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This article discusses the problem of the failed cause of beatification of Angela Serafina, from her death in 1608, until the beginning of the eighteen century. It examines all the factors that, in the context of the Catalan Baroque, could negatively influence the promotion to the altars of this religious, from the highest rigorist demand of the papacy, to the Catalan political adventure with the Bishop Sala, involved in the struggle be- tween Austriacistas and Borbónicos in the War of Succession. It also takes into consideration the personal variables of the life of Angela Serafina, like her own maternity before entering the convent, which generated more suspicions than the classical trajectories of nuns admitted young in the convents. A quantitative balance of the pro- cesses of beatification and canonization of men and women were completed during the 16TH and 17TH centuries. ; En este artículo se analiza la problemática de la causa fallida de beatificación de Ángela Serafina, desde su muerte en 1608, hasta comienzos del siglo XVIII. Se examinan todos los factores que, en el marco del Barroco catalán, pudieron influir negativamente en la promoción a los altares de esta religiosa, desde la mayor exigencia rigorista del papado, a la peripecia política catalana con el obispo Sala involucrado en la lucha entre austracistas y borbónicos en la Guerra de Sucesión. Se tienen en cuenta también las variables personales de la vida de Ángela Serafina como su propia maternidad, antes de ingresar en el convento, lo que generaba más suspicacias que las trayectorias clásicas de monjas ingresadas jóvenes en los conventos. Se acaba haciendo un balance cuantitativo de los procesos de beatificación y canonización, de hombres y mujeres, en los siglos XVI y XVII. ; Área de Historia del Arte. UPO

Zusammenfassung "Battaglien. Studien zur Schlachtenmalerei des 17. Jahrhunderts in Italien" von Oliver Tostmann Die Dissertation untersucht die Entwicklung der Schlachtenmalerei während des 17. Jahrhunderts in Italien. In den ersten Dekaden entstand dort eine eigene Gattung, die sich allein der Darstellung von Schlachten- und Gefechtsszenen widmete. Darstellungswürdig wurden fortan Szenen, in denen anonyme Kombattanten auf einem unlokalisierbaren Schlachtfeld gegeneinander ankämpfen. Diese Gattung lässt sich zwischen den beiden Polen der Historien- und der Genremalerei einordnen. . Vor dem historischen Hintergrund des politischen Machtverfalls von italienischen Staaten widmet sich die Arbeit vor allem der Frage, welches Interesse Sammler und Auftraggeber an den Bildern hatten. Dabei fällt auf, wie unterschiedlich die Figur des Helden dargestellt wurde. Battaglien zeichnen sich nicht unbedingt durch die völlige Absenz eines Helden aus, sondern dieser konnte im Unterschied zum klassischen Historienbild in vielfachen Facetten dargestellt werden. Hinsichtlich der Sammler und bedeutendsten Auftraggeber, lässt sich die Schlachtenmalerei als eine aristokratische Gattung charaktisieren. Bedeutende Sammler von battaglien wie etwa Mathias Medici, Nicolo Sagredo und Dorothea-Sophie Farnese werden in der Arbeit vorgestellt. Die Entwicklung der Gattung wird anhand von herausragenden Bildern von Filippo Napoletano, Aniello Falcone, Salvator Rosa, Pietro da Cortona und Jacques Courtois nachvollzogen. Dabei wird der Einfluß von nordeuropäischen Vorbildern deutlich, die die Entwicklung in Italien stark prägten. Nicht nur kämpften zahlreiche bedeutende Auftraggeber und Sammler auf den Schlachtfeldern nördlich der Alpen, sondern zahlreiche aus dem Norden stammenden künstlerische Neuerungen wurden in Italien aufgesogen. Eine Vermittlerposition kam dabei den führenden Künstlern selbst zu, die wie etwa Johann Wilhelm Baur, Jacques Courtois oder Pandolfo Reschi aus dem Norden stammten. Anstatt sich allerdings auf die Wiedergabe mehr ...

The Baroque style of architectural building, which had prevailed in much of Europe during the seventeenth and eighteenth centuries, emerged for the first time in the mid-eighteenth century in Istanbul. It was the Nuruosmaniye mosque in its Baroque tendencies that broke away from the traditional Anatolian and distinctive classical Sinan style of building. As Cerasi puts it, "It is no rough quotation or mere imitation of foreign styles, but a clever transposition of a foreign vocabulary into a perfectly dominated indigenous poesis." (Cerasi 1988: 98) This genius in reversing the roles and borrowing this foreign language of Baroque and applying it on a monument from Ottoman Turkey in a synthesis of two worlds is at the core of the Nuruosmaniye, which is considered one of the best representations of Baroque spirit in the Ottoman Empire. Moreover, what adds to this mystery is the little information regarding the architect and the direct origins that influenced the building of this mosque. This paper addresses the events that led to the building of the Nuruosmaniye and the penetration of Baroque influence into Turkey. While the character of the Nuruosmaniye retains a certain originality amongst the mosques of its time, true recognition of the Nuruosmaniye seems to have been suspended. With the exception of a few historians, the likes of Dogan Kuban and Aptullah Kuran, one may postulate that the Nuruosmaniye has been poorly represented in current historiography on Ottoman art—especially in contrast with previous Ottoman monuments, namely those of the Sinan period. While presenting a rich and rare evaluation of the Nuruosmaniye, this paper attempts to counterbalance the Nuruosmaniye's absence from literature dealing with Ottoman an history.

Dés, Mihály. 2013. Pesti barokk ['Budapest-Style Baroque']. Budapest: Magvető. 552 pp. Reviewed by Mario D. Fenyo, Bowie State University

Since the 1980s, and the Writing Culture critique of ethnographic representation, the writing of ethnographic texts in anthropology has been distinguished by the perennial appearance of new works composed of tropes and stylistic strategies that reflect the diverse influences of the period of critique. These "messy" texts were, and are, valorized as experiments. This essay argues that as critique such ethnographies are not so much experimental as baroque, indicating perhaps a limit of the historic ethnographic form, and the need to push the spirit of experiment back toward the conditions of producing ethnography in fieldwork. This "refunctioning" of ethnography in its experimental spirit would recognize and address the present limit of the baroque to which the 1980s period of critique and after has led.

Professor Denis De Lucca's pioneering research work over the past number of years has served to challenge the notion that the design of fortifications, particularly during the age of Baroque, was restricted solely to military circles. His seminal work on the role of the Society of Jesus, otherwise known as the Jesuits, in spreading knowledge about fortifications and military architecture, entitled 'Jesuits and Fortifications: The Contribution of the Jesuits to Military Architecture in the Baroque Age' and published by Brill in 2012, however, drew attention to the manner in which a very influential religious institution used its educational faculties to teach the subject of fortification to the nobles of Europe while its learned members published treatises on fortification theory and even provided consultancies on the subject to warring princes. ; N/A

Summary
On 1 October 2004, a new Royal Netherlands Embassy building opened in Warsaw, Poland. Its striking, contemporary appearance surprises and seduces at the same time: glass, concrete and wood artfully intersect in a sophisticated design that champions transparency and openness. This four-year building project commissioned by the Dutch Ministry of Foreign Affairs was entrusted to the highly acclaimed Dutch architect Erick van Egeraat (b. 1956). His carefully conceived architectural programme invites a wider discussion on the ways in which embassy architecture can support the aspirations of modern diplomacy. To this end, this article situates the Dutch Embassy building within the wider context of Dutch–Polish diplo-matic relations and examines how its design contributes to defining the practice of Dutch diplomacy. It also proposes a comparative view of trends within Dutch embassy architecture by considering other contemporary ex-amples in South America, Central Europe and Africa.