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[‛Alawī; Filālī]

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 ...

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....

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 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 ...

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 Montpellier, Dec 15, 1807; d Paris, Aug 8, 1893).

French painter. He was trained by Eugène Devéria and Achille Devéria and made his first appearance at the Salon, in 1836, with Luca Signorelli da Cortona (Avignon, Mus. Calvet) and Flight into Egypt (untraced), the first of a number of religious pictures painted in the 1840s in the pleasant, sentimental manner of Eugène Devéria’s religious work. The Humility of St Elizabeth of Hungary (exh. Salon, 1843; Montpellier, St Louis), Conversion of the Magdalene (1845; Nogent-sur-Seine, parish church) and Adoration of the Shepherds (1846; Quesnoy-sur-Airaine, parish church) belong to an idea of the Rococo common in the 1840s. Glaize’s interest in 18th-century French art is also evident in Blood of Venus (exh. 1846) and Picnic (both Montpellier, Mus. Fabre). This element was less obvious in the 1850s. In 1852 he exhibited a scene of the savage heroism of the Women of Gaul: Episode from the Roman Invasion (Autun, Mus. Rolin), one of the first pictures on a theme that appealed to a new interest in the history of Gaul in the Second Empire. Increasingly, he adopted subject-matter favoured by the ...

[Osmanlı]

Islamic dynasty that began to rule in Anatolia in 1281; at its greatest extent in the 16th century the Ottoman empire also included the Balkans, the Crimea, Iraq, Syria, the Hijaz, Egypt and North Africa. It lasted until the promulgation of the Constitution of the Turkish Republic in 1924.

Çigdem Kafesçioglu

The Ottomans claimed descent from the eponymous Osman (‛Uthman), a Turkish ruler active in north-west Anatolia at the end of the 13th century and beginning of the 14th. His small emirate grew at the expense of the declining state of the Saljuqs of Anatolia (see Saljuq family, §2). Ideologically based on the concept of religious warfare (Turk. gaza, from Arab. ghazw), the state expanded rapidly to the west over Byzantine territory in Thrace and the Balkans, and to the east over the Turkish principalities of Anatolia (see Beylik). The first major expansion took place under Osman’s son Orhan (...

(b Strelitz, Prussia [now Germany], 1741; d Cape Town, Dec 29, 1811).

South African silversmith of German birth. In 1768 he arrived at Cape Town, where he worked as sword-cutler in the service of the Dutch East India Company until 1778. The following year he started his own business. He was the most accomplished of the Cape silversmiths and the first to introduce the Rococo style, although it was always used in a restrained Dutch manner. Towards the end of his career he also produced pieces in a Neo-classical style, probably inspired by silverware brought by English immigrants. His most exuberant designs are silver furniture mounts with a cast floral motif. He was one of the first Cape silversmiths to make such large domestic pieces as tea- and coffee-pots and covered sugar bowls, usually with cast floral finials and supports. The only recorded pair of Cape candlesticks (Cape Town, S. Afr. Cult. Hist. Mus.) is by Schmidt.

(b Picquigny, nr Amiens, bapt Paris, Feb 29, 1750; d Cape Town, Nov 3, 1815).

French architect, teacher, engineer and surveyor, active in South Africa. He studied (1774–5) at the Académie Royale d’Architecture, Paris, under Ange-Jacques Gabriel, Richard Mique and Julien-David Le Roy. He then trained as an engineer officer, and in 1781, with the patronage of Colonel C. D. de Meuron, he studied military engineering. He was landed at the Cape of Good Hope in 1783, as a mercenary employed by the Dutch East India Company. Here he was privately commissioned to execute such projects as Papenboom (1786; destr.; see Lewcock, pls 43, 43A), a country house in Newlands, and Saasveldt (1791), a Cape Town residence demolished and rebuilt in 1966 as the Huguenot Memorial Museum at Franschhoek. From this period date the series of Cape Dutch houses conventionally attributed to Thibault and for which he is best known. These include the Groot Constantia reconstruction (1791–3), the Tokai Manor House (...