts and Crafts movement to local conditions, Baker produced a series of houses, both in the Cape Province and the Transvaal, which were instrumental in the revival of Cape Dutch architecture. In ...
(b Moscow, May 7, 1903; d Paris, Jan 25, 1988).
Lithuanian art historian, scholar of folklore and Egyptology, and diplomat of Russian birth. Son of the celebrated Lithuanian Symbolist poet of the same name, Jurgis Baltrušaitis II studied under Henri(-Joseph) Focillon at the Sorbonne and earned the PhD in 1931. The concerns of his mentor are evident in La stylistique ornementale dans la sculpture romane (1931), which reprises and extends arguments for the ‘law of the frame’ in Romanesque sculpture. Accordingly, the shapes of architectural members, such as capitals and tympana, determined the articulation of sculptural forms. This theory could account for the genesis of a wide array of monumental carvings, from foliate capitals to narrative reliefs, but ultimately it had a rather limited impact on the field of Romanesque sculptural studies. In a scathing critique, Schapiro argued that Baltrušaitis’s book—and by implication Focillon’s methods—robbed Romanesque sculptors of agency and neglected the religious and expressive meanings of this art form....
Çigdem Kafesçioglu and Walter B. Denny
Bazaar, which is rooted in Middle Persian wāzār and Armenian vačaṟ, has acquired three different meanings: the market as a whole, a market day, and the marketplace. The bazaar as a place is an assemblage of workshops and stores where various goods and services are offered.
Primitive forms of shops and trade centres existed in early civilizations in the Near East, such as Sialk, Tepe in Kashan, Çatal Hüyük, Jerico, and Susa. After the 4th millennium BC, the population grew and villages gradually joined together to shape new cities, resulting in trade even with the remote areas as well as the acceleration of the population in towns. The advancement of trade and accumulation of wealth necessitated the creation of trade centres. Trade, and consequently marketplaces, worked as the main driving force in connecting separate civilizations, while fostering a division of labour, the diffusion of technological innovations, methods of intercultural communication, political and economic management, and techniques of farming and industrial production....
British photographers of Italian origin. Antonio Beato (b ?the Veneto, c. 1830; d Luxor, 1903) and his brother Felice [Felix] Beato (b ?the Veneto, c. 1830; d Mandalay, after 1904) were for many years thought to be one person with two names, Antonio and Felice, and only recently has the mystery been solved of the almost contemporaneous presence of a Beato in two different (and often very distant) places. The misunderstanding arose from the fact that both their names (Antonio Felice Beato) appear on several photographs. A closer inquiry brought to light a letter written by Antonio and published in the French paper, Moniteur de la photographie (1 June 1886), in which he explains that he is not the producer of the exotic photographs recently exhibited in London, mention of which had been made in the Moniteur of 10 March; the photographer was instead ‘[his] brother Monsieur Felice Beato of Japan’....
[Ben Youseph Nathan, Esther Zeghdda]
(b London, Nov 21, 1869; d Brooklyn, NY, Nov 27, 1933).
American photographer. Born Esther Zeghdda Ben Youseph Nathan to a German mother and an Algerian father, she immigrated to the United States in 1895. She worked as a milliner in New York before opening a photographic portrait studio in 1897. Her ‘gallery of illustrious Americans’ featured actresses, politicians, and fashionable socialites, including President Theodore Roosevelt, author Edith Wharton, artist William Merritt Chase, and actress Julia Marlowe. Ben-Yusuf also created Pictorialist-inspired artwork like The Odor of Pomegranates (1899; see fig.), an allegory informed by the myth of Persephone and the idea of the pomegranate as a tantalizing but odourless fruit. Ben-Yusuf was included in an exhibition organized by the Linked Ring, Brotherhood of the in London in 1896 and continued to exhibit in the group’s annual exhibitions until 1902. Her photographs were exhibited at the National Academy of Design in 1898 and at the Camera Club of New York in ...
(b Saint-Hippolyte-du-Fort, March 8, 1831; d Alès, April 9, 1885).
French photographer and photographic printer. Bonfils is best known for his photographs of the Mediterranean and Middle East, particularly his five-volume Souvenirs d’Orient: Egypte. Palestine. Syrie. Grèce (1878). Prior to opening a studio briefly in Alès in 1865, he was apprenticed to Abel Niépce de St Victor (180570). Having travelled to Lebanon in 1860 with the French Army to intervene in the conflict between the Druse and the Maronites, Bonfils decided to return to Beirut in 1867 with his wife Marie-Lydie Cabanis and son Adrian to establish a photographic studio under the name La Maison Bonfils. From there Bonfils began his photographic tour of Egypt, Palestine, Syria, and Greece, and sold his views back in his studio. These views included (he claimed) 15,000 albumen prints and 9000 stereoscopic cards. La Maison Bonfils became well known throughout Lebanon, the Middle East, and Europe as a première photographic studio and attracted many tourists seeking photographs of the surrounding area and peoples. Bonfils’s success was compounded when he presented his photographs to the Société Française de Photographie in ...
[John Lewis; Johann Ludwig]
(b Lausanne, Nov 24, 1784; d Cairo, Oct 15, 1817).
Swiss explorer. He was born into a distinguished Basle family and attended the university at Leipzig (1800) and subsequently at Göttingen (1804). He arrived in England in 1806 where, through the influence of Sir Joseph Banks, he was adopted by the African Society to search for the source of the River Niger. In 1809 he departed for the Middle East where, at Aleppo, he perfected his Arabic and undertook a protracted induction into Muslim theology, practice and culture. In 1812 he set out for Cairo, en route discovering the ancient city of Petra. His subsequent exploration of the Upper Nile led to his discovery of the Great and Small Temples of Ramesses II at Abu Simbel. Accepted as a Muslim after rigorous cross-examination, he visited Mecca and Medina in 1814, the first European to have done so. Further travels ensued, but after his return to Cairo in ...
R. H. Fitchett
Architectural style developed at the Cape of Good Hope, South Africa, during the period of Dutch East India Company rule (1652–1795). Despite subsequent British stylistic innovations, its use continued in country districts until the 1880s. The term was first acknowledged, with reservations, by G. E. Pearse in 1933 but was given authority only in 1953 by C. de Bosdari. It covers three main building types: farmhouses, town houses and public buildings.
The early development of both domestic types followed similar lines, with the availability of materials being the major determining factor. Local bricks were under-fired and insufficiently water-resistant, which led to the use of lime plaster on exteriors, creating a white-walled aesthetic. Experiments with tiled roofs were unsuccessful, resulting in the adoption of thatch. Roofs were hipped at first, but were gradually replaced with half-hipped or gabled ends; the latter were given decorative outlines from an early date. Most early houses were rectangular in plan and only one room deep. However, the larger residences of the officials had more complex plans and triple-gabled façades with a central full-height gable flanked by dwarf gables....
(b Marseille, Nov 26, 1787; d Marseille, Feb 8, 1879).
French architect and writer. The designer of many of the principal public buildings of Marseille, he also published the first accurate records of the Islamic monuments of Cairo, North Africa and the Middle East—a central interest of mid-19th-century architectural theorists and ornamentalists.
After studying both engineering and drawing in Marseille, Coste began his career in 1804 as site inspector and draughtsman for the Neo-classicist Michel-Robert Penchaud, a municipal and departmental architect, for whom he worked for a decade. In 1814, on the recommendation of the architects Percier & Fontaine, he entered the Ecole des Beaux-Arts in Paris and the ateliers of Antoine-Laurent-Thomas Vaudoyer and Jean-Baptiste Labadye (1777–1850). An encounter in Paris with the geographer Jombert, who had been a member of the scientific mission that accompanied Napoleon’s invasion of Egypt in 1798, was to influence his subsequent career. In 1817 Jombert recommended Coste to Muhammad ‛Ali, Khedive of Egypt (...
(b Givry, nr Chalon-sur-Saône, Jan 4, 1747; d Paris, April 28, 1825).
French museum director, writer, graphic artist, collector, archaeologist and diplomat. He was the son of a provincial aristocrat. He went to Paris to further his law studies c. 1765 but entered the studio of Noël Hallé. He became Gentleman-in-Ordinary to Louis XV and was appointed keeper of the collection of engraved gems and medals that Mme de Pompadour had left to the King. In 1772 he entered the diplomatic service as attaché to the French embassy at St Petersburg, he was subsequently posted to Stockholm, Geneva (where his disrespectful engraving Repast at Ferney, of 4 July 1775, angered Voltaire) and, from spring 1776, Naples. There he became acquainted with Sir William Hamilton, the British ambassador, and made many drawings of his future wife Emma. Denon began to acquire a diverse collection of paintings and engravings as well as antiquities from excavations at Nola, Catania, Agrigento, Pompeii and Herculaneum. He purchased the painting of the ...
(b Paris, Feb 8, 1822; d Baden-Baden, Feb 9, 1894).
French photographer and writer. He was from a wealthy background, and he learnt calotype photography from Gustave Le Gray and Alexis de Lagrange. In 1849 he was sent by the Ministère de l’Instruction Publique on a mission to the Middle East to record the monuments and inscriptions. He undertook the trip (1849–51) with his friend the writer Gustave Flaubert, and during his travels he used a modified calotype process imparted to him by Alexis de Lagrange. He brought back c. 200 pictures from Egypt and some from Jerusalem and Baalbek. The album Egypte, Nubie, Palestine et Syrie: Dessins photographiques recueillis pendant les années 1849, 1850, 1851, accompagnés d’un texte explicatif et précédés d’une introduction was published by Gide and Baudry in 1852–4 (copy in Paris, Bib. Inst.; prints in Paris, Mus. d’Orsay; Paris, Bib. N.; Paris, Inst. Géog. N.). It contains 125 calotypes printed by Louis-Désiré Blanquart-Evrard, and it was the first printed work in France to be illustrated with ...
(b Dublin, 1852; d Bath, Jan 13, 1891).
Irish architect, active in South Africa. He was articled to the firm of Lanyon, Lynn and Lanyon of Dublin and Belfast at the age of 15, serving an apprenticeship for 5 years. The firm was dissolved in 1872 and Dudgeon joined William Henry Lynn as manager and chief assistant. He left towards the end of 1875, travelled for 12 months and arrived in Durban in January 1877. Only 6 of the 44 buildings designed or altered by him are extant. They encompass a variety of building types and styles. The major source of inspiration for the Standard Bank (1878–83) in Pietermaritzburg was Charles Lanyon’s Head Office of the Northern Bank (1851–2) in Belfast. The potential of the salmon-pink Pietermaritzburg brick is fully exploited in a stripped classical building with a central portico in antis.
Dudgeon won the competition for Durban Town Hall (1882–5). The building comprises a hexastyle Corinthian portico with flanking wings and a tower rising behind it. Although it was based on British prototypes, Dudgeon made concessions to the climate in the large size and convenience of areas, in the attention paid to ventilation and in the loggia protecting the north façade from the sun. For Maritzburg College (...
Neo-classical style of architectural and interior design; as Egyptomania or Egyptiennerie it reached its peak during the late 18th century and early 19th. Napoleon’s campaign in Egypt (1798) coincided with emerging tastes both for monumental and for richly ornamental forms, enhanced by the literary and associational concerns of Romanticism. Unlike its Greek and Gothic counterparts, the Egyptian Revival never constituted a coherent movement with ethical or social implications. Indeed, since its earliest manifestations occurred in the later Roman Empire, the Revival itself can be seen as one in a series of sporadic waves of European taste in art and design (often linked to archaeological inquiry), acting as an exotic foil to the Classical tradition with which this taste was and remains closely involved (see fig.). On a broader plane of inquiry, the study of Egyptian art and architecture has continued to promote a keen awareness of abstraction in design and a decorative vocabulary of great sophistication. These are among the most enduring contributions of ancient Egypt to Western art and design. ...
(b Chesterfield, Derbys, 1822; d Cannes, Feb 25, 1898).
English photographer. He is noted for his studies of the Middle East and for establishing the largest photographic publishing firm in the 19th century. He was born into a Quaker family and spent five unrewarding years apprenticed to a cutler in Sheffield, suffering a nervous breakdown in 1843. After two years recuperative travel he became a successful businessman, first in wholesale groceries and later in printing. His involvement with photography began at this time. He was one of the founder-members of the Liverpool Photographic Society in 1853 and he exhibited portraits and landscapes to much critical acclaim.
The sale of Frith’s printing firm in 1854 financed the expeditions to Egypt and the Holy Land that were to establish his pre-eminence among early travel photographers. He made three trips between 1856 and 1860 (see fig.). On the first, he sailed up the Nile to the Second Cataract, recording the main historic monuments between Cairo and Abu Simbel. On the second, he struck eastwards to Palestine, visiting Jerusalem, Damascus and other sites associated with the life of Christ. The final expedition was the most ambitious, combining a second visit to the Holy Land with a deeper southward penetration of the Nile. His photographs of the temple at ...
James P. W. Thompson
(b La Rochelle, Oct 24, 1820; d Saint-Maurice, Aug 27, 1876).
French painter and writer. The wide skies and sweeping plains of his native Charente region left him with a love of natural beauty for which he later found affinities in Algeria and the Netherlands. From his youth he showed academic intelligence, literary talent and artistic aptitude. In 1839 he was sent to Paris to study law, but he became increasingly interested in drawing. Although his father, a skilled amateur artist who had studied with Jean-Victor Bertin, never became reconciled to his son’s desire to pursue painting as a career, Fromentin was sent to study with the Neo-classical landscape painter Jean-Charles-Joseph Rémond (1795–1875); however, he preferred the more naturalistic Nicolas-Louis Cabat. Fromentin developed slowly as an artist and began to show real promise as a landscape draughtsman only in the early to mid-1840s. He published his first important piece of criticism on the Salon of 1845.
From 3 March to ...
Betsy Cogger Rezelman
(b Cahirconlish, Co. Limerick, Aug 28, 1847; d Penzance, Cornwall, June 22, 1926).
Irish painter and writer. He attempted various professions, including diamond-mining and journalism in South Africa (1872–7), before becoming an artist. At the Koninklijke Academie, Antwerp (1878–80), under Charles Verlat, in Paris (1881–4) as a student of Carolus-Duran and in Venice (1885) Garstin became friends with future Newlyn school painters. Saint’s House and Field, Tangier (1885; Plymouth, City Mus. & A.G.), a small oil panel painted en plein air, exemplifies both the medium and the suggestive approach he preferred throughout his career. In 1886 he married and settled in Newlyn and then Penzance (1890). Financial pressures forced him to produce portraits and such large anecdotal genre scenes as Her Signal (exh. RA 1892; Truro, Co. Mus. & A.G.) for which his talents for simplified forms and surface design were less well suited. Though he exhibited widely, he received little recognition. Garstin supplemented his income by writing, lecturing, teaching and, from ...