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-{"00a5042b-0fd6-51a0-9c1e-ba80caedf302":{"name":"Constitution of the Slav-Macedonian Scientific and Literary Society in Saint Petersburg","alternate_name":"Translation of the original document","description":"The Slav-Macedonian Scientific Literary Society was established in St. Petersburg on 16 December 1903, acting under the patronage of the St. Petersburg Slav Charitable Society. Its founders were Krste Petkov Misirkov (1874–1926) and Dimitija Chupovski, who worked actively on the recognition of Macedonian as distinct Slavic language and the opening of native-language schools for children in Macedonia. The Society, also known as the Macedonian Colony in St. Petersburg, gathered many distinguished Macedonian writers, poets and publicists. Its extensive scientific and literary activities have brought about explicit formulation of the Macedonian national program. The Society largely contributed to issuing a periodical publication in Macedonian and Russian language called “Makedonski Golos” (“Macedonian Voice\"). It played an important role in the national awakening of Macedonians and bringing forth the issue of the Macedonian autonomy in the international community.","type":"Extract from a book","holder":"University of St. Cyril and Methodius - Publisher","dates":"16th December 1903","location":"Skopje","provenance":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"00dac457-85a0-5a63-aebd-676267b9816c":{"name":"Société des Fermes Françaises de Tunisie","description":"French agriculture in Tunisia came about either through the establishment of large properties by private initiatives, or the arrangement of settlers by the public authorities. This is a text from the \"first phase\" - one of the \"companies\" (of \"French farms\") had purchased a large plot of land, and employed a number of (largely Arab and Italian) workers to cultivate it. It aims to publicise the company and make it attractive to both prospective immigrants to tunisia, and attract funds.","type":"Text","holder":"National Library of France","dates":"1904","location":"Paris","translator":"Flaminia Baldwin"},"00eecee6-1a79-5ca4-885a-64eb797adc19":{"name":"*The bas-reliefs of Trajan's Column, reproduced in electroplating and exhibited in a room of the new Louvre*","alternate_name":"Taken from the collection *Topographie de Paris*, \"1er arrondissement, 1er quartier, Le Louvre\"","description":"Trajan's Column, erected in Rome, is famous for its exceptional bas-reliefs commemorating the victory of the Emperor over the Dacians. In 1861, with the aim of making it known to the French public, Napoléon III had the column moulded and a replica installed in Paris. This was achieved thanks to the new electroplating technique, and the copy was placed in the Musée du Louvre. However, in 1870 the column was judged too large, and was sent to the Château de Saint-Germain, where it was quickly installed in the moat. In this image shows visitors at the Louvre, examining the story reproduced by Trajan's Column.","type":"Print","holder":"National Library of France","dates":"1862","location":"Paris","translator":"Flaminia Baldwin"},"01425452-ab97-5882-bfb1-7f4f896ba157":{"name":"Omar Pasha (1806–1871)","description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"1859","location":"Vienna","copy_editor":"Daniel de la Vega"},"01e7089c-8585-5199-92a7-c9b05620637b":{"name":"[Paris] stock exchange","description":"This building (Palais Brongniart), located in the heart of Paris, housed the French stock exchange for almost two centuries. Its atmosphere, as a powerful financial building bearing witness to great bankers' fortunes and failures, inspired writers such as Honoré de Balzac in La Maison Nucingen and Émile Zola in L’Argent.","type":"Drawing","holder":"National Library of France","dates":"1840","location":"Paris","translator":"Flaminia Baldwin"},"02aa485b-b3bc-53cc-91c5-b9f267c8d3b1":{"name":"*Constantinople et le Bosphore de Thrace*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"02c23c32-bafe-5d35-af62-5391f4a033ad":{"name":"The Coffee Shop of Cairo","description":"This colourful print depicts a typical 19th century coffeeshop in Cairo. An exclusively male domain, its design was characterised by an open front and wide benches for seating, to allow for easy congregation and the gathering of friends and acquainances. Not only in Cairo, which had over a thousands coffeehouses in Roberts's time, but all over the Middle East, coffeehouses were important social hubs for the exchange of news, entertainment, smoking (customers brought their own pipes and waterpipes) and - not rarely - political dissent. Musicians and storytellers often enhanced the experience further. In this image, the proprietor or an employee of the cafe can be seen serving a beverage in the centre. Interestingly, both the ewer and the large copper cup he uses are of a type usually associated with water, not coffee. Perhaps Roberts introduced these items for artistic effect.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published in 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"030ea759-beb3-5cac-8d23-28665b5803d8":{"name":"*Meeting between General O'Donnell and Mulay 'Abbas*","alternate_name":"*Conferencia del general O´Donnell con Muley Abba*","description":"Conference between Mulay Abbas, sultan´s brother and General O´Donnell, Spanish President, after battle of Wad-Ras, when Spain claimed the victory and the Moroccan commander Mulay Abbas surrendered. On April 26th, 1860 the representants of Morocco and Spain singed the treaty of peace and the First Spanish Moroccan War ended.","type":"Print","holder":"National Museum of Romanticism","dates":"1860","location":"Madrid","provenance":"Madrid","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell"},"03110c09-4d62-5959-a659-ea8534ac6e28":{"name":"Construction Site at Shellal","alternate_name":"Egyptian and migrant labourers working on the construction of the first dam on the Nile; *Cantiere a Scellal*","description":"In 1900, Count Giulio d’Aspremont, an Italian diplomat, visited the construction site of the first dam across the Nile (today known as the Aswan Low Dam or Old Aswan Dam). He took several pictures of the works and of the monuments on the island of Philae that were going to be submerged by the water. He published some of them on the *Bulletin of the Italian Geographical Society*, where he wrote that up to 2,000 Italian workers were employed in the works (as stone-cutters, miners and masons), out of a total labour force of about 10,000 or 12,000; an Italian village had sprung up on the Nile banks, with modest little houses, trattorias and shops.","type":"Photograph","holder":"Italian Geographical Society (SGI)","dates":"1900","location":"Rome","author":"Patrizia Pampana","copy_editor":"Anne Dowell"},"036c65ce-1ec4-519a-9780-ee407c279d2e":{"name":"An Italian cartoon in support of Ahmad Urabi's movement against foreign control of Egypt's finances","alternate_name":"*Arabi Pascia e John Bull*","description":"Ahmad Urabi was an Egyptian colonel of peasant origins who led a revolt in 1879-1882 aimed at eliminating foreign control of Egyptian finances and establishing constitutional limits to the Khedive’s authority. John Bull is a recognized national personification of the United Kingdom.  \nCaption: “Be careful, merchant! Despite your cannons, your ships and your money, I will be able to teach you that in places where true love for one’s country flourishes, people can make heroic miracles in order to defend their homeland!”  \nPart of the Italian public opinion sided with the Egyptians, against the British, since it likened Egyptian struggle with Italian struggle for national unification and self-determination. Ironically, however, in 1882 Italy occupied Massawa, on the Red Sea, and started its own colonial expansion.","type":"Drawing in a newspaper","holder":"State Library of Modern and Contemporary History","dates":"1882","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"036f240e-d388-502f-b085-dcd2a8068418":{"name":"Rashid Pasha Mustafa Mehmet (1802–1858)","description":"Portrait of Rashid Pasha. He was born in 1800 in Istanbul and joined the Ministry of Foreign Affairs at the age of 20. He served as Ottoman Ambassador in Paris and London. In 1837 he became Minister of Foreign Affairs of the Ottoman Empire. In 1838 he lost his position, but still negotiated as a Turkish diplomat in London, Paris and Berlin. In 1846 he became Grand Vizier and initiated a number of reforms.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"04456e8e-b665-5aa7-96a4-825dc6689071":{"name":"Near Eastern and Balkan map","description":"One of the world's largest photo archives, Abdülhamid II's photo archives – knows as the Yildiz Albums – contain about 37 thousand pictures from that period of the Ottoman Empire. Abdülhamid II was the 34th Sultan of the Ottoman Empire and the last Sultan to exert effective autocratic control over the fracturing state. He oversaw a period of decline in the power and extent of the empire, including widespread pogroms and government massacres against the minorities of the empire (named the Hamidian massacres, after him) as well as an assassination attempt. He ruled from 31 August 1876 until he was deposed shortly after the 1908 Young Turk Revolution, on 27 April 1909.","type":"Map","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"04672ba4-7861-5eb6-ae9c-d793731c3fe9":{"name":"Three drawings: *View of the Throne Salon at the Alcazar of Segovia*; *Kiosk* and *View of the Mudéjar Room at The Royal Convent of Las Huelgas (Burgos)*","alternate_name":"Tres dibujos: *Sala de Reyes del Alcázar de Segovia*; *Pabellón de las Huelgas de Burgos*; *Interior del monasterio de las Huelgas de Burgos*","description":"These three drawings by Carderera, painter of the Queen Isabel II, illustrated the Mudéjar architecture. He travelled around Spain drawing and documenting the remains and monuments of the Spanish Muslim period and Mudéjar style. These designs had an important influence in the development in the Neo-Mudéjar style.","type":"Drawing","holder":"Lázaro Galdiano Museum","dates":"1850; 1820–1880","location":"Madrid","provenance":"Segovia and Burgos","author":"Ámparo López","copy_editor":"Anne Dowell"},"055fd98c-bc6c-5a97-9aae-e3c3ab6ea7fb":{"name":"Plan of Bullring of Campo Pequeno, Lisbon","description":"Built in an area assigned to the Casa Pia by the city of Lisbon in 1889 Praça de Touros do Campo Pequeno (Campo Pequeno Bullring) was designed by the architect António José Dias da Silva (1848-1912) and inspired by the Madrid's bullring. Praça de Touros do Campo Pequeno opened its doors on August 18, 1892, with a gala show.","type":"Plan","holder":"City Museum","dates":"Before 18 August 1892 (1887?)","location":"Lisbon"},"06eab576-316a-57c3-8710-45a77c94f15b":{"name":"Alexandria: The Consuls’ Square Rebuilt","alternate_name":"The Consuls' Square in Alexandria (Egypt) rebuilt after being destroyed by a fire in 1882; *Alessandria: Piazza dei consoli ricostruita*","description":"The large, rectangular square initially know under the French name “Place des Consuls” (later as Muhammad 'Ali Square), was officially inaugurated in 1860. It was designed by Francesco Mancini, chief engineer of the “Commissione d’ornato” (Board of Works), a committee set up in 1834 by Muhammad 'Ali (ruler of Egypt in 1805-1848), and modelled after similar urban-planning committees already functioning in some Italian cities. In 1872, an equestrian statue of Muhammad 'Ali was erected in the square, which took his name. In July 1882, after anti-foreign rioting in Alexandria, the British fleet heavily bombed the city, causing major destructions to the buildings surrounding the square.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Patrizia Pampana","copy_editor":"Anne Dowell"},"07024cd6-c5bb-5d57-96ec-903ad7f248c4":{"name":"Museo Nazionale Preistorico Etnografico “L. Pigorini” (National Museum of Prehistory and Ethnography), Exhibition Room","alternate_name":"Museo Nazionale Preistorico Etnografico 'L. Pigorini', sala espositiva","description":"The origins, in terms of scientific activity and conservation, of the Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the “Regio Museo Nazionale Preistorico Etnografico di Roma\" (Royal National Museum of Prehistory and Ethnography). Initially the museum was located in a wing of the Palazzo del Collegio Romano built in the late 16th century by the Society of Jesus.  \nThis rare image represents the old arrangement of one of the rooms of the Roman College, where the collection of antiquities and curiosities gathered together by Father Athanasius Kircher was kept after the foundation of the museum. According to the intentions of its founder, Luigi Pigorini, the purpose of this new institution was not only to gather together the remains of Italian prehistoric culture and the \"primitive\" cultures of other European and non-European peoples in a \"central\" museum located in the new capital of the Kingdom, but above all to support, promote and participate in research by paleontologists in Italy.","type":"Photo from Magazine","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"Post 1912","location":"Rome","provenance":"Italy","author":"Mario Mineo","copy_editor":"Anne Dowell"},"0801264d-8475-5c87-a800-17b6d0cc190e":{"name":"The drawings of Janissary clothes from The Album of Mecmua-i Tesavir-i Osmaniye (The collection of Ottoman Pictures)","description":"Arif Mehmed Pasha is considered one of the leaders of the western style of painting in Turkey. He developed a talent for drawing and produced a series of pictures detailing the clothes Ottoman state officials wore. He prepared these pictures under the name *Mecmua-i Tesavir-i Osmaniyye*. Although his work was supposed to come out in 12 volumes, only one volume was actually published in French in Paris in 1863 and in Turkish the same year. The other 11 volumes have been lost. The published volume is considered to be the first illustrated book in Turkey. What is amazing is the praise heaped onto Arif Mehmed Pasha for his portraits, the harmony of their colours and tones, the maturity of attitude and delicate detail, the artist’s control over his pen and watercolours. The clothing reflects the time when the Janissaries were still on the scene (before 1826 when the corps was disbanded).","type":"Drawings","holder":"Military Museum and Cultural Centre Command","dates":"1863","location":"Istanbul","copy_editor":"Daniel de la Vega"},"08d3aed6-3599-5046-816b-66df7858d6a8":{"name":"*The Sultan’s Horses* (Drawing 19 for the *XX Dessins* album)","description":"This drawing by Amadeo de Souza-Cardoso forms part of an album, *XX Dessins*, which was published in 1912 and represents a key point of breakthrough for the artist. The context of the work can be explained by his interest in the Western primitivists, the influence of African art, the experiences that he exchanged with Brancusi and Modigliani, and his study of Henri Rousseau’s work. The artist aims to present a demarcated image of his own identity: in an elegantly sophisticated picture replete with medieval imagery, he produces an original work that explores volumes, dynamic forms, and the sense of speed. It was this clearly defined image that Amadeo presented at the Armory Show in 1913, where his work achieved great success in both critical and market terms.","type":"Drawing","holder":"Modern Art Centre, Calouste Gulbenkian Foundation","dates":"c. 1912","location":"Lisbon","author":"Helena De Freitas"},"091c2bb3-6009-5f5c-bff2-8e5c54938f6c":{"name":"*Chancel of the Church of St Helena*","description":"The slightly confusing title of this print by David Roberts actually refers to the Church of the Nativity in Bethlehem, first commissioned in 327 AD by the Emperor Constantine and his mother Helena. at the spot where it is believed Jesus was born. The view captures the area before the iconostasis shielding the main altar in the eastern apse of the church, as well as - below on the right - the south-eastern entrance to the Grotto of the Nativity.The Church of the Nativity is one of the foremost pilgrimage sites for Christians and would have been a highlight on the itinerary of European travellers to the Holy Land. As is typical for his works, Roberts exaggerates the proportions of the architecture in relation to the human figures, which appear dwarfed by the majesty and monumentality of the structures that surround them.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1843","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"0938866e-9a77-5d93-86b4-888bd58845d1":{"name":"*Constantinople*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"0942d14e-52ed-5b05-a15c-0c47cf1ea748":{"name":"Map of the Kingdoms of Fez and Morocco","description":"A map drawn in the early 18th century to a scale of 1:50, its toponyms are in French.","type":"Map","holder":"General Library and Archives","dates":"Early 18th century","location":"Tetouan"},"0a06094f-646e-5da9-8071-e4fb40e88bc7":{"name":"Italian General Exhibition in Turin, 1898","alternate_name":"*Esposizione Generale italiana in Torino 1898*","description":"For the 1898 exhibition the Talmone chocolate company associated its products with objects related to Egypt, where a massive Italian community had been established.","type":"Postcard","holder":"The House of Antique Tin Boxes","dates":"1898","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"0a0e3c68-6be2-5140-b568-bf800fe28f33":{"name":"*The Religious Pilgrimage of the Mohammadans - Makkah (Arabia) - General View of the City, the Precinct and Enclosure of the Al-Haram Mosque and the Holy Kaaba*","alternate_name":"*Le Peregrinacion Religiosa de Los Mahometanos-La Meca (Arabia) - Vista General de la ciudad, del Patio y Claustro de la Mezquita 'El-Haram' y de la 'Santa Káaba'*","description":"This print was originally published in 'La Ilustracion Espanola y Americana', a newspaper published in Madrid on the 15th of April, 1882. Entitled 'La Peregrinacion religiosa de los mahometanos: Vista general de la Meca, del patio y claustro de la mesquita El-Haram y de la Santa Kaaba', it was copied from the first known photograph (at the time) depicting the Makkah precinct, taken - according to the newspaper - by the English traveller Mr [John Fryer Thomas] Keane.  Keane (1854-1937) was a clergyman, who converted to Islam and visited Makkah in 1877. In 1881, he published two books about his experiences in the Hijaz, 'Six Months in Meccah' and 'My Journey to Medinah'. The image shows the courtyard of the Makkah mosque with hundreds of pilgrims clustering around the Ka'bah at the centre. Beyond, the hills of Makkah with their traditional houses, many of them multistoreyed, can be seen.","type":"Engraving","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Published in *La Ilustración Española y Americana*, April 15th, 1882","location":"Sharjah","provenance":"Spain","author":"Ulrike Al-Khamis"},"0a226934-adb7-5611-ac1e-769b4276935b":{"name":"*Mount Tabor*","description":"This depiction of Mount Tabor by the American artist John Douglas Woodward carries the caption 'Mount Tabor. Bearing among the Arabs, like so many other mountains, only the general name 'Jebel et Tur'. The scene suggests a rugged, primeval landscape untouched by modern humanity, the mystically lit, driven clouds that half veil the mounting evoking a spiritual and at the same time awe-inspiring atmosphere well suited to an important biblical site. In popular Christian tradition: Mount Tabor was associated with the Transfiguration of Christ. At the same time the mountain was to prove of historical importance, too.  In 1799, during the time of Napoleon Bonaparte's expedition in the area, the valley between Mount Tabor and the Moreh Hill saw a decisive battle in which a French force of about 3,000 soldiers under the command of Napoleon and General Jean Baptiste Kléber faced a Mamluk force of about 20,000 soldiers.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Late 19th century","location":"Sharjah","provenance":"Probably New York","author":"Ulrike Al-Khamis"},"0b654295-705f-5779-91d5-6ee361403ebb":{"name":"Nouvelle gare de Haidar-Pacha. (New Haidar-Pacha Station)","description":"The postcard depicts the new Haydarpasha station, Constantinople. The first station before the new one was a modest structure appropriate to a relatively short suburban and regional railway. As the network expanded across Anatolia and the planning of the Baghdad Railway, the construction of the present station began in 1906. The architects were Otto Ritter and Hellmuth Cuno, and construction was undertaken by the German firm Philipp Holzmann. The station is a Neoclassical building that draws its symmetrical monumental composition, steep roofs, towers, stone façades and architectural vocabulary from European historicism. The postcard presents the station from the Bosporus, emphasising its monumental waterside façade. The building occupies an artificial platform at the edge of the sea and functions as an intermodal transport complex linking trains, ferries and port installations.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1328 / AD c. 1910","location":"Berlin","dimensions":"Height: 8,9 cm; width: 13,9 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Aslankaya, Güzide, and Cenk Üstündağ, “Structural Analysis and Evaluation of the Historic Haydarpaşa Railway Station”, In *Structural Analysis of Historical Constructions*, Cham: Springer (2019): 1410–18.  \n  \nMuseum With No Frontiers, “Haydarpaşa Train Station”, Sharing History. Istanbul University Rare Books Library.  \n  \nKaynar, İhsan Seddar, “Haydarpaşa–İzmit Railway and Its Relation with Piers”, *ODU Journal of Social Sciences Research*, 5:12 (2015).","copy_editor":"Danielle Morcom","keywords":["Construction","Neoclassicism","station","Türkiye","water"],"materials":["coloured printed postcard","Paper"]},"0b7f2149-f01d-5891-815e-947600259db6":{"name":"*The drilling of an artesian well*","alternate_name":"Taken from *Les Colonies Françaises*, \"Tunisie\".","description":"The purpose of the album *Les Colonies Françaises* was to highlight, amongst other things, the French \"achievements\" and technological innovations in the colonies, and thus legitimise their rule. This image shows the construction of an artesian well in Tunisia in the 19th century. In reality, however, this type of well was built by the French army in order to appease the populations in agricultural areas and thus better control them.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"0b914ea4-3750-5949-ba83-6be97904425d":{"name":"The fundamental pact","description":"This foundational text was drawn up by Mohamed Bey of the Husainid dynasty (1855–1859) under the pressure of the French and English consuls. They had the aim of either adopting or adapting the reforms introduced in Istanbul which required them to provide non-Muslim subjects with semi-secular services, such as the establishment of mixed tribunals avoiding the strict application of the Quran, and also ensured free trade for France and England.","type":"Manuscript; historical document","holder":"Archives Nationales","dates":"1857","location":"Tunis","provenance":"Palais du Bardo","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"0b97f89a-0044-5842-b25e-e3cff94ae0d0":{"name":"Postcard","description":"Postcard; printed; photograph showing the \"Hurriyeh\" ('Liberty') Bridge at Baghdad, with buses, cars and open-top lorries and pedestrians crossing.","type":"Postcard","holder":"The British Museum","owner":"The British Museum","dates":"1962 (circa)","location":"London, United Kingdom","dimensions":"Height: 8,9 cm; width: 13,9 cm","place_of_production":"Basra, Iraq","obtention":"Purchased from D. J. Hutchinson in 2014","copyright":"This is an 'orphan work' in The British Museum’s collections. If you are the copyright holder and were not contacted, please reach out to Museum With No Frontiers at editing@museumwnf.net so that proper credit may be given on this website.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-2478?selectedImageId=1557622001","keywords":["architecture","Baghdad","bridge","City","photograph"],"materials":["Paper"]},"0bdb3920-5c44-5859-a7de-be6f63a099b9":{"name":"*Raft Conveying Winged Bull to Baghdad*","description":"Layard describes the removal of the winged bulls from the site of the mound of Nimrud in Nineveh and its remains, 1849, from where they had lain for approximately the last 2,730 years. They were carefully loaded on to rafts, made in the traditional way of using hundreds of inflated goat and sheep-skins supporting a wooden superstructure. Layard (who had learnt Arabic and Persian) recruited the crew locally, as he had done with his workforce. In April 1847, he sent them floating with the current, off on a six hundred mile journey down the river Tigris to Basra, where ships of the British Navy were waiting to take them the next 12,000 miles to England. Although the artist Cooper was not present on this occasion, he subsequently witnessed similar events, and would have been able to reconstruct the scene.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1849–50","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"0c6aabc0-aac2-5d65-82f5-b3a3f1826243":{"name":"*Senator Ratta Banquet*","description":"In this sumptuous installation which was organised by Francesco Ratta theatrical baroque pomp is evident. At the end of his charge, lasting two months, each Gonfaloniere had to offer a banquet at his expenses to his colleagues (the Anziani). It was a good occasion for exhibiting grandiosity, riches and celebrating family prestige, even if these heavy expenses were ultimately fatal to personal finances.  \nThis spectacular banquet is documented by a series of eight prints. They portray the decoration of the open gallery with garlands and depict details of some of the interior decorations. The room in the residence once owned by the Vizzani family (nowadays Sanguinetti, Via S. Stefano, 43) has as its centerpiece a spectacular sugar trophy designed by the sculptor Giuseppe Maria Mazza: one-meter-high, wrought after the techniques of the glass masters of Murano by the confectioner Giovan Battista Zacarini. It is a surprisingly rocky mountain made of silver and veiled in green, reflective of the famous Bernini fountain in Piazza Navona, it is surrounded by the allegorical statues of the four rivers. From their urns is an outpouring of delicious food. This space is encompassed by a great table for 66 guests, which because of its round shape priority problems were averted. The room scenography bears the family heraldic symbols. Golden griffins and palm leaves clearly allude to the prosperity of Bologna during the government of Francesco Ratta. Along the green damask covered walls small mirrors are hung, tilted to multiply the original and artistic compositions of bottles and precious plates which are scattered all over. The Hall, painted by Tommaso Laureti (n. 1530 – m. 1602), shows in the middle of the ceiling *Victory Presenting Fame with the World Conquered by Alexander the Great* and a frieze with Alexander's adventures successively covered by new decorations.","short_description":"At the end of his charge as a Gonfaloniere (the most significant political position occupied in turns every two months by the Bolognese senators until the age of Napoleon), Francesco Ratta offered the Anziani a memorable banquet. On this occasion, the Hall of his residence was transformed thanks to a baroque ephemera set documented by this series of etchings and a printed description.","type":"Print","holder":"Biblioteca Comunale dell'Archiginnasio","owner":"Biblioteca Comunale dell'Archiginnasio","dates":"1693","location":"Bologna, Emilia-Romagna","dimensions":"528 x 672 mm","place_of_production":"Bologna","provenance":"The print is part of the series *Disegni del convito fatto dall'illustrissimo Signor Senatore Francesco Ratta all’Illustrissimo Publico, Eccelsi Signori Anziani, & altra Nobiltà terminando il suo Confalonierato Li 28 Febraro 1693*, (*Drawings of the banquet organized by the most illustrious senator Francesco Ratta to the most illustrious, distinguished and noble public including the supreme Anziani, and other noblemen to celebrate the end of his Gonfalonierato the 28th of February 1693*), In Bologna, Per li Peri All’Angelo Custode, 1693","obtention":"Bequest of Giovanni Gozzadini (1902).","bibliography":"Mazza, G. *La custodia d'oro goduta nel vigilantissimo Confalonierato dell'illustrissimo signor senatore Francesco Ratta e simboleggiata nel di lui sontuos.mo convito fatto all'ill.mo publico, & ecc.si sig.ri anziani il primo bimestre dell'anno 1693,* Bologna, 1693.  \nBellettini, P., Campioni, R. and Zanardi, Z. *Una città in piazza, Comunicazione e vita quotidiana a Bologna tra Cinque e Seicento*, Bologna, 2000, pp. 155-156, fig. 19.  \n*Il magnifico apparato. Pubbliche funzioni, feste e giuochi bolognesi nel Settecento* (exhibition catalogue) (ed. S. Camerini), Bologna, 1982, pp. 21-31.  \nOttani Cavina, A. “Le feste, gli apparati d'occasione”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio (*exhibition catalogue) (ed. A. M. Matteucci), Bologna, 1980, pp. 209-212, fig. 318-322.","workshop":"Bolognese Late baroque","copyright":"Copyright image: Biblioteca Comunale dell’Archiginnasio di Bologna.","author":"Cristina Bersani","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Banquet","Bernini","Ephemera","Feast","furnishing","Giuseppe Maria Mazza","Gonfaloniere","scenography","society and social life","theatre","Tommaso Laureti","Triumphs for the table"],"materials":["Etching on paper"]},"0c74ae54-ebaf-5ed2-bc1e-2921c31f8219":{"name":"Egyptian Pavillion in the form of an Egyptian Palace","description":"Illustration from the book edited by C. Lützow: *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, 1875, S 101.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1875","location":"Vienna","copy_editor":"Daniel de la Vega"},"0cbc7e1b-2d6c-5b8a-a3c2-1ce733f00a89":{"name":"Etching showing the so called Museo Cospiano in Bologna","description":"Illustrating the book by Lorenzo Legati entitled *Museo Cospiano* (Bologna 1677) this etching shows the interior of the museum owned by Marquis Ferdinando Cospi. Officially bequeathed to the city in 1672 the museum was housed in the Palazzo Pubblico along with the naturalistic collection of Ulisse Aldrovandi since 1657. The text describes the exhibits: things living on the earth, in the sea, fossils (*naturalia*), and artefacts such as coins and medals, sculptures, small bronzes and archaeological relics (*artificialia*). Some of the objects represented here are still recognizable among those surviving in the city museums. Among the *Mirabilia* there was also the “dimostratore”, a guide who was a dwarf. This collection is a good example of the XVII century encyclopaedic taste and seems to be inspired more by curiosity and wonder than by genuine scientific interest. It grew progressively thanks to contacts and exchanges with travellers and correspondents abroad. After having been moved to the Institute of Sciences in Palazzo Poggi in 1743 the Cospi collection was used for a didactic inspired by the Enlightenment ideas and based on a direct experience of materials. Following the Napoleonic suppressions and a crisis for the institute there was a new distribution and reclassification of materials in the age of Positivism. The collection was divided among different Museums in Bologna based on their subject or scientific field. Several of the pieces in the American Collection were bought by Luigi Pigorini in the 19th century and are now housed in the Pigorini Museum, in Rome.","short_description":"Marquis Ferdinado Cospi’s *Wunderkammer* is a good example of the encyclopedic collections fashionable in Europe in the Baroque age. It was composed of *Naturalia and Mirabilia*, a combination of items coming from the world of nature, antiquity, artifacts and scientific instruments.","type":"Etching","holder":"Biblioteca Comunale dell’Archiginnasio","owner":"Biblioteca Comunale dell'Archiginnasio, Comune di Bologna","dates":"Before 1677","location":"Bologna, Emilia-Romagna","dimensions":"284 x 435 mm","place_of_production":"Bologna","method_for_datation":"This etching was the first page of Cospi's Wunderkammer, published in 1677. It was probably made before this date, and certainly after 1667, when a short description of the collection was published.","obtention":"Bequest Giovanni Gozzadini (1902).","bibliography":"Legati, L. Museo Cospiano annesso a quello del famoso Ulisse Adrovandi e donato alla sua Patria dall' Illustrissimo Signore Ferdinando Cospi patrizio di Bologna e senatore Cavaliere Commendatore di S. Stefano, Bali d'Arezzo, e March. di Petriolo, fra gli accademici Gelati il Fedele, e principe al presente de' medesimi, descrizione di Lorenzo Legati Cremonese, Bologna, 1677.  \nGentili, C.  “I Musei Aldrovandi e Cospi e la loro sistemazione nell'Istituto*”*, *I materiali dell'Istituto della Scienze* (exhibition catalogue), Bologna, 1979, p. 90, pp. 95-99.  \n Laurencich Minelli, L.“Dispersione e recupero della collezione Cospi”, *Atti e Memorie della Deputazione di storia patria per le province di Romagna:* XXXIII, 1982 (1983), pp. 185-202.  \n Gualandi, G. “Il Museo delle “meraviglie” di Ferdinando Cospi”, *Dalla stanza delle antichità al Museo Civico. Storia della formazione del Museo Archeologico di Bologna* (exhibition catalogue) (eds. C. Morigi Govi and G. Sassatelli), Bologna, 1984, pp. 125-128.","workshop":"Mitelli's vast production of etchings documents scenes of daily life, especially people and historical scenes.","copyright":"Copyright image: Biblioteca Comunale dell’Archiginnasio di Bologna.","author":"Carla Bernardini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["arms and armours","collection","collector","Cospi","education","encyclopaedism","Enlightenment","exoticism","Medici","Mirabilia","naturalia","science","Wunderkammer"],"materials":["etching"]},"0dd30a0a-1b26-5aa8-95ed-2abdad17a184":{"name":"*Tercüman-ı Ahval* Newspaper","description":"*Tercüman-ı Ahvâl* was the first private newspaper published in Istanbul. It was produced between 1860-1866 by Agah Efendi and Şinasi, men of letters of Tanzimat Era. Initially it was published only on Sundays, but starting from the 25th issue in 1861, it was published three times a week. Leading authors of the period such as Ahmed Vefik Paşa, Ziya Paşa and Refik Bey frequently wrote for it, discussing the reasons for the backwardness of Ottoman society and current events. In the paper, works of literature were also published. For instance the first Turkish theatre play, *Wedding/Marriage* of the Poet, by Şinasi (1860) was published as a series. The paper was closed for two weeks in 1861 after a very critical article probably written by Ziya Paşa. This is regarded as the first example of a ban in Turkish press. The paper was no longer published after 11 March 1866.","type":"Newspaper","holder":"National Library of Turkey","dates":"1860-1866","location":"Ankara","copy_editor":"Daniel de la Vega"},"0df04b1e-0995-5f3a-a767-e848e62c8fbf":{"name":"*The Bridge Carol I*","description":"The railroad bridge over the Danube that was built between 1890–1895 in South-Eastern Romania shortened the route of the Orient Express, a passenger train meant to connect Paris to Istanbul. The bridge made it possible for the Orient Express to reach Constanţa, a Black Sea port, from where ships went to Istanbul, whereas in the past the journey implied people being ferried on the Danube from Romania to Bulgaria, travelling by train to Varna (a Bulgarian Black Sea port) and then taking a ship to Istanbul. The “Carol I” bridge, which was designed by engineer Anghel Saligny and was at that time the longest in Europe, was inaugurated on 29 September 1895. In his inaugural speech, the king declared that “Romania is now owner of the shortest route between the northern seas and the countries of the Orient”.","type":"Postcard","holder":"National Museum of Romanian History","dates":"Beginning of the 20th century","location":"Bucharest"},"0e6a50b3-2b5c-5608-aae5-77ecf66cfde2":{"name":"*Sketch of Algeria, featuring the Roman occupation, the railway lines, roads suitable for mule and horse drawn vehicles, ports* \\[…\\] drawn from an archaeological point of view and dedicated to ...","alternate_name":"Taken from *Revue Africaine: Journal des Travaux de la Société Historique Algérienne 78*","description":"Founded in 1856, the Société Historique Algérienne organised excavations, published a journal, and created maps and plans. This map helped facilitate research on the Roman occupation of Algeria, by indicating clearly the main sites, how to get there, and other elements which allow the reader to better understand the Roman presence (such as marble quarries and thermal baths).","type":"Map","holder":"National Library of France","dates":"1869","location":"Paris","translator":"Flaminia Baldwin"},"0e85d24e-665e-5157-bf0e-e0f313fbe465":{"name":"Air Orient Company. Planisphere. Weekly Air Service France-Syria-Indochina","description":"This 1930s Air Orient poster highlights the French airline’s east–west routes across the Middle East. From Beirut and Damascus to Baghdad and Basra, the service carried passengers and mail between Paris and the Levant. Produced in a republican France that was also a vast colonial empire, the poster embodies both the allure of modern aviation and the projection of French influence through new networks of mobility.","type":"Poster","holder":"Bibliothèque nationale de France (BNF)","dates":"1932","location":"Paris","dimensions":"28,5 x 55,5 cm"},"0ee9442b-fe87-5668-a98a-944398b82de9":{"name":"*Egypt. Suez canal.*","alternate_name":"Taken from the collection *Lithiographies Représentant L'isthme de Suez*","description":"The inauguration of the Suez Canal saw spectacular celebrations, attended by many European royalties. This was a huge victory for Ferdinand de Lesseps, who had sincerely hoped it would be a memorable and historical event. On his request, the painter Édouard Riou (1833–1900) produced a series of watercolours which were later published in *L’Album de l’Impératrice : Voyage Pittoresque à travers l’Isthme de Suez*.","type":"Lithograph","holder":"National Library of France","dates":"1880s","location":"Paris","translator":"Flaminia Baldwin"},"0ef1fad2-ddb0-571e-aa44-e858e5b159ac":{"name":"*Die stadt Algier*","description":"According to the historiographer Gabriel Esquer, this illustration was the most detailed view of Algiers available in the 17th century. The artist has accurately mapped out the streets and houses of the city.","type":"Print","holder":"Musée National des Beaux-Arts","dates":"17th century","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"0f088fa7-47b1-5825-9ada-f45bc3097162":{"name":"The Italian Politeama Rossini theatre in Tunis, inaugurated in 1903","description":"The Politeama Rossini was built by the construction company of Giuseppe Di Vittorio (a Sicilian who had migrated to Tunisia in 1882); the architect was a Mr. Baron. It could house an audience of 2,500.  \nThe first Italian theatre in Tunis was the “Teatro Tapia” founded in 1826. Other Italian theatres (such as the “Teatro Italiano” and the “Teatro Paradiso”) and concert halls (“Gran Teatro”, “Teatro Cohen”, etc.) were created in Tunis the following decades.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"1903–06","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"0f0a80ba-ac59-5cc2-9963-b390e49608d0":{"name":"*Kitchen of the Algerian Coffee Shop, at the Trocadero* \\[Paris Exhibition 1878\\]","alternate_name":"*La cucina del Caffè Algerino, al Trocadero*","description":"Within the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion. The scene shows the practice of making unfiltered coffee inside a kitchen decorated with *majolicas*, part of the reconstruction of a hypothetical neighbourhood in Algeria.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"0f2af30a-b903-5cfa-a52e-5a834629196d":{"name":"*Sbeïtla. Attempt to reconstruct the façade of the three temples*","alternate_name":"Description of the antiquities of the Tunisian regency: monuments from before the Arab conquest. Report on the 1882–83 mission.","description":"The French architect and winner of the Grand Prix de Rome, Henri Saladin, went on an archaeological campaign to Tunisia with the archaeologist René Cagnat between 1882 and 1883. He took many sketches in various archaeological sites, such as this drawing of Sbeïtla (the ancient Roman city in Sufetula). Upon his return he constructed a \"Tunisian pavilion\" for the 1889 Exposition Universelle (world fair) in Paris, which contained a mix of all the different architectural styles he had seen during his time in Tunisia.","type":"Illustrated page","holder":"National Library of France","dates":"1886","location":"Paris","translator":"Flaminia Baldwin"},"104473a3-fc89-55f7-a3b9-20138dba554c":{"name":"Plan of the city of Pompeii and the excavations there, pl. 2. Historical note","alternate_name":"Taken from *Dessins des Ruines de Pompéi*","description":"The architect François Mazois (1783–1826) was appointed as Caroline Murat's official artist in 1809. He was allowed to set up in Pompeii to draw and measure the ruins, something unheard of at this time. His drawings and observations, published under the title *Les Ruines de Pompéi, Dessinées et Mesurées pendant les Années 1809 à 1811*, became a model for contemporary archaeologists and a source of inspiration for neo-Classical architecture.","type":"Plan","holder":"National Library of France","dates":"c. 1816","location":"Paris","translator":"Flaminia Baldwin"},"1057c04c-dcfd-5f86-aac4-e464ef4ed226":{"name":"Diploma awarded to the Vista Alegre factory","description":"The participation in commercial exhibitions by the Vista Alegre Factory began in 1838, with the presentation of a glass and crystal collection in the Exhibition promoted by the Portuguese Industrial Society. In 1851 Vista Alegre took part in the Universal Exhibition, organized in London, and again in 1867 in Paris, having won the copper medal. In 1873 the factory received the Medal for Merit in the International Exhibition of Vienna, Austria. Universal Exhibitions represent in the 19th century an excellent medium for commercial and artistic exchanges, as well as a public stage for the competition between. This display arenas, with an international vocation, commercial exhibitions were ideal for the promotion of technical and artistic skills of European industries.","type":"Document","holder":"Vista Alegre Museum","dates":"1873","location":"Vista Alegre, Ílhavo"},"10c5da68-3de4-54d1-9e73-5196e05c7ae8":{"name":"*Description de L'Egypte: Antiquités Planches*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. The *Description de l'Égypte* was a series of publications, appearing first in 1809 and continuing until the final volume in 1829, which offered a comprehensive scientific description of ancient and modern Egypt as well as its natural history. It is the collaborative work of about 160 civilian scholars and scientists, known popularly as the savants, who accompanied Napoleon's expedition to Egypt in 1798 to 1801 as part of the French Revolutionary Wars, as well as about 2000 artists and technicians, including 400 engravers, who would later compile it into a full work.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1809–1829","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"10e20816-215a-59c8-b59d-b15f4c933e82":{"name":"Mahmud II Sultan of Turkey (1784–1839)","description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"12e1f5c3-c135-5c06-b2c9-4dc99c6e764e":{"name":"Clashes between agricultural labourers on strike and the mounted police in Cerignola (Foggia, Apulia, in southern Italy)","alternate_name":"*I gravi disordini a Cerignola (Foggia): la polizia disperde i contadini rivoltosi*","description":"Agricultural workers were at the forefront of Italian labour movement. In 1901, they created the National Federation of Agricultural Workers (Federazione nazionale dei lavoratori della terra).  \nIn 1904, at Cerignola, the police violently repressed a protest of agricultural workers, killing 4 and injuring 40.","type":"Published drawing","holder":"State Library of Modern and Contemporary History","dates":"1904","location":"Rome","author":"Rosanna De Longis","copy_editor":"Anne Dowell"},"131cc02c-dea1-5e00-b932-6c0832f9d8d7":{"name":"*Diligence / Diligentia*","alternate_name":"*Industriousness*","description":"The drawing is plan-sketch for the side walls of a niche for the Olomouc Town Hall astronomical clock, a tower clock with several chronological devices and pictorial symbolism. It depicts Diligence or Industriousness and Punctuality. Her attributes include a spider spinning a web, an hourglass, a cockerel pecking grain and the placement of the female figure in a cave. One interesting detail is a spur held by the woman: even Diligence needs to be pricked. The motifs are derived from Cesare Ripa's *Iconology*, the most widespread pictorial manual of the period.  \nPlan-sketches included a detailed description of the clock, respecting the original 15th-century plan. The decoration, with allegorical scenes of the Seven Liberal Arts, had a markedly secular character. Other scenes comprised Grammar, Mechanics, Arithmetic, Astronomy, Philosophy, Dialectics, Music and Geometry portrayed as female figures with various attributes, supplemented by the figures of the Mathematician, the Astronomer, Apollo, with a Muse, and Pegasus. The series of drawings for the unpreserved parts of the Olomouc clock is one of the highlights of the work of Jan Kryštof Handke, a leading Olomouc artist. He created easel and ceiling paintings in central and north Moravia and east Bohemia. Handke's most important work is the fresco in the auditorium of the Jesuit university in Wroclaw. The Prague astronomical clock and the Olomouc clock are the only ones of their kind preserved in the Czech Republic. As part of the town hall, it demonstrates the significance of Olomouc as the seat of the bishopric and a one-time centre of Moravia. The original appearance of the clock is not preserved, the present one is in the style of *Socialist Realismus* made in the 1950s by Karel Svolinský.","short_description":"The drawing is one of the plan-sketches for the painted decoration of the Olomouc astronomical clock. The allegorical scenes, with the Seven Liberal Arts, had a markedly secular character, demonstrating the significance of Olomouc as the seat of the bishopric and a one-time centre of Moravia.","type":"Drawing","holder":"State District Archive, Olomouc","owner":"State District Archive, Olomouc","dates":"1746","location":"State District Archive, Olomouc, Moravia","dimensions":"H: 21.5 cm; w: 13.3 cm","place_of_production":"Olomouc","method_for_datation":"The town council assigned the painted decoration of the restored town hall clock to the Kryštof Handke workshop in 1746; it was executed in the following year. Handke also mentioned the series of 12 planning sketches for the astronomical clock, and their realisation, in his biography.","provenance":"Olomouc Town Hall","obtention":"Until the end of the 19th century the drawing was deposited in Olomouc Town Hall. Around 1900 it was found in the German Museum from whence it passed to the municipal archive and later to the district archive.","bibliography":"*Autobiografie moravského malíře Jana Kryštofa Handkeho*, 1766, Brno, Moravský zemský archiv, fond G 12, sign. Cerroni II, inv. 180.  \nMilan Togner, *Jan Kryštof Handke* *– malířské dílo,* Olomouc, 1994, cat. 30–40.  \nMilan Togner, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, cat. 66d, pp. 193*–*194.  \nMiloslav Čermák, *Olomoucký orloj – Memoria*, Olomouc, 2005.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","Attribute","education","Iconology","Jesuit","personification","science","university"],"materials":["Dark-brown pen with green and red water colour on brownish paper"]},"138b0748-bba7-544a-afa4-6e44661538d4":{"name":"*View of Constantinople*","description":"Both this print and the *View of Smyrna* are based on earlier Western ones, which have been assimilated into the distinctive Athonite topographical style. They are exceptions to the corpus of Athonite prints, since they are of secular subjects. The printmaker was, indeed, active outside Athos, where he executed nonreligious commissions. The subjects relate to the tradition of topographical murals depicting important commercial and cultural centers of the day that decorated the mansions of wealthy merchants by the mid-eighteenth century. Kaldis aimed to supply a wider public with inexpensive works of a decorative nature. The activity of merchants from Lesbos at Smyrna, Constantinople, and the Black Sea on the one hand justified the choice of subject and, on the other, provided the appropriate network in which the multiple printed works could circulate. In order to attract the largest possible clientele, the view is coloured and annotated with explanatory comments in Greek and Turkish.","type":"Engraving","holder":"Benaki Museum","dates":"1851","location":"Athens","author":"Papastratos 1990, vol. 2, 578-79, figs. 617-18; Delivorrias, Fotopoulos 1997, 508-9, figs. 900-901"},"13a6be55-80b1-576f-be99-bfc3e15b7c3f":{"name":"*Casket from San Isidoro of León*","alternate_name":"*Arqueta de San Isidoro de León (Estilos persoarábigo)*","description":"This casket was donated by the Dean of Leon Cathedral to the National Museum of Archaeology in 1869. It was part of the Cathedral Treasury and it is an example of the importance of Arab workshops in the Iberian Peninsula in Middle Ages.","type":"Print","holder":"National Archaeological Museum","dates":"1872","location":"Madrid","provenance":"Madrid","copy_editor":"Anne Dowell"},"13caa9ac-5165-5334-9cdf-31b3219e01b9":{"name":"*Sipahis of Algiers*","description":"","type":"Paper","holder":"Musée Public National des Antiquités","dates":"1832","location":"Algiers","translator":"Flaminia Baldwin"},"147b289f-3d6e-58be-8aa0-db105cfb150f":{"name":"*National Museum of Archaeology No. 9 (Arab Courtyard) Monuments and Epigraphy of Islamic Spain*","alternate_name":"*Museo Arqueológico Nacional de Madrid N.º 9. (Patio árabe) Arte monumental y Epigrafia hispanomahometanos*","description":"View of the courtyard in the National Museum of Archaeology, also known as \"Arab courtyard\", between 1917-1936. This room displayed different pieces such as the Alfajería arch, a copy of the fountain of the Lions and the bronze lamp from the Alhambra palace. This room was one of the first museum galleries focusing on Arab or Islamic pieces in Europe.","type":"Postcard","holder":"National Archaeological Museum","dates":"c.1917–1936","location":"Madrid","provenance":"Madrid","copy_editor":"Anne Dowell"},"147c8e1e-4cb1-51c6-a42b-c10e8b602904":{"name":"Tender specification relating to the supply of running water to Tangier","description":"The Chérifien government established 34 specifications altogether listing the causes and conditions for adjudication in order to supply the city of Tangier with a reliable, abundant water supply.","type":"Archival document","holder":"Private archive","dates":"1906","location":"Rabat","provenance":"Tangier"},"14edc45d-6bf0-507b-a305-757f6f034ef5":{"name":"Portrait of Emperor Shah Jahan","short_description":"The bearded emperor Shah Jahan, with a nimbus around his head, stands facing proper left, holding a flower in his raised left hand, his right clasping the hilt of his sheathed sword, which is pointed toward the ground. He wears a *jama* (a kind of frock with skirt). A *kamarband* (sash with ends pendant) girdles the waist, and a *dupatta* (scarf) falls over the left shoulder, the end dropping to the waist line. A dagger (*kataar*) is stuck in his sash on his waist. On his feet are heelless slippers. *Pajamas* are worn under the *jama*. The emperor also wears a jeweled *pagari* (turban) with the *sarpes* (plume), encircled by a dark halo. The *sarpes* appears to be jeweled. He wears the following jewelry: a *mala* (necklace); a *bhuja* band (armlet); and a *kangana* (bracelet). A tannish-gold thin border with dark-tan floral drawings surrounds the painting. The page background is decorated in a floral motif with feral feline heads in shades of tan and gold.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Hegira c. 1059 / AD c. 1650","location":"Saint Louis","dimensions":"Image: Length: 21cm x Width: 12.4cm; Sheet: Length: 34cm x Width: 21.8cm","method_for_datation":"This miniature painting depicts Emperor Shah Jahan (1592–1666). This border originally belonged to the Persian dictionary Farhang-i-Jahangiri (1608), which was later cut up and its borders added to many Mughal miniatures, such as this one.","method_for_provenance":"This miniature painting depicts Emperor Shah Jahan (1592–1666) in formal court attire. This painting is one of only four full-length standing portraits of Shah Jahan known.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","keywords":["Asia","drawing","emperor","gold","India","Indian","ink","opaque watercolor","Paper","Portrait","Shah Jahan","watercolor","watercolour"],"materials":["gold on paper","Ink","opaque watercolor"]},"159f7828-e467-5f3d-b3ba-96aafc6f5b7c":{"name":"Postcard: *Colonial Exhibition 1907, Tuareg caravan*","alternate_name":"*Exposition Coloniale 1907. Caravane Touareg*","description":"This postcard (not franked or used) is part of a collection donated by the anthropologist Manuel Antón.  \nDuring the second half of the nineteenth century in Europe and America there were held countless ethnological and colonial exhibitions that showed groups of individuals from distant exotic territories, to make them public and available to anthropologists and scholars. They were put on show alongside exotic animals and recreations of the structures inhabited by these people in their places of origin.  \nThese exhibitions were a result of the intensification of colonial imperialism of the West and also the relative popularity of two young scientific disciplines (physical anthropology and ethnology) and the development of new and intense forms of consumerism among the European bourgeoisie. Actually these exhibitions got to transmit a sense of lower and \"savage\" status of the colonised people (Sánchez Gómez, L. “Espectáculos demasiado humanos”, 2008, 88-89).","type":"Postcard","holder":"National Museum of Anthropology","dates":"1907","location":"Madrid","copy_editor":"Anne Dowell"},"16145c6c-e484-5568-ab55-c93317ec5964":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","description":"Portrait of Carol I, King of Romania (1839–1914) in uniform with Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega"},"16fa95b3-e587-5dfb-983e-0384c05f1b3e":{"name":"L.A. Balboni, The Italians in the Egyptian Civilization of the XIX Century, Alexandria, Egypt, 1906; title page","alternate_name":"L.A. Balboni, *Gli Italiani nella Civiltà Egiziana del Secolo XIX°*, Alessandria d'Egitto, 1906: frontespizio","description":"The work in three volumes, exalts the importance of the Italian settlement in Alexandria, and represents one of the most consistent literary evidence of cultural and commercial relations, as well as administrative and building activities, started by the Italian state before 1911.","type":"Book","holder":"Private collection","dates":"1906","location":"Rome","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"171ffd50-c8dd-51b6-8ca7-e79ffd9de227":{"name":"*The tourist's travelling equipment*","description":"The rise of tourism saw the production of clothes and items suitable for varying climactic conditions, physical activity, and even potential dangers. This poster foregrounds an image of a hiker in an alpine setting, framed by depictions of many other types of tourism, such as seaside resorts and other more adventurous activities.","type":"Poster","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin"},"17887320-c89a-503d-8231-40a84fa14975":{"name":"*Revolution of 1830 (29 July). Building barricades.*","alternate_name":"Dedicated to the citizens of Paris","description":"The revolutions of the first half of the 19th century are strongly associated with barricades, usually a pile up of furniture and other objects across streets, aimed at slowing down army troops. There were almost 4,000 barricades in Paris during the revolution of 1830.","type":"Print","holder":"National Library of France","dates":"1830","location":"Paris","translator":"Flaminia Baldwin"},"179f9d9d-6b5a-52fc-8dea-c159da198fd5":{"name":"*La Reine de Saba: 14 costume sketches*","description":"Charles Gounod turned to the librettists Jules Barbier and Michel Carré for advice when he was writing his great opera, and so they recommended him the legend of Hiram, the great tale narrated by Gérard de Nervale in his *Voyage en Orient*. The opera was put on in Paris in 1862. As this costume from the court of Suleiman shows, the models and costumes responded above all to the Orientalist stereotypes in vogue at the time.","type":"Drawing","holder":"National Library of France","dates":"1861-1862","location":"Paris","translator":"Flaminia Baldwin"},"17e0e95e-14d7-5aeb-b21f-b18091757a69":{"name":"*Mr. Byzantoine et son ex-libris*, by the Greek cartonist Kem","description":"Antonis Benakis in Byzantine dress holds his ex-libris and golf clubs, with his dog Mangas and his boat at his feet; on the right, the Russian painter I. Bilibin, below, K. Synadinos, and, top left, ceramics glued together, probably from sherds. Kem’s drawing is a satire on the artistic and athletic interests of Benaki, in the style of Bilibin’s illustrations to Russian legends, for example *The Tale of the Tzar Saltan* (1905).","type":"Drawing","holder":"Benaki Museum","dates":"1920s","location":"Athens","provenance":"Alexandria","author":"Mina Moraitou"},"17f9a63f-8638-5603-ac11-f8d674b5657b":{"name":"*Firework Display Held in Brno on the Occasion of the Coronation of a Picture of the Virgin Mary of St. Thomas*","description":"In the 1730s Moravia hosted two festive events offsetting the largest religious festivals of the Czech baroque, the beatification and canonisation of St. John of Nepomuk in Prague (1729). As the capital of the Czech kingdom came into the spotlight for the whole country, so the celebrations of the coronation of Marian pictures symbolically confirmed the importance of Olomouc and Brno, the two main towns in the Moravian margraviate. These occasions made the Holy Virgin the Queen of Moravia and the patron saint of the country. The festivities around the coronation of the picture of the Virgin Mary in Brno lasted a week. “The night turned into day and the town of Brno into a new heavenly Jerusalem full of scenes of adoration, praise and exultation”. The town's splendour was illuminated by 5,000 lights and plentiful firework displays. The print shows one of the ephemeral festive structures with sculpted decoration and pyrotechnical effects. A detailed programme was issued to accompany the fireworks, explaining the display to viewers in 27 steps.  \nAfter a fanfare of trumpets and tympani, the fireworks were set off by the firing of cannons, and an angel setting white and red fire to the chronogram “Mary the Gem and Patron Saint of the Town of Brno”. Rockets lit up six life-size figures: Emperor Charles IV, who donated the picture, his brother Jan Jindřich, founder of the Augustinian monastery, Pope Clement XII, protector of the adoration picture, the Bishop of Olomouc, who crowned the picture, the prior of the monastery, and the *genius loci* of Brno. The spectacle climaxed with Catherine Wheels at the tips of pyramids and six hearts burning under the figures. The fountain in the foreground started to spew a multitude of tiny stars and blue flowers, while the fire illuminated a flood of garlands. The final highlight of the show, to an overture of cannon fire, was the flight of a two-headed imperial eagle rising with an inscription within mighty flames.","short_description":"Celebrations for the coronation of Marian pictures symbolically confirmed the importance of Olomouc and Brno, the two main towns of the Moravian margraviate. The Holy Virgin became Queen and patron saint of Moravia. The print shows one of the ephemeral festive structures with pyrotechnical effects.","type":"Print","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"1736","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 44.2 cm; w: 58.3 cm","place_of_production":"Brno","method_for_datation":"Marked bottom left: *F. A. Baran del;* bottom right: *F. A. Mayer Sculp: Brunae.* The little-known F. A. Baran was the artist and engraver of the fireworks print. František Antonín Mayer, a student of Jan Jiří Guttwein, was a bookbinder and engraver in Brno. He executed the engraving of the “silver altar” and the picture of the Brno Thaumaturga.","obtention":"Purchased in 1978 from an art shop in Brno.","bibliography":"Jan Royt, *Obraz a kult v Čechách 17. a 18. století*, Prague, 1999, p. 169.  \nJana Oppeltová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 157–158.  \nPavel Košťál, Ohňostroj jako součást barokní slavnosti korunovace obrazu P. Marie Svatotomské v Brně Léta Páně 1736, in: Jana Svobodová (ed.), *Baroko. Příběhy barokního Brna*, Brno 2009, pp. 57–65.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Celebration of the Virgin Mary","ephemeral architecture","festival","Madonna","scenography","theatre"],"materials":["Etching on paper"]},"1811cbd4-6fab-5304-b983-fcad1cbe7fa9":{"name":"*Procession and* Auto de Fé","description":"The Inquisition was established during the Verona Council of 1183 for the purposes of the judgment of heresy by the Roman Catholic Church. Necessitated by the emergence of various religious movements and the popularisation of different interpretations of Christian doctrine in opposition to the Roman Church, it was initially called the Episcopal Inquisition because it was administrated by the bishops. Later, in 1230, the Church tried to reform the role and actions of the Inquisition by recruiting professionals mainly from the Dominican Order.  \nThe new inquisitors judged heresy using local authorities under the Inquisition's procedures. In 1542, three years before the Council of Trent, Pope Paul III established a system of Courts as demanded by the \"Supreme Sacred Congregation of the Roman and Universal Inquisition\". The Inquisition was established in 1536 in Portugal following a request from King João III.  \nFollowing judgment, defendants were submitted to punishment; a ritual of public penance of condemned heretics and apostates, the so called *Auto de Fé*. In these engravings two important moments of this theatrical religious scene are observed: the Procession taking place in Ribeira Square in Lisbon – close to the Royal Palace of King João V – and the condemned being burned alive at the stake wearing *sambenitos*, clothing with a red cross.  \nThe Portuguese Inquisition expanded to the colonies: Brazil, Cape Verde and Goa, where it continued as an activity of the religious courts until 1812. In Goa, the processes mostly concentrated on Jews, the Hindu communities and Indian Muslims. The violence of the Inquisition in Goa was so intense that Voltaire wrote: \"Goa is sadly famous for its Inquisition, which is contrary to humanity as much as to commerce. The Portuguese monks deluded us into believing that the Indians were worshipping the Devil, while it was them who served him.\"","short_description":"The theme of these engravings is related to the brutality of the Inquisition. The Inquisition acted against those whom it deemed heretical and apostates. First they were humiliated and walked through the city in Procession. Then a mass would was said where the sermon preached the morality of the ceremony. Finally they were punished in public in the square.","type":"Engraving","holder":"National Library of Portugal","owner":"National Library of Portugal","initial_owner":"António Costa Lobo","dates":"c. 1741","location":"Lisbon, Lisbon","dimensions":"H: 132 cm; w: 158 cm","place_of_production":"Amsterdam","method_for_datation":"The engraving is published in the *Annales d'Espagne et de Portugal, contenant tout ce qui s'est passé de plus important dans ces deux royaumes & dans les autres Parties de l'Europe, de même que dans les Indes Orientales & Occidentales, depuis l'établissement de ces deux Monarchies jusqu'á présent. Avec la Description de tout ce qu'il y a de plus remarquable en Espagne & en Portugal*, Amsterdam, 1741.","provenance":"António Costa Lobo","obtention":"Donated by António Costa Lobo","bibliography":"Couto, M. do, *Livro das plantas e monteas de todas as Fábricas das Inquisições deste Reino e India, ordenado por mandado do Illustrissimo e Reverendíssimo Senhor Dom Francisco de Castro Bispo Inquisidor Geral e do Conselho de Estado de Sua Majestade*, Anno Domini 1634. Por Matheus do Couto, Architecto das Inquisições deste Reino.  \nCouto, M. do, *Livro dos Evangelhos que serve na Mesa do Conselho Geral do Sancto Officio da Inquisiçam* ordenado por mandado do Illustrissimo Senhor Bispo Dom Pedro de Castilho Inquisidor Geral nestes Reynos e Senhorios de Portugal. No Anno de MDCVIII.  \nBailly, J. S., *Lettres sur l'origine des sciences, et sur celle des peuples de l ' Asie* adressées à M. de Voltaire par M. Bailly, & précédées de quelques lettres de M. de Voltaire à l'Auteur, Londres, Elmesly et Paris, Debure, 1777. (suivi de): *Lettres sur l'Atlantide de Platon et sur l'ancienne histoire de l'Asie pour servir de suite aux lettres sur l'origine des sciences*, adressées à M. de Voltaire par M. Bailly, London and Paris, 1779.","author":"Rui Oliveira Lopes","translator":"Lili Cavalheiro","translation_copy_editor":"Mandi Gomez","keywords":["Auto-de-Fé","Goa","Inquisition","Portugal","Religion"],"materials":["Engraving"]},"18197caa-f988-5826-9a1d-d30e87a0bed4":{"name":"Ottoman map of the period of Sultan Abdülhamid II","description":"One of the world's largest photo archives, Abdülhamid II's photo archives – knows as the Yildiz Albums – contain about 37 thousand pictures from that period of the Ottoman Empire. Abdülhamid II was the 34th Sultan of the Ottoman Empire and the last Sultan to exert effective autocratic control over the fracturing state. He oversaw a period of decline in the power and extent of the empire, including widespread pogroms and government massacres against the minorities of the empire (named the Hamidian massacres, after him) as well as an assassination attempt. He ruled from 31 August 1876 until he was deposed shortly after the 1908 Young Turk Revolution, on 27 April 1909.","type":"Map","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"183b1889-44b1-5781-a76f-71957bab4067":{"name":"Muhammad ‘Ali Pasha (1769–1849)","description":"Portrait of Muhammad 'Ali Pasha. Although born in Greece, he was the founder of modern Egypt. From Albanian origin, he came to Egypt as an Ottoman officer and began the modernisation of the Egyptian state.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"18fa1217-5885-554f-bf5c-aed5d4898cb0":{"name":"Editorial. Inauguration of the Musée Gallo-Romain at the Château de Saint-Germain","alternate_name":"Taken from the journal *l'Univers Illustré*","description":"In March 1862, Emperor Napoléon III ordered the \"creation of a museum for Celtic and Gallo-Roman antiquities at the Château de Saint-Germain-en-Laye\". The castle was restored by Eugène Millet, student of Viollet-le-Duc, who chose to restore it to its condition under François I. A team of confirmed archaeologists were tasked with the organisation of the Museum. Napoléon III wanted a museum dedicated to the archaeology of the national lands (contrary to the collections at the Louvre), and methodically classified: the first curator, Alexandre Bertrand, introduced a chronological classification, breaking the tradition of thematically classified collections. The emperor chose to inaugurate the museum with a symbolically extravagant ceremony, while in Paris the Exposition Universelle (world fair) was in full swing (May 1867).","type":"Printed and illustrated text","holder":"National Library of France","dates":"1867","location":"Paris","translator":"Flaminia Baldwin"},"1947528b-a97f-56af-b6c4-fe8372c9bdd5":{"name":"*The Western Wall*","description":"The Western Wall of the Haram es-Sharif in Jerusalem, as depicted for the readers of the Illustrated London News by William ‘Crimea’ Simpson. Simpson’s sketches were turned into engravings for publication in the ILN, and were among the most important graphic depictions which helped to introduce western readers to the present-day appearance of Jerusalem and Jerusalemites.","type":"Sketch","holder":"The Palestine Exploration Fund (PEF)","dates":"1872","location":"London","provenance":"?"},"1961e839-9c16-5779-a767-870149fec738":{"name":"The Serious Unemployment Crisis in the Province of Ferrara [central Italy]: Women Preventing the Cavalry from Advancing against the Rioters","alternate_name":"Clashes between people who are protesting against unemployment and the army; *La grave crisi della disoccupazione in provincia di Ferrara: donne che impediscono alla cavalleria di avanzare contro i tumultuanti*","description":"Violent clashes in the province of Ferrara (Emilia Romagna, Italy) between people who protested against unemployment and the army. The women are in the front line, protecting their comrades from the attacks of the cavalry.  \nIn 1913, an economic crisis hit Italy. Unemployment grew considerably and so did emigration. In 1913, Italian migration abroad reached its peak: 870.000 Italians migrate abroad. Social tensions and conflicts ran high.","type":"Published drawing","holder":"State Library of Modern and Contemporary History","dates":"4–13 May 1913","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"19dba65f-a9fe-593e-8561-b4a20b42b083":{"name":"*A British Ship Coral Fishing Near Algiers*","alternate_name":"*Bastimento inglese esercitando la pesca del corallo*","description":"Coral fishing was an important economic activity in the Mediterranean. Algeria was the main fishing area for corals, especially after the depletion of Sardinian coral, and ships from different countries competed for this valuable resource. Torre del Greco, near Naples, was the most important port town for coral fishing in the Kingdom of the Two Sicilies, while Livorno was the most important port town for coral fishing in the Grand Duke of Tuscany. In 1864, Torre del Greco had 300 coral-fishing boats while Livorno had 60.","type":"Drawing (archival document)","holder":"State Archives of Naples","dates":"26 October 1826","location":"Naples","author":"Rossana Spadaccini","copy_editor":"Anne Dowell"},"19f232dc-5ab5-59c1-9ebb-efa8da82d771":{"name":"*Turkish woman at the hammam or baths*","description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"1a477c20-c077-5125-9fc1-9d8eb04e2681":{"name":"*View in the Plain of Latakia, in Syria*","description":"This print, entitled 'View in the Plain of Latakia, Syria' was first published on page 28 of in Robert Brown''s 'The Countries of the World', published by Cassell and Company Ltd, London and New York in 1876. In the 19th century, Latakia was famous for its tobacco, grown in the plain behind the town and on the Ansarieh hills. Three main varieties of tobacco were produced: the lowest quality was dark in colour and strong in flavour; the best, grown in the districts of Diryus and Amamareh, was light and aromatic, exported mainly to Alexandria, Constantinople, Cyprus and directly to Europe.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1876","location":"Sharjah","provenance":"First published in Robert Brown, *The Countries of the World*, published by Cassell and Company Ltd, London and New York, 1876, p. 28","author":"Ulrike Al-Khamis"},"1b553eb5-5ca4-5f1a-9027-ff3e00f54fe1":{"name":"*Voyage de la Haute Egypte*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1876","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"1bb390d7-8753-553f-9174-6119a0f96ab1":{"name":"*Exposition Universelle - Their Royal Imperial Majesties and the Viceroy of Egypt visit the Temple of Edfu*","description":"Visitors to the 1867 Exposition Universelle (world fair) had the opportunity to explore a reconstruction of the Temple of Edfu in a \"Parc Égyptien\". This reconstruction (containing a mix of various different temples) was a response both to the fashion for ancient Egypt, and the desire for good diplomatic relations with modern Egypt. Indeed, we can see the imperial couple in this photograph standing with Isma'il Pasha, the viceroy of Egypt, who had come to see the exhibition. The Temple of Edfu had just been rediscovered by the famous Egyptologist Mariette.","type":"Print","holder":"National Library of France","dates":"1867","location":"Paris","translator":"Flaminia Baldwin"},"1d05a82c-6016-572a-b4ab-6100639104d3":{"name":"Project for a steamship for the Sultan of Morocco, by the Fratelli Orlando shipyards (Livorno, Italy)","description":"Project drawn to a scale 1:100.  \nIn 1899, the Fratelli Orlando shipyards (Livorno, Italy) made a project of a screw steamer for the Sultan of Morocco. The steamer was to have two decks, two steam engines of 900 HP and harbour twelve passengers. The project, however, was never realised.  \nThe Fratelli Orlando shipyards built the cruiser Bascir for the Moroccan Navy and a yacht for the Khédivé of Egypt.","type":"Archival document","holder":"State Archives of Livorno","dates":"Livorno, 7 March 1899","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"1d9fdf68-a63f-5cd6-937f-9223edee8336":{"name":"*Hebron*","description":"This print is based on a watercolour by David Roberts entitled 'Hebron Mosque erected over the graves of Abraham and the Patriarchs' and completed in 1835. Apparently, this in turn was based on an initial sketch made at the Mosque by a Mrs Bracebridge. According to Jewish, Christian and Muslim tradition, the sanctuary at Hebron houses the graves of Abraham, his wife Sarah and their family. To Jews, it is the second holiest site after Jerusalem. Muslims revere the site because of its associations with Abraham and view the city of Hebron as one of the sacred cities of Islam. Formerly prosperous as a glass-manufacturing centre and hajj staging post, Hebron's fortunes declined in the 19th century due to cheap glass imports and the rerouting of the hajj caravan from Damascus to Transjordan.","type":"Steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"1835","location":"Sharjah","provenance":"London?","author":"Ulrike Al-Khamis"},"1e12d773-b67f-5c74-86a0-52e25a1cd507":{"name":"*Précis Historique de la Traite des Noirs et de l'Esclavage Colonial*","alternate_name":"Title page","description":"Joseph Elzéar Morénas (1776–1830) was born to a wealthy family of merchants. Following an early trip to India, Morénas became specialised in botany and developed a love of languages, which even led him to write a Hindi dictionary. When he was sent to Senegal in 1818 he was horrified by what he saw of the slave trade, and so asked to be repatriated. After a sojourn in Haiti, he began working on research in the agricultural sciences, all the while denouncing the \"slave trade\". His two petitions, \"*Pétition contre la traite des noirs*\" (1820 and 1821), which he presented to the Chamber of Deputies, created many problems for him. He therefore began working on a *Précis Historique de la Traite des Noirs et de l'Esclavage Colonial* instead, which was published in 1828. He died in Russia, where the Tsar encouraged the continuation of his agronomical work. This title page points to his relationship with and support for Cyril Bissette, a Martinician accused of having written De la Situation des Gens de Couleur Libres aux Antilles Françaises, who was banished by the royal court along with his so-called accomplices (Fabien and Volny).","type":"Printed and illustrated text","holder":"National Library of France","dates":"1828","location":"Paris","translator":"Flaminia Baldwin"},"1ef87e38-e142-56b3-951f-b7d338ff850e":{"name":"*Austrian troops occupy Venice in 1797*","description":"Napoleon ended the existence of the 1000-year-old Venetian Republic in May 1797. French troops proceeded to occupy Venice for six months from May 1797 to January 1798, then ceded the city to Austria. Austrian troops occupied Venice starting 18 January 1798 until the Peace of Pressburg in 1805.","type":"Print","holder":"Vienna Museum","dates":"1798","location":"Vienna","copy_editor":"Daniel de la Vega"},"1f2e44d5-854a-519d-868a-777ceb2535e3":{"name":"*Les Folies Turques: quadrille*","description":"The 18th century fascination with \"turkeries\" was followed in the 19th century by a trend for music with more stereotypical, supposedly \"oriental\" motifs. This operetta about \"turkish follies\", is an example of this.","type":"Sheet music","holder":"National Library of France","dates":"1875","location":"Paris","translator":"Flaminia Baldwin"},"1f36adb3-13ae-550d-b5bc-5e1b31f12bb9":{"name":"Seven plates from *Antiquities and views in Greece and Egypt, with the manners and customs of the inhabitants, from drawings made on the spot*, A.D. 1749 by Richard Dalton","short_description":"Between 1746 and 1754, Lord Charlemont, James Caulfield, 1st Earl of Charlemont embarked on a Grand Tour of Europe. Whilst in Sicily in 1749, Charlemont encountered Richard Dalton, a draftsman and engraver, whom he asked to accompany him and his travelling companions onwards to Greece and Egypt in order to provide illustrations for his essays. Dalton travelled with Charlemont until 1750 during which time he made many drawings of landscapes, customs and events and was known as the first Englishman to make drawings in these regions. Some of these drawings were published in ‘*Antiquities and views in Greece and Egypt*’, which was published definitively in 1791 and included engraved sketches of important sites beyond Italy. Notably Dalton also seems to have taken great interest in the annual Hajj procession, and sketched eight different parts of the ceremonies (it is said while concealed in a nearby house), each labelled with an extensive caption. Dalton went on to become librarian to King George III.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1749","location":"London","dimensions":"37x55cm; 36.4x52.5cm; 36.4x52.3cm; 36.3x52.4cm; 36.2x52.4cm; 36.5x50cm; 36.5x50cm","method_for_datation":"The date and publication details are taken from the original publication.","provenance":"Europe","bibliography":"Gibbons, M., and Gibbons, M., “Charlemont: On the Grand Tour”, *History Ireland*, 13 (2005): 21-27.","author":"Qaisra Khan","keywords":["banner","camel","Ceremonial object","embroidery","hajj","Hijaz","Ka'ba","Mahmal","Mecca","Ottoman textile","Paper","pilgrimage","Pilgrimage route","Religion","religious object","Standard","textile","travel"],"materials":["Paper"]},"1f4778d6-1457-56dc-8745-6fecef3643f8":{"name":"Hussein Avni Pasha (1819–1876)","description":"Portrait of Huseyn Avni Pasha, who was murdered in 1876 by Hasan Bey. In 1874 Huseyn Avni Pasha became Grand Vizier. He served in this position until 25 April 1875. From 25 August 1875 until 1 October 1875, he served as War Minister. Starting 11 April 1876, he served again as War Minister and played a major role in toppling Sultan Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"1f9cc409-36e4-51f2-828e-77a94d820a08":{"name":"Istanbul water pipeline map","description":"During the 19th century, new technologies radically transformed both travel and communications. The Cendere Hamidian Water Pump Station was built by Abdülhamid II in 1902. The station is located at an altitude of 34 metres above sea level. With its function, architectural design and mechanical equipment, the station is a unique reminder of Ottoman architecture. It pumped to Balmumcu and Beşiktaş – with water coming from 20 different pipes in Kağıthane, propelled by steam pump machines.","type":"Map","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"1fb1726f-8870-520a-9b34-30b69dacfc97":{"name":"*The Encyclopaedia of Islam*, edited by M. Th. Houtsma (and others)","description":"The first of four volumes of the *Encyclopaedia of Islam*, a dictionary of the georgraphy, ethnography and biography of the Muhammadan peoples by Th. Houtsma and others. It was published by Brill in Leiden and Lyuzac in London. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1913-1938","location":"Athens","provenance":"Leyden","author":"Mina Moraitou"},"1fc5fe5c-fbfa-5316-9126-a887d85076f6":{"name":"*Description de l'Arménie la Perse*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Félix Marie Charles Texier was a French historian, architect and archaeologist. Texier published a number of significant works involving personal travels throughout Asia Minor and the Middle East. These books included descriptions and maps of ancient sites, reports of regional geography and geology and descriptions of artwork and architecture.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1842–1845","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"2014af0a-f0bc-59a2-9a32-22eb77035668":{"name":"Ferdinand I, Czar of Bulgaria (1861–1948)","description":"Portrait of Ferdinand I (1861–1948) as Duke of Bulgaria. Ferdinand I was born as the son of the Austrian General August von Sachsen-Coburg and Gotha. In 1887 he became ruler of Bulgaria after the abdication of Alexander I von Battenberg. In 1908 he made himself Tsar of Bulgaria. Because he joined the German and Austrian monarchy in WWI and lost the war, he had to abdicate on 3 October 1918 and to emigrate to Germany and Slovakia. In 1948 Ferdinand I of Bulgaria died in Coburg, Germany.","type":"Photograph","holder":"Austrian National Library","dates":"After 1887","location":"Vienna","copy_editor":"Daniel de la Vega"},"20184242-548f-5030-bd05-abb877ad5352":{"name":"The Persian Pavilion at the Trocadero [Paris Exhibition, 1878]","alternate_name":"*Il Padiglione della Persia al Trocadero*","description":"Paris, Universal Exhibition of 1878: interior of the Persian Pavilion at Trocadero.","type":"Drawing from a book","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"20742252-5d4f-565f-8b1e-0849b9510ddd":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861). When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"c. 1850","location":"Vienna","copy_editor":"Daniel de la Vega"},"2088a0e4-bb93-514d-9d8c-6b0a1e09ef8a":{"name":"*The Necropolis, Petra, March 9th, 1839*","description":"The Necropolis' of Petra appears in Volume 3 of 'The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia' from drawings made on the spot by David Roberts, lithographed by Louis Haghe and published in six volumes by F.G. Moon in London between 1842-1845. Situated at the beginning of the steep ravine or siq that leads into the heart of Petra, both the so-called 'obelisk tomb' shown in the centre and the Triclinium situated to its lower right still exist today, even if much eroded since the days Roberts visited Petra in 1839. In the 19th century, Petra was one of Europe's most enduring Orientalist fascinations, but it also played a part in the region's more modern history. In October 1917, T. E. Lawrence, to divert Turkish military resources away from the British advance before the Third Battle of Gaza, led a small force of Syrians and Arabs in successfully defending Petra against a combined force of Turks and Germans. Bedouin women from the Petra area - under the leadership of their Sheikh's wife - were recruited to fight in the defense of the city.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"21190cc8-58e0-5705-a812-394f864b6c6e":{"name":"Peace between Italy and Turkey. Between Workers: ‘You and I made peace long ago!’","alternate_name":"Italian cartoon against the Italian war on the Ottoman Empire in Libya, which supports workers' brotherhood across national divides; *La pace Italo-Turca. Tra lavoratori: ‘La pace noi l’abbiamo fatta da un pezzo!’*","description":"*L’Asino* (1892-1925) was a satirical weekly paper, founded by cartoonists of socialist area (Guido Podrecca and Gabriele Galantara). It launched a vocal campaign against the 1911-1912 Italian colonial war in Libya, and supported brotherhood among workers across national lines.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"1912","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"21983581-bf0c-5102-8ca7-8f1af359caf4":{"name":"Muhammad Tawfiq Pasha (1852–1892)","description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"1879","location":"Vienna","copy_editor":"Daniel de la Vega"},"21ba2a39-e5d5-58c6-a42b-e97edf24cfc5":{"name":"Gold medal awarded to l'École Emile-Loubet","description":"This certificate for a gold medal was awarded to the vocational college l'École Emile-Loubet in Tunis at the Paris International Trade Fair in 1900 for the training it provided particularly in carpentry, metalwork and book binding. The school was founded in 1898 by 'Ali Bey for teaching the basics of manual occupations. The bey, accompanied by the French President, placed the first stone of its new building in 1900, which then became the Lycée Technique Emile-Loubet.","type":"Photograph","holder":"Musée de l’Education","dates":"1898","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"21cf7fa5-ac97-5097-8b52-ba4324bd02bd":{"name":"Edward Dodwell, *View in Greece* (London 1830)","description":"Edward Dodwell recorded the trasformation of the ancient Tower of the Winds into a dervish teke and in the early 19th century it wqas particularly popular with the travellers. Scenes from the city of Athens. Over the lintel, which faces the north-east, upon a red ground, is inscribed the Arabic *La Illah, Allah, Mahamed u resoul ullah* declaring there to be no God but God, and Muhammad to be his prophet. The wooden floor of the interior rests upon the lower cornice, many feet above the ancient pavement. The marble walls are washed with a uniform white. The *mihrab*, painted in perpendicular stripes of green and red, indicates by its position the direction of the Kaaba, or oratory of Mecca; each side of this is a wax candle, and the green flag of the prophet has also its place. The Qur'an is deposited within this niche, and an imitation of the two-edged sword of 'Ali is attached to the adjoining wall. Before these is performed the circularly whirling dance of the Dervishes, witnessing which, the spectator will find it as difficult to remain serious, as it would be dangerous to appear otherwise.","type":"Book","holder":"Benaki Museum","dates":"1830","location":"Athens"},"221db0e4-52d5-54d3-a7f0-9a52cbd932ad":{"name":"Italian postcard of colonial propaganda: \"Dawn of civilization\"","alternate_name":"Italian postcard of colonial propaganda at the time of the Italo-Ottoman war of 1911–12 over Libya; *'Alba di civiltà'*","description":"This postcard explicitly states a key element of colonial propaganda: the notion that the colonisers brought “civilisation” to the newly conquered territories. Italian navy ships in the background are intended to convey the notion of Italy’s military might, but nothing reminds viewers of the violence of the colonial enterprise: the military man in the forefront does not carry weapons, but only the Italian flag.","type":"Postcard","holder":"State Library of Modern and Contemporary History","dates":"1911–12","location":"Rome","author":"Maria Pia Critelli","copy_editor":"Anne Dowell"},"229ce446-298c-5552-9810-3b37da02fac9":{"name":"*Tulumbacı*","description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. *Tulumbacı*, a member of the Janissary fire brigade.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"22e62379-2fd3-551c-8a81-3883d3d21495":{"name":"The biweekly paper *Spettatore Egiziano* was the first Italian-language newspaper to be published in Egypt","alternate_name":"*Spettatore egiziano. Giornale politico, scientifico, letterario e commerciale*","description":"The *Spettatore Egiziano* was founded in 1845 by Giacomo Castelnuovo, a Jewish medical doctor from Livorno (Tuscany, Italy) who had to flee his country in 1843 because of his affiliation to the Giovane Italia (the Italian patriotic and republican movement created by Giuseppe Mazzini). The *Spettatore Egiziano* was the first Italian-language newspaper to be published in Egypt. Castelnuovo also founded the *Il Progresso d’Egitto*, a bulletin that kept the Italian community in Egypt updated about the Italian political events like the 1848 revolutions.  \nCastelnuovo later moved to Tunis where he became the Bey's physician.","type":"Newspaper","holder":"State Archives of Livorno","dates":"24 July 1856","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"235e2dec-25cb-5d30-8fea-a6de9c3f6d26":{"name":"*The Attack on the Fort of Luft, November 27, 1809*","description":"This depiction shows the fortress of Luft, one of the Qawasim strongholds on the island of Qishm in the Gulf, being attacked by British forces armed with long muskets. Several large dhows are burning in the foreground, while the smoke from defending gunfire can be seen emanating from the loopholes of the fortress. Local fighters are seen lined up along the top the fortress walls and towers.  After having sacked Ras al Khaimah on the Arabian side of the Gulf, the British proceeded to rout out all remaining Qawasim strongholds on the Persian coast, including those on Qishm island. On the 26th of November 1809, the British reached Luft, and after futile negotiations with the local Qawasim representative, they attacked by sea and land. Despite brave and consistent defence which led to heavy British casualties, the fort was taken, all dhows destroyed and the resident Sheikkh exiled.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"23c0eaa7-284e-5a97-9ac8-8edafc208719":{"name":"A petition to collect signatures in support of an appeal to the Italian parliament to grant women the right to vote, drawn up by Anna Maria Mozzoni","description":"With this appeal, Anna Maria Mozzoni and other women asked members of parliament to leave aside “academic digressions” on women’s nature and on their “mission” and to “consider we \\[women\\] only in our relation to the State, for what we really are: citizens, taxpayers, and able” who deserved the right to vote.  \nItalian women’s campaign to get the right to vote gained momentum at the end of the 19th century and beginning of the 20th but it wasn’t successful until 1946.  \nAnna Maria Mozzoni was the most brilliant Italian feminist activist of the second half of the 19th century. She authored books, founded journals and associations, and incessantly campaigned in favour of women’s rights.","type":"Leaflet","holder":"State Library of Modern and Contemporary History","dates":"1877","location":"Rome","author":"Rosanna De Longis","copy_editor":"Anne Dowell"},"23e8db58-0148-5dc3-98b4-98cb5313ba16":{"name":"Pilgrimage proxy scroll.","description":"This pilgrimage proxy scroll includes handwriting, painting, and drawing on an expensive yellow glazed paper known as *abadi*. It is in fragmentary condition and its title, as well as the section containing the *basmala* (the formula 'In the Name of God, the Compassionate, the Merciful'), are missing. The first of the two fragments includes a pair of standards bearing the name of the contemporary Abbasid caliph, al-Nasir (r. AH 575–622 / AD 1180–1225); the standard on the right is partially preserved. Below this emblem is a colour depiction of Mount Arafat flanked by candlesticks. Below this are depictions of the Maqam-i Ibrahim, a stone associated with the Prophet Abraham, and the water wells. Further below this is a depiction of al-Muzdalifa, where pilgrims spend the night as part of their pilgrimage duties, and al-Mina, which is the third most important site for pilgrims. The empty spaces in between the drawings are filled with inscriptions describing the requirements for the pilgrimage.  \n  \nThe depiction of the Ka'ba unfortunately has not survived in this scroll. The second fragment features depictions of al-Safa and al-Marwa (two locations that pilgrims visit in Mecca), the city of Medina (where pilgrims visit the tomb of the Prophet Muhammad), the city of Jerusalem, which pilgrims customarily visit after the pilgrimage to Mecca and Medina, and al-Aqsa Mosque in Jerusalem. This proxy certificate was prepared for a person identified as Umm Abbas, wife of Ghalib. The person performing the pilgrimage on her behalf is Ahmad ibn Fadl al-Andalusi. The document was prepared in AH 602 / AD 1206.  \n  \nIn the Middle Ages it was difficult for people, especially women, to go on pilgrimage. Therefore, people who went on pilgrimage themselves, and those who sent a proxy on their own behalves, wanted to own a certificate proving that they had visited the holy sites and fulfilled all the requirements for the pilgrimage (perhaps in order to leave them to the future generations). Such pilgrimage and proxy certificates are invaluable documents for they describe the pilgrimage ritual, depict the holy sites, and provide information regarding the social life of the period.","short_description":"Pilgrimage certificates document pilgrimages to the Holy Lands, culminating in circumambulation of the Ka'ba. The certificates or proxy certificates (for those unable to make the hazardous journey themselves) give the names of the pilgrim and the proxy, the places visited and worship performed, accompanied by pictures.","type":"Scroll, paper","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Umm Abbas, wife of Ghalib.","dates":"Hegira 602 / AD 1206.","location":"Sultanahmet, Istanbul.","dimensions":"4737: Height 55 cm, width 26.5 cm.; 4746: Height 51 cm, width 26.5 cm.","method_for_datation":"The document's inscription specifies the date 602 / 1206. Both the style of writing and the name of the contemporary caliph support this dating.","obtention":"Ismet Bey, the mayor of Istanbul and a member of the board of directors of the Museum of Islamic Foundations (the old name for the Museum of Turkish and Islamic Arts), visited the Umayyad Mosque in Damascus while travelling. He had a number of items in the Qubbat al-Hazine (Treasury) of the mosque, including Qur'ans and this pilgrimage document, transferred to the Museum where they were registered in the inventory in around 1332 / 1914.","bibliography":"Aksoy, Ş., and Milstein, R., “A Collection of Thirteenth-Century Illustrated Hajj Certificates”, *M. Uğur Derman 65th Birthday Festschrift*, Istanbul, 2000, pp.73–134.  \n  \nölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.80–81.","author":"Şule Aksoy","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["hajj","Ka'ba","pilgrimage"],"materials":["Handwritten and hand-painted on glazed (abadi) paper using ink and watercolour."]},"240766f1-2bff-5c21-abf7-80992ebf2e6a":{"name":"The Hall of Spain, Rome Exhibition, 1911","alternate_name":"La Sala della Spagna","description":"On the occasion of the International Exhibition of Rome in 1911, the complex of the \"Baths of Diocletian” was restored under the direction of the archeologist and topographer Rodolfo Lanciani. The site housed the Archaeological Exhibition dedicated to the Roman culture in the Imperial Era with a particular interest for its positive influence on the ex provinces. Every single nation participated through original reproductions of archaeological materials, often lost. The photo shows material evidence and casts coming from Spain.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"2457b927-f975-5a7e-ab6c-6f0fce7979b6":{"name":"A sheet of a Persian poem","short_description":"The calligraphy is a Persian poem in three stanzas of two lines by the poet Bidel (1642–1720) who lived in India. Mirza Abdul Qadir Bedil (or Bidel), also known as Bidel Dehlawi, was one of the most influential and successful poets who lived outside Iranian territory and wrote in Persian.  \nThe poem is written in *taliq* script using iridescent ink. Each stanza is contained in its own cloud-shaped area of white which contrasts the gilt paper background. The edges of the paper are framed by a blue border painted with a scrolling leaf pattern.  \nThe translation of the poem is as follows:  \n“Each man who confides his grief in Him (God, the Beloved) saddens Him / I have a grief which, when I reveal it, causes Him great distress / Sometimes He makes a place in my soul for love and tenderness / sometimes because of the hearts of the others (breaking the hearts of the others) I sadden Him / If I, the heartless (someone who has gone through lots of love grieves in life) reveal my severance (grief of love) to Him, the radiant sun of love for His help /saddens Him greatly.\"","type":"Calligraphy","holder":"MKG Museum for Applied Arts","dates":"Hegira 12th century / AD 18th century","location":"Hamburg","dimensions":"Height: 11cm, Length: 22cm","method_for_datation":"Calligraphic style indicts  Bīdel's work.","method_for_provenance":"Purchased from Dr. Friedrich Spuhler, Berlin.","provenance":"Iran","obtention":"Purchased in 1990.","bibliography":"Karolewski, J. and Köse, Y., \"Wunder der erschaffenen Dinge: Osmanische Manuskripte in Hamburger Sammlunge,\" *Manuscript Cultures*, 9 (2016): 175-190.  \nKeshavmurthy, P., *Persian authorship and canonicity in late Mughal Delhi: Building an Ark*, New York: Routledge, 2016.  \nPope, A. U., *Masterpieces of Persian Art*, New York: Asia House, 1954.  \nSchimmel, A., *Islamic Calligraphy*, New York: Metropolitan Museum of Art, 1992.","copy_editor":"Caitlin Link","keywords":["calligraphy"],"materials":["gilt paper","Iridescent ink"]},"248b6ee3-8b98-5fe8-a126-461e9a621403":{"name":"The Committee of Tunis for Milan Exhibition 1906","alternate_name":"*Comitato di Tunisi per l'Esposizione di Milano 1906*","description":"The Italian community in Tunisia participated in the 1906 Milan international exhibition. The Committee in charge of organizing exhibition participation included Italian professionals and entrepreneurs who had migrated from Italy to Tunisia or who were children or grandchildren of immigrants, such as Alfredo Coen (owner of the furniture shop “Au Palais Arabe” and of a furniture factory), G. Di Vittorio and L. Rey (owners of constructions companies that built important public and private buildings, Di Vittorio, from Sicily, Rey, the child of an immigrant from Piedmont), Ugo Moreno (a trader, whose the family had migrated from Livorno in 1830) and Doctor Pietro Brignone (who ran a pharmacy in Tunis).","type":"Photo (published on a book)","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"24a1ef30-391f-5de1-b0c3-ac5c96034a3d":{"name":"Sketch","description":"Sketch for a rectangular stained-glass window, comprised of three panels – the outer two narrow and the middle wider. Likely due to this symmetry in design, only the left half of the sketch was completed; thus, the right-hand panel and right half of the middle panel appear empty. The decoration consists of an outer border and rocaille detail in the corners and centre of the design. The centrally positioned main panel features a coat of arms bearing the image of a building. Surrounding this blazon is a medallion with a circular inscription reading “Banco Hispano de Edificación Madrid” (Spanish Bank of Construction, Madrid). The medallion is adorned with a wreath (perhaps of laurel and oak) and construction tools; culminating in a central rosette; surrounded by a frame of trimmed leather and crowned with a scallop shell.  \n  \nAs its inscription indicates, the sketch was made for a stained-glass window to be placed in the Banco Hispano de Edificación. The building that originally housed the bank exists to this day, at 60 Calle Gran Villa in Madrid. The bottom of the sketch bears the workshop registry number and scale of the drawing. As Paloma Pastor notes, in stained-glass window production, the sketch serves as the proposed design. Traditionally, it was offered to the client as a model before carrying out the work. Colour, applied with ink and watercolour pigment, is a fundamental element of these sketches.  \n  \nCasa Maumejean was a French family business with several branches in Spain, the most renowned of these being the Madrid office. While the company created works for export to diverse locations, the bulk of its production occurred on national soil. Many early-century buildings in Madrid continue to preserve the magnificent stained-glass windows made by the Maumejean company.","type":"Sketches; Maumejean Archive","holder":"Museo Nacional de Artes Decorativas deposited in La Granja National Glass Center Foundation","dates":"6 May 1931","location":"La Granja de San Ildefonso, Segovia, Spain","dimensions":"Height: 20.3cm, Width: 21cm, Scale: 10:100","provenance":"La Granja de San Ildefonso, Segovia, Spain","obtention":"Purchase, 1993","bibliography":"Pastor Rey de Viñas, Paloma, *Vidrieras del Taller Maumejean en las Colecciones de la Real Fábrica de Cristales de la Granja*, Segovia: Taller Imagen, 2005.","workshop":"Casa Maumejean","author":"Celia Diego Generoso","copy_editor":"Janice Medina","translator":"Autumn Linn","keywords":["Banco Hispano de Edificación","Maumejean","Sketch","Stained-glass windows"],"materials":["watercolour"]},"251b2b7e-e8f3-5697-9d6d-a33a6facc5ca":{"name":"*Details and ornaments from the Alhambra by Owen Jones, Architect*","description":"The influence of the Islamic art also arrived through different publications as the well-known Owen Jones's books and the pieces displayed in the International Exhibitions, as in the first one in London where Owen Jones displayed the Lion fountain of the Alhambra Palace in a building dedicated to master works of art. This book was well-known for many of the Orientalist artists as an example for decoration and the use of the colour.","type":"Book","holder":"National Museum of Decorative Arts","dates":"1845","location":"Madrid","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"254ea7af-536e-5a78-8206-f0d4cc517b93":{"name":"*Study of an Arab*","description":"*Study of an Arab* by Frederick Lewis, and important orientalist painter and etcher.","type":"Drawing","holder":"The British Museum","dates":"1840’s","location":"London","provenance":"?"},"254f2ab4-2fe6-52af-8591-2539a60545f9":{"name":"Nebamun tomb paintings","description":"Tracings were made of the fragile wall-paintings in the British Museum before they were mounted in the 1830s, so that no fragments would be lost.","type":"Tracing","holder":"The British Museum","dates":"1820–1830","location":"London","provenance":"UK"},"25a67385-d901-5896-a204-90f0be3423ed":{"name":"Cartoon","description":"This cartoon, which criticised the French invasion of Tunisia, appeared in the satirical magazine L'Epoca on 1–2 August 1881. The French consul in Tunisia, Théodore Roustan, is depicted as the new ruler of Tunisia, under the tile \"His Royal Highness Roustan 1st\", and holds the ruling bey Sadok Pacha on a leash.","type":"Photograph; cartoon","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"261e731d-c1f3-5549-9d76-8e6eb76876e3":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Photograph","holder":"Austrian National Library","dates":"c.1893","location":"Vienna","copy_editor":"Daniel de la Vega"},"268aaa5c-cd67-562b-a9f2-43828b435d6f":{"name":"Drawing","description":"Undated watercolour and pencil drawing on stiff paper with a landscape showing a bedouin black tented encampment, with horsemen and the river Khabur behind and looking towards Jebel Abdulaziz on the left, Tell Umjerjeh (sic) in the centre and the mounded sites of Tell Mijdel and Dibbs on the right.","type":"Drawing","holder":"The British Museum","owner":"The British Museum","dates":"1850","location":"London","dimensions":"Height: 21 cm; width: 35,5 cm","obtention":"Purchased from Chin Fine Art in 2010.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_2010-6001-18","keywords":["Camp","Khabur","landscape","river","tent"],"materials":["Paper","pencil","watercolour"]},"26d5c466-64f0-57e3-823b-ed86f67a2c66":{"name":"A postcard of Italian colonial propaganda","description":"The Roman Empire once ruled over the entire coastal area of North Africa. This postcard explicitly links the Italian colonial conquest of Libya in 1911-12 with ancient Roman rule over the same territory. It suggests that the Italian Kingdom was the legitimate heir of the Roman Empire and had an historic right to rule over Libya. Especially during Fascism, Italian colonial propaganda often referred to the Roman Empire in order to legitimize Italian expansionist policy.","type":"Postcard","holder":"State Library of Modern and Contemporary History","dates":"1910s","location":"Rome","author":"Maria Pia Critelli","copy_editor":"Anne Dowell"},"2704a657-75fb-53a2-a452-1f915fe21d3e":{"name":"Drawing","alternate_name":"Drawing of the Holy Sepulchre, Jerusalem","description":"Church of the Holy Sepulchre, Jerusalem  \nGraphite and watercolour on a sheet of paper stuck down onto a second sheet","type":"Drawing","holder":"The British Museum","owner":"The British Museum","dates":"1775-1864","location":"London","dimensions":"Height: 27,2 cm; width: 36,2 cm","obtention":"Donated by Ita Rennie in 1949","bibliography":"Fani-Maria Tsigakou and Stephen Cozi Agelastos, 'James Skene: Monuments and View of Greece 1838-1845', (Athens 1985)","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/G_2012-5007-16","keywords":["Church","landscape","Topographic representation"],"materials":["graphite","Paper","watercolour"]},"270df30e-d695-5d3a-90a4-7dc1c7724043":{"name":"Regards","type":"Printed serial","holder":"BNF","owner":"BNF","dates":"1951","location":"Paris","place_of_production":"Paris","provenance":"Paris","catalogue_holding_link":"https://gallica.bnf.fr/ark:/12148/bd6t5111340/f5.item","materials":["Printed serial"]},"2711a503-9f23-5282-b34a-bc7b254979eb":{"name":"Outline map of Damascus in 1918","alternate_name":"Indicating urban growth to the fin de siecle","description":"Damascus, now the political and cultural centre of Syria, is one of the world’s oldest continuously inhabited cities. The design of its living spaces and the organization of urban society were always connected to the culture of its inhabitants. Damascus’ geographical space reflects this “spatial turn”: Its public spaces were clearly shaped and influenced by the diverse social, historical and cultural structures and events, which contributed to the vitality of Damascus’ multilayered Urban Design.","type":"Photograph; map","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"Map made in 2005","location":"Berlin","author":"Stefan Weber"},"2714690e-5a6c-5656-b85e-272d60d6e647":{"name":"Camels","description":"Horses and camels were the traditional means of travel for nomadic and semi-nomadic groups in the Hijaz and Levant for generations. While the Hijaz Railway meant to industrialise the pilgrim travel from Damascus to Medina, quadrupeds remained an essential part of the pilgrimage route, as well as vital resources for the construction of the railway itself. While the railway served as a mechanised replacement for their labour, horses and camels remained vital to the path of the railway before, during and after its construction.","type":"Lithograph print","holder":"Jordan National Gallery of Fine Arts","owner":"Jordan National Gallery of Fine Arts","dates":"1980","location":"Amman","dimensions":"Height: 69,2 cm; width: 59,2 cm","catalogue_holding_link":"https://nationalgallery.org/artist/safeya-binzagr/#artwork-1","keywords":["Camels","Hijaz Railway","horses","Nomadic/ Semi-nomadic Groups","pilgrimage","Transportation"],"materials":["Lithograph 88/100"]},"27238194-345e-5c00-b880-860d50c950cf":{"name":"The trademark for Chocolat des Pyramides produced by the company Talmone, based in Turin (Italy)","alternate_name":"*Chocolat des Pyramides*, cioccolato, Ditta Michele Talmone, Torino","description":"The Talmone chocolate factory was founded in Turin in 1850. In 1929 merged with Venchi.","type":"Trademark (archival document)","holder":"Central State Archives of Italy","dates":"31 July 1894","location":"Rome","author":"Margherita Martelli","copy_editor":"Anne Dowell"},"2735c542-1b56-59a7-9fac-72518fe82535":{"name":"Blueprint map of the Hijaz railway line between Damascus and Medina","short_description":"In 1900 the Ottoman Sultan Abdülhamid II (r.1876–1909) began the construction of a railway line connecting Damascus to the holy cities of Medina and Mecca. Built by public subscription and with an appeal to Muslims of the world for financial support, the railway line began from Damascus and reached Medina in 1908, never reaching Mecca.  \nThis map, which is dated 28 Huzayran 1334 (28 June 1916), shows the Hijaz railway line from Damascus to Medina and Dar‘a to Haifa, with a dotted line marking the line between Medina and Mecca (a line which was never completed). Names of stops and tribal territories are marked. The map is signed by the German Heinrich August Meissner – the chief engineer of the Hijaz railway. In 1904 he was given an official title and was known as Meissner Pasha. The original sketches for Hijaz railway maps were made by Mukhtar Bey, an accomplished engineer from Istanbul who was responsible for the original surveys of the route. They were then drawn by other officers and the blue prints signed off by Meissner, perhaps with changes. Mukhtar Bey was known as ‘Meissner’s right hand man’. The date here is notable as the Arab Revolt, which saw sections of the railway destroyed, began in June 1916.","type":"Map; chart; blue print","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1916","location":"London","dimensions":"86.5x56cm","method_for_datation":"Map is signed and dated.","provenance":"Turkey","bibliography":"Nicholson, J., *The Hejaz railway*, London: Stacey International, 2005.","author":"Qaisra Khan","keywords":["engineering","hajj","Hijaz","Hijaz Railway","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","Pilgrimage route","prayer","Prophet Muhammad","Religion","travel"],"materials":["Light-sensitive paper"]},"2750ade6-0ba3-536b-a712-3d37388d9bf1":{"name":"*Nuit d'Orient*. \\[waltz for piano, op. 11\\]","description":"Musical composers' fascination with the \"Orient\" manifested itself in their music and their titles. The \"harem\" had intrigued Westerners for a long time.","type":"Sheet music","holder":"National Library of France","dates":"1901","provenance":"France","translator":"Flaminia Baldwin"},"279d0dc2-0ffe-5cf8-89f7-8199c9c7ec9a":{"name":"*Fantasy in Egyptian Gallery, the British Museum*","description":"Fantasy in Egyptian Gallery, the British Museum, by Duncan. A group of sculptures come to life. Closely modelled on the sculptures displayed in the British Museum. Assyrianising figures at rear left. At front right Ry yawns and rubs his eye.","type":"Print","holder":"The British Museum","dates":"1870","location":"London","provenance":"United Kingdom"},"27bffbe0-bf77-51b6-87f3-1667b65ae607":{"name":"*The Ruins of the Temple of the Sun at Baalbec*","description":"This dramatic view looks across the great court of the temple complex in Baalbek. In the ancient world Baalbek, to the east of Beirut in Lebanon, was a great centre of trade between Europe and Asias, and home to a religion of sun worship. The Scottish artist David Roberts visited in 1839 and over the following years made many images of the still imposing ruins. This painting is Roberts's last of Baalbek, and he considered it as 'a grand finale' to his career as a painter of the Middle East. The complex's imposing architectural and artistic details also inspired European Neoclassical architects and artists such as Robert Adam. Since about 1864 many tourists visited the famed site, including, in 1898, the German emperor Wilhelm II on his way to Jerusalem. Struck by the magnificence of the ruins, he dispatched a German archaeological team, whose subsequent work resulted in a meticulously presented and illustrated publication that further raised interest in Baalbek.","type":"Painting","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"1861","location":"Sharjah","provenance":"Probably London","author":"Ulrike Al-Khamis"},"27da4fd7-996d-5066-b357-ffc4082c83ad":{"name":"Dr Charles Nicolle","description":"This is a photograph of the Nobel Prize for Medicine won by Dr Charles Nicolle for his work on infectious illnesses during his time at l'Institut Pasteur from 1903 to 1936.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"27db4792-06af-5d09-8d3d-457d76486f2e":{"name":"*Magnificent Atrium with Figures*","description":"The growing influence and interaction between communications, especially the printing press and foreign travel, reinforced the cosmopolitan culture that came to characterise the processes of the European courts. Lisbon took the lead, when, under the reign of the King João V, Absolutism gave the Portuguese monarchy a renewed lease of life. Sacred and profane music, heard either at the Patriarch or at court, had a strong political meaning and reinforced the king's aura of majesty. King João V, therefore, commissioned artists such as Domenico Scarlatti; built the monumental Opera House next to the Royal Palace in 1754 (destroyed during the earthquake of 1755), and enlarged the Royal Orchestra with new foreign soloists.  \nThe theatrical scenery drawings of the Galli Bibiena family were not made on durable material. Due to the fact that the theatre sets they designed for court functions were temporary, few of their creations have survived. The richness and splendour of their stage sets can however still be judged from contemporary drawings, preserved in great numbers, and found mainly in collections in [Vienna](http://en.wikipedia.org/wiki/Vienna \"Vienna\"), [Munich](http://en.wikipedia.org/wiki/Munich \"Munich\") and [Dresden](http://en.wikipedia.org/wiki/Dresden \"Dresden\").  \nThis drawing by Francesco Galli Bibiena is a study for an unknown stage set. It is possible that it was brought to Portugal in 1750–1751 by his son, Giovanni Carlo Sicino Bibiena (1717–1760), who was charged by King José I to modernise both the theatres themselves and their services.  \nThe drawing shows an interior space with large arcades seen from a diagonal perspective. The composition is dominated by two large arches leading up to corridors at the top of a staircase. The vaults are richly decorated and the balconies bear several medallions with mythological figures at the centre supported by little angels. Bound by columns and female sculptures, the central area is occupied by women with children. Two dogs can be seen on the left. Through the main arcade a young crowned ruler makes his entrance surrounded by soldiers carrying banners, attracting everyone's attention.","short_description":"This drawing by Francesco Galli Bibiena is a study for an unknown stage set. It represents an interior space with large arcades seen from a diagonal perspective. The vaults are richly decorated and the balconies bare several medallions with mythological figures at the centre supported by angels.","type":"Drawing for a stage set","holder":"National Museum of Ancient Art","owner":"Museu Nacional de Arte Antiga","initial_owner":"Probably belonged to Giovanni Carlo Sicino Bibiena (1717–1760)","dates":"First half of the 18th century","location":"Lisbon, Lisbon","dimensions":"H: 40.6 cm; l: 57.6 cm","place_of_production":"Italy","method_for_datation":"Stylistic approach to the graphical work of Francesco Galli Bibiena.","provenance":"Royal Academy of Fine Arts, Lisbon, 1884","obtention":"The drawing might have been brought to Portugal by Giovanni Carlo Sicino Bibiena in 1751 or 1752, along with some others. There is little information about the whereabouts of these drawings during the second half of the 18th century and the beginning of the 19th. In around 1845 the drawing was in the collection of the Royal Academy of Fine Arts, Lisbon and then transferred to the Museu Nacional de Arte Antiga in 1884, the date of its establishment.","bibliography":"Correia, J. M., da Silva D., \"Teatros Régios do século XVIII – algumas considerações acerca dos desenhos da colecção do Museu Nacional de Arte Antiga\", *Boletim do Museu Nacional de Arte Antiga*. Vol. V, Nos 3 & 4, Lisbon, 1969.  \nBeaumont, M. A., \"Stage-sets by the Bibienas in the Museu Nacional de Arte Antiga, Lisboa\", *Apollo*, 1973, pp. 408–415.  \nMuraro, M. T., Povoledo, E., *Illusione e Pratica Teatrale - Proposta per una lettura dello spazio scenico dagli intermedi fiorentini all'Opera comica veneziana*, Venice, 1975.  \n*Desenhos dos Galli Bibiena*. *Arquitectura e cenografia* / *Eighteenth-Century Scenic and Architectural* *Design*, Lisbon 1987; USA, 1990.  \n*I Bibiena, una famiglia europea*, Bologna, 2000.","workshop":"Italian School, Bologna","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Regina Peixeiro","translator":"Regina Peixeiro","translation_copy_editor":"Mandi Gomez","keywords":["architectural perspective","Bibiena","Bologna","corner perspective","drawing","scenography","stage-set","theatre"],"materials":["Pen and brown ink with green and brown wash on paper"]},"28039875-4e38-5259-a55c-6b799bdfae9b":{"name":"Grand Bazar Arabe. A late-19th-century bazaar built in Tunis by the construction company of G. Di Vittorio, an Italian immigrant in Tunisia","alternate_name":"*Grand Bazar Arabe. G. Di Vittorio imprenditore. Tunisi*","description":"On the main entrance one can read the shop sign “Grand Bazar Kassar Said”; on the left “Grand Bazar Arab” and on the right, one can read the shop sign “I. Piperno”: Piperno is an unmistakably Italian Jewish name.  \nGiuseppe Di Vittorio, who ran the construction company that built this building, migrated from Termini Imerese (a small town near Palermo, Sicily, Italy) in 1882.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"Photograph: first years of the 20th century; building: late 19th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"28a47b67-f1e7-5f4c-8ee1-b205470d3b94":{"name":"For the working classes. All sorts of good available to buy on credit, paying 1 franc a week.","description":"As the working class expanded to huge numbers due to industrial developments and rural exodus to the cities, they also became an important pawn in the nation's economic game. Banks and businesses  introduced systems of paying by credit, claiming to help the less privileged. This poster, for examples, claims that a simple credit system would allow this family to radically change their life, affording them a larger and better lit home, nicer clothes, and a more luxurious dinner on the table.","type":"Poster","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin"},"28ad9737-7a52-5383-8f8a-2a5177cead7c":{"name":"Bookmark","alternate_name":"Segnalibro","description":"Gadget having scimitar shape distributed by a Company producing Talmone Chocolate and presented during the International Exhibition of Turin in 1911. The bookmark is part of an advertising using an Egyptian exotic style, which was very common in those years.","type":"Bookmark","holder":"The House of Antique Tin Boxes","dates":"1911","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"28ec76df-2d4c-59e5-8b93-2cd4db3c1960":{"name":"Labour certificate No.1(a) [Child’s labour certificate]","description":"Under the Employment of Children Act 1903, a child needed to obtain such a certificate (by passing a certain grade standard in school work) before being able to leave school and commence employment. The certificate is divided into two parallel sections, both stamped with the signature of James Graham, a Local Education Authority officer. The left-hand one gives the holder's name (Annie Waggonheim), address and birthdate, and certifies that she is not less than thirteen years old according to her birth certificate or statutory declaration. The right-hand section certifies that she has made 350 attendances in not more than two schools during each year for five preceding years, and gives 'Darley St C School' (Darley Street Council School) as the school in which the attendances were made.","type":"Child’s labour certificate; historical document","holder":"Victoria and Albert Museum","dates":"Dated 1914","location":"London","author":"Victoria and Albert Museum"},"28f6f7de-3daa-59e6-960d-f0cac66b210d":{"name":"North African caravan, in the west of the Sahara","alternate_name":"*A camp on the move*; A Travers le Monde, Paris: Hachette, 1895–1914","description":"Camille Douls (1864–1889), who was passionate  about Africa, decided in the late 19th century to enter indigenous North African territory, despite it being forbidden for foreigners at the time. He began to learn Arabic and study the Quran for this purpose, and was able to live among the Oulad Delim tribe for five months, although not without risk to his personal safety. He published his observations on his return (1888), which attracted much attention, as no European had lived among these people to date. He was assassinated the following year during a trip to Algeria. The tale of his time in the desert was illustrated by Jules Girardet, an artist specialising in historical scenes who had never seen the subjects of his drawings. This image is therefore interesting, as it sheds light on the nature of the stereotypical Western gaze on nomadic lifestyles.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1888","location":"Paris","translator":"Flaminia Baldwin"},"28f9592c-7e7c-553c-be06-baac37d4447b":{"name":"*The arrival of Suleiman Pasha, envoy of the Porte, in Giurgiu*","alternate_name":"*The arrival of the Ottoman army in Valahia*","description":"In June 1848 revolution broke out in Wallachia, aiming to liberate the country from the Ottoman sovereignty. Prince Bibescu was deposed and a provisional government was installed. As a result, the sultan sent an army to Wallachia. The Ottoman army entered on the Romanian territory in July and the Porte’s representative, Suleiman Pasha, began negotiations with the Romanian revolutionary government. This chromolithograph is part of a series of German chromolithographs depicting episodes from the Revolution that took place in Wallachia in 1848. It shows the entrance of Süleyman Pasha, the Porte's envoy, accompanied by a part of his army of 20.000 soldiers, in Giurgiu, a port on the Danube, after having crossed the river. He is received by a Romanian delegation.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1848","location":"Bucharest","provenance":"Germany"},"29d1744d-d29c-54bc-a8d4-afa1ddd2f9e0":{"name":"Algerian Pavilion Garden in the Trocadéro [Paris Exhibition, 1878]","alternate_name":"*Giardino del Padiglione Algerino sul Trocadero*","description":"International Exhibition in Paris, 1878. The Algerian Pavilion represents one of the greatest examples of French colonisation policy. On the inside, the Algerian Pavilion has a huge garden with a fountain in the middle and represents one of the most beautiful pavilions within the exhibition. The Algerian pavilion was designed by the architect M. Wable, appointed by General Chanzy.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"2a51dcfa-cb1d-50b4-aa78-fe06eed41edc":{"name":"Plan of Temple Mount, called “Harem ech-Cherif” by Muslims. (In French)","description":"This annotated plan by Ermete Pierotti pays particular attention to the water cisterns below the surface of the Haram al Sharif, which were used by those people who lived in, worked in, and visited the compound. Ermete Pierotti was an Italian naval officer who was employed by the Ottoman government in Jerusalem between 1854 and 1861. He was an engineer on the Haram al Sharif. This gave him unprecedented access to the monuments, which he recorded in some detail.","type":"Hand-annotated plan with extensive notes","holder":"Palestine Exploration Fund (PEF)","owner":"Palestine Exploration Fund","initial_owner":"Ermete Pierotti","dates":"AH 1862 / AD 1862","location":"London","dimensions":"41 x 30cm","place_of_production":"Jerusalem","method_for_datation":"Written on document","method_for_provenance":"Written on document","provenance":"Jerusalem and Cambridge","obtention":"Acquired following Ermete Pierotti's death","bibliography":"Pierotti, E., J*erusalem Explored: Being a Description of the Ancient and Modern City, with Numerous Illustrations Consisting of Views, Ground Plans and Sections*, London: Bell and Daldy, 1864.  \n  \nLegouas, J.Y., “Saving Captain Pierotti”, in *Palestine Exploration Quarterly*, 143.3 (2013).","workshop":"Ermete Pierotti, Jerusalem","author":"Felicity Cobbing","copy_editor":"Judy Harter","keywords":["Cisterns","Ermete Pierotti","Haram Al Sharif","Jerusalem","Ottoman"],"materials":["Ink","Paper","watercolour"]},"2ab573cd-8e69-51f0-8275-3af031e2fa06":{"name":"*The View of the City of Algiers*","alternate_name":"*The View of the City of Algiers*","description":"","type":"Print","holder":"Musée National des Beaux-Arts","dates":"(published in) 1830","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"2bc79611-c941-5b21-81f7-7525e5e187ea":{"name":"An example of Italian colonial propaganda describing 'The first railway engine crossing Libya, causing astonishment and panic among the Arabs'","alternate_name":"A colonial postcard about the inauguration of the first railway in Libya; *'La prima locomotiva attraversa il suolo libico tra lo spavento e lo stupore degli arabi'*","description":"The railway in a colonial context was much more than a means of transport: it was a powerful symbol of modernity, of technological superiority of the colonisers over the colonised, and of mastery over the territory. The construction of railways in colonial situations was thus often celebrated by the colonialists’ popular press or in postcards, as in this case.  \nIn Libya, the Italians started building railroads from the first months of colonial rule. The first lines, inaugurated in 1912, connected Tripoli with Ain Zara (11 kms) and to Zanzur (39 kms). By the end of 1915, the railway lines in Libya amounted to 180 kilometres.","type":"Postcard","holder":"Enrico Sturani Private Collection","dates":"1910s","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"2be85362-6e14-5698-94e1-a895d7c03a8e":{"name":"*Birtles in Jerusalem*","description":"Sgt. Birtles, Charles Warren’s chief assistant during the work in Jerusalem, climbing down into the destruction debris of Herod’s Temple in the Tyropoean Valley.","type":"Sketch","holder":"The Palestine Exploration Fund (PEF)","dates":"1872","location":"London","provenance":"?"},"2c45ad6b-40d7-5711-b2ec-f75cf2e0ea72":{"name":"Carte du royaume de Tunis","description":"This is a copy of a map of the Beylik of Tunis by Sir Thomas Shaw, an English naturalist and traveller. It was one of the first Western maps of the area. Sir Thomas Shaw wrote all the names of all the ancient Roman towns, clearly marked the borders of Africa Romana and Numidia and the ancient sites of Carthage, Sicca Veneria, Suffetula, Hadrumetum, Thysdrus, Tacapae, and more.","type":"Carte; plan; papier","holder":"Musée de la Monnaie : Banque centrale de Tunisie","dates":"1727","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"2c70cc9a-2217-511d-9c1d-1addea916d7b":{"name":"The Nubian Court; Interior view of The Crystal Palace in Sydenham","description":"Lithograph, tinted with one tint stone, depicting the interior of the Nubian Court at Crystal Palace. Each lettered with title and 'Interior of the Crystal Palace At Sydenham'. Numbered '7'. The lettering of the titles to plates 7 and 8 is only partly visible, due to trimming. These titles are also inscribed in pencil in a later hand.","type":"Print; lithograph","holder":"Victoria and Albert Museum","dates":"c.1854","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"2c73cd52-5b96-52b7-92d1-8d8619ab444d":{"name":"*Bronze Lamp of Abu \\`Abd Allah Muhammad III of Granada*","alternate_name":"*Lámpara de Abú-Abdil-Láh Móhammad III de Granada*","description":"Drawing of the lamp from the Mosque of the Alhambra; it has an important inscription. This piece was acquired by the National Museum of Archaeology in 1868, when the museum was founded. The interest for the Arab past of the Iberian Peninsula was increased by the publications of these objects and monuments.","type":"Print","holder":"National Archaeological Museum","dates":"1873","location":"Madrid","provenance":"Madrid","copy_editor":"Anne Dowell"},"2c9ad369-e5c9-5902-9932-97df74755096":{"name":"The Door of the Jami`a el-Kebir Mosque [Paris Exhibition, 1878]","alternate_name":"*La porta della Moschea di Gemma-El-Kebir*","description":"Universal Exhibition of Paris, 1878: reconstruction of the big door set along the street of Marina for the gate of the big Mosque of Algeria. The presentation of those important buildings represents a form of cultural promotion of the country.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","provenance":"France","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"2cac8790-8730-5708-8f5a-80058a37752b":{"name":"*Turkish Country Houses on the Bosphorus*","description":"This engraving shows the typical, wooden Ottoman yalis or summer houses built along the shores of the Bosphorus by high-ranking officials and members of the elite since the late 17th century. Designed to reflect both their location, making maximum use of the waterfront, and the taste and status of their owner, the yalis provided a welcome and comfortable escape from the congested city. Their interior, with separate areas for public reception and private family quarters, was furnished, with inbuilt cupboards and diwans, and decorated in the traditional Ottoman style. Only in the 19th century were aspects of European-style interior design and furniture adopted widely. The facades of the yalis were traditionally painted a deep rose colour, until European influence led to the adoption of pastel shades in the 19th century. The image was originally published in Julia Pardoe's 'The Beauties of the Bosphorus', published in London by George Virtue in 1838.","type":"Coloured steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published 1838","location":"Sharjah","provenance":"First published in Julia Pardoe, *The Beauties of the Bosphorus*, London 1838, facing page 40","author":"Ulrike Al-Khamis"},"2cba4816-822e-5153-8c2f-a05c21e94c01":{"name":"Mulay ‘Abd al-Rahman, Sultan of Morocco (1789–1859)","description":"Portrait of Mulay 'Abd al-Rahman, Sultan of Morocco (1789–1859). In 1822 he became the successor of his uncle and tried to fight against the growing influence of the European powers in North Africa by supporting the Algerian resistance against the French occupation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"2cf5398f-8d6e-5e13-b679-67442f1bcbc6":{"name":"Menu for the gala dinner offered by the Italian king in honour of the Ambassador from Morocco, who visited Italy in June 1890","description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with extremely rich gifts.  \nThe Ambassador – who was escorted by his secretary, an interpreter, and some dignitaries – was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered a gala dinner for him.  \nThe menu for the gala dinner was in French. A military band played different pieces of music during the dinner.","type":"Archival document","holder":"Central State Archives of Italy","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"2de7ed41-7aaa-5c57-b454-3ebdfa97e428":{"name":"Newspaper to commemorate the installation of wireless telegraph","alternate_name":"*Les prodiges de la télégraphie sans fil on communique entre Paris et Casablanca*","description":"The front page of the newspaper *Le Petit Journal*, which depicts the installation of the wireless telegraph between Morocco and France in 1907.","type":"Newspaper; print","holder":"Itisalat al-Maghrib Museum","dates":"1907","location":"Rabat"},"2e1b7a1f-87a3-5357-a286-a3e13417e1ea":{"name":"*Catalogue Raisonné des monuments exposés dans le Musée National de l'art Arabe*","description":"The *Catalogue Raisonné des monuments exposés dans le Musée National de l'art Arabe* by Max Herz Bey is an illustrated catalogue of the collections at the Museum of Islamic Art in Cairo. It contains an introduction with the history of the different periods from the Umayyads to the Ottomans and chapters following the galleries of the museum and according to material: chapters on stucco and stone, woodwork, metalwork, ceramics, textiles, bookbindings and glass.","type":"Book","holder":"Benaki Museum","dates":"1906","location":"Athens","provenance":"Cairo","author":"Mina Moraitou"},"2ea1c843-e974-5276-8455-c507ef6d058b":{"name":"The Algerian Tailor [Paris Exhibition, 1878]","alternate_name":"*Il sarto algerino*","description":"At the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion, as part of the reconstruction of a hypothetical typical neighbourhood. The character shown here is an Algerian tailor.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"2ea7c030-0b7a-51c2-aa26-875093afd861":{"name":"Life-size templates for the curtain of the door of the Ka‘ba","short_description":"The majority of the Ka‘ba door curtains made at Dar al-Kiswa during the 19th century follow the same basic design in which calligraphic cartouches predominate and which is characterized by the series of stylized ‘palm trees’ either side of the door opening.  \n  \nDue to their size, Ka‘ba door curtains were made in four sections which were embroidered separately then joined together. They were known as *al-‘ataba*, *al-tiraz*, *al-qa’im al-saghir* and *al-qa’im al-kabir*, and these actual-size tinted drawings set out the layout and decorative patterns of each. Areas ito be embroidered in silver are tinted blue, whereas those which were to be embroidered in silver-gilt wire are in yellow. The Collection also includes life-size templates for the curtains of the internal door of the Ka‘ba; for the Meccan *minbar*; for the *kiswa* of Maqam Ibrahim; and for the door of the Maqsurat Ibrahim, from the same set.","type":"Drawing; template; Ka‘ba door curtain; *sitara*; *burqu‘*; *burda*, *kiswa*; Dar al-Kiswa","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 19th century","location":"London","method_for_datation":"The date is based on stylistic grounds, by comparison with dated textiles following the same patterns.","provenance":"Egypt, Cairo, Dar al-Kiswa","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","Curtain","embroidery","hajj","Hijaz","ink","Ka'ba","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel","watercolour"],"materials":["4 drawings","ghost-marked with a grid","in ink","pencil and watercolour on thick card"]},"2efb58fe-14fe-59df-ad70-18b84374d4f5":{"name":"Edmund Count Szechenyi (1839–1922)","description":"Portrait of Count Edmund Szechenyi. He was born in 1839 in Bratislava and studied the work of fire brigades in London. In 1869 he founded in Budapest the first volunteer fire brigade, which was transformed into a professional fire brigade in 1870. From 1871–1874 he commanded the umbrella organisation of all fire brigades in Hungary. In 1875 he was sent by Emperor Franz Joseph to Istanbul to build up a fire brigade in the Ottoman capital. As head of the fire brigade he became the first Christian Pasha in the Ottoman Army and stayed in Istanbul until his death in 1922.","type":"Print","holder":"Austrian National Library","dates":"c.1880","location":"Vienna","copy_editor":"Daniel de la Vega"},"2f3824a9-9c37-59fb-a4fe-8281d4a0ea57":{"name":"\\[Red Cross\\] *Have you answered the Red Cross?*","description":"This English nurse symbolises the actions of the International Committee of the Red Cross, whose humanitarian mission is to protect the life and dignity of the victims of armed conflict and other forms of violence, and to bring them aid. Founded in 1863, the Red Cross won the Nobel Peace Prize in 1917.","type":"Poster","holder":"National Library of France","dates":"1914–1918","location":"Paris","translator":"Flaminia Baldwin"},"2f387f4d-1ef9-59c3-bf8a-f4bf6e3f9be9":{"name":"*Varaždin Merchant, Joannes Friedrich, in his Shop*","description":"The print shows the cartouche-framed interior of the merchant, Joannes Friedrich’s shop, situated in Tomislav Square in Varaždin. Dressed in the Rococo fashion with a powdered wig, he is sitting at a desk holding a quill pen in one hand and a letter in the other. In front of him stands a customer in a long coat. Two Rococo windows and a row of shelves for merchandise and accounting books are in the background. A cartouche at the bottom of the picture reads “BARONE IOANNE DI FRIDRICO SENATORE ET MERCATORE DI VARASDINO”. (Baron Joannes Friedrich Senator and Merchant of Varaždin).  \nQuite a few members of the nobility were merchants who invested in the economy, an aspect that marks the beginning of capitalism and mass production.","short_description":"The print shows the cartouche-framed interior of the merchant, Joannes Friedrich’s shop, situated in Tomislav Square in Varaždin. Friedrich, portrayed serving a customer, was also Senator of the Varaždin Town Council.","type":"Copperplate print","holder":"City Museum, Varaždin","dates":"Mid-18th century","location":"Varaždin, North-West Croatia","dimensions":"H: 23.5 cm; w: 18.5 cm","method_for_datation":"Analysis of style.","bibliography":"Lentić-Kugli, I., *Obrt i trgovina u Varaždinu* (Crafts and Trade in Varaždin), Zagreb, 1977.  \nŠimunić, Lj, *Varaždinski trgovac Joannes Friedrich u svom dučanu* (The Varaždin Merchant, Joannes Friedrich, in his Shop), Zagreb, 1993.","author":"Ljerka Šimunić","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["drawing","economy","fashion","trade"],"materials":["copperplate","Paper"]},"2fd7dbb0-f684-52f4-93f3-b485ecf82f5e":{"name":"Postcard: *The Strait of Gibraltar in the Future*","alternate_name":"Tarjeta postal: *El Estrecho de Gibrlatar en el porvenir*","description":"This curious postcard with a utopian vision of how the Strait of Gibraltar could become in the future was sent to the Marquis of Cerralbo by a friend, Gabriel Vich, but never received a stamp. Although it shows the address of the marquis, maybe it was posted inside an envelope or delivered, finally, on hand. This kind of ephemera was published by the fortnightly publication España en África (Spain in Africa), active in the first decades of the 20th century. The image represented is a beautiful commercial and geopolitical project that would have linked two continents with a 15 km bridge.","type":"Postcard","holder":"Cerralbo Museum","dates":"1902–1922","location":"Madrid","provenance":"Spain","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"30f458b3-4363-5cf5-82c6-91c5e3c06c7e":{"name":"*Medjmouaï teçavir* (Collection de costumes)","description":"Postcard from Turkey showing the costume worn by various people, according to occupation, activity, etc. Intended for a relatively popular western market. Illustrates the social structures and costumes of the last days of the Ottoman empire. Great reformer Mahmud II in European-influenced dress.","type":"Postcard","holder":"The British Museum","dates":"c. 1900","location":"London","provenance":"Turkey"},"31671ff1-195a-54da-8c1f-6f9b776bf0e8":{"name":"Statue of Cardinal Lavigerie","description":"On the 23 November 1925, the French resident-general in Tunisia, Lucien Saint, organised a solemn gathering to commemorate 100 years since Cardinal Lavigerie's birth. The municipality of Tunis also received a statue of him brandishing a cross by the sculptor Élie-Jean Vézien, which they chose to put in Place Bab el-Bhar (at the entrance to the medina), a place of great importance to Tunisians. This choice of location angered the Tunisian population and triggered a protest from the students of the Zaytuna University, who considered this act an attack on their religious beliefs (it was placed close to the Zaytuna Mosque) and their traditions. The statue stayed there until Tunisian independence, when it was removed by the Mayor of Tunis.  Lavigerie was the Archbishop of Algiers and Carthage, and the founder of the Pères Blancs in 1868.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"31b5f52e-c220-58fe-a02b-2b22d317bc2b":{"name":"*Description of the Arab monuments of Granada, Seville and Córdoba: the Alhambra, the Alcazar and the Great Mosque*","alternate_name":"*Estudio descriptivo de los monumentos árabes de Granada, Sevilla y Córdoba o sea, La Alhambra, El Alcazar y la gran Mezquita de Occidente*","description":"The publications about the Spanish Muslim Antiquities, including monuments can be retraced to the end of the 18th century. Interest in these monuments is related to the interest in this unique heritage in Europe, as part of the Alhambresque and Neo-Mudéjar styles in Spain and Europe. The publication of the monument’s descriptions aided in their conservation.","type":"Book","holder":"National Museum of Decorative Arts","dates":"1885","location":"Madrid","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"31d6ea38-653b-5a59-a9cf-3d860d963ea6":{"name":"Early records of Mummies brought back to England from Egypt","description":"George Edwards' drawings of four Egyptian mummies were made in 1742. They had been collected by eminent physicians who had  travelled in Egypt and were studied in the College of Physicians in London.","type":"?","holder":"The British Museum","location":"London","provenance":"United Kingdom"},"32533015-dfdb-5437-8c81-e020001b7470":{"name":"*The Suffragette 1d Weekly*","description":"‘The Suffragette’ was the weekly newspaper of the Woman's Social and Political Union (WSPU), the leading militant organisation campaigning for women’s suffrage in the United Kingdom. This wood block printed advertisement features the patron saint of the Suffragettes, Joan of Arc carrying the banner of the WSPU.  \n  \nHilda Dallas was a member of the Suffrage Atelier, which was formed in 1909 to encourage artists to promote 'the enfranchisement of women, by means of pictorial publication'. Its activities also included training non-professional artists in printing techniques. The low cost, low tech method of wood block printing, as used in this poster, was cheap, quick and easy to learn.","type":"Poster; colour lithograph","holder":"Victoria and Albert Museum","dates":"c.1914 (issued)","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"32ae501a-15d6-534c-9b3c-572d30f5a223":{"name":"*Allegory of the Prosperity of Moravia under the Beneficent Reign of Leopold I*","alternate_name":"*Doctorial thesis of Karel Josef Roden*","description":"An allegory of Moravia: a map in the shape of the globe, i.e. the Moravian world, is surrounded by celestial powers, representative of the states (clergy, nobility, towns) and allegorical figures. The woman with a mirror kneeling on the left personifies *Prudentia* (deliberation or foresight), while *Fortitudo* (courage or resolution) is represented by a female figure with a massive column and a Heraclean lion-skin on her head, close to another female figure with an hourglass embodying *Moderatio* (temperance or self-discipline). The symbolically raised hand with the scales over Moravia belongs to *Justitia* (Justice). The dignified man with a wig, with one hand on a *fasces* (a bundle of white birch rods) and the other on a statue of Pallas Athene, may be interpreted as an allegory of *bonum consilium* – good advice – as well as education. The celestial powers testify to the prosperity of the land under Emperor Leopold I (1657–1705), whose monogram *LI* is the centre piece of the print. The fruit of his beneficent reign is indicated by cornucopias, as well as by the attributes of education, and stones with planetary symbols corresponding to silver and iron, the wealth of the country.  \nAt the centre, the imperial eagle supports a picture of the miraculous Virgin Mary of St. Thomas, accompanied by patron saints Cyril and Methodius on the left and St. Wenceslas on the right. The function of the celestial sphere carried by angels is specified by the words: “Divine power rules the celestial worlds” on a band. The peculiar manner of representation, with Moravia as a globe, is elucidated by the second part of the sentence, at the interface of the heavenly and earthly spheres: “and the emperor rules the Moravian world with fatherly, powerful care”. The print originated as part of an Olomouc University thesis. After taking exams, graduates had to participate in public debates, the theses of which were printed as announcements. Some of them were engraved after templates by Moravian painters in the renowned Augsburg workshops.","short_description":"The print originated as an Olomouc thesis. Some of these were engraved after templates by Moravian painters in the renowned Augsburg workshops. As well as the principal patron saints of the land, the print presents personifications of good government, considered to be a prerequisite of the country’s prosperity.","type":"Print","holder":"Opava Provincial Archive","owner":"Opava Provincial Archive","dates":"1704","location":"Olomouc, Moravia","dimensions":"h: 107.5 cm; w: 69 cm","place_of_production":"Olomouc","method_for_datation":"The original artist remains unknown. The print is signed by the Olomouc copperplate engraver Antonín Freindt (1664–1727). The print also features the name of the person who commissioned it and whose thesis is seen in the Latin text at the bottom section of the print.","obtention":"The print was a part of a collection of university theses from Olomouc University, established in 1573 as a Jesuit College. The collection was taken into the state archives in the 1950s.","bibliography":"Josef Válka, in Ivo Krsek – Zdeněk Kudělka – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku,* Prague, 1996, p. 18.  \nMilan Togner, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 86*–*88, cat. 3.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["constellation","eagle","education","Emblem","incision","personification","print","printing","university"],"materials":["Mezzotint"]},"3322889b-90a0-56de-acf0-715553f9bb35":{"name":"Map of Beirut as it appeared in 1841","description":"This map shows Beirut before construction works were taken to modernise the harbour. The coastline has changed significantly since then.","type":"Map","holder":"American University of Beirut","dates":"1841","location":"Beirut","author":"Hady El Hajj","copy_editor":"Flaminia Baldwin"},"33430dbe-c0fc-5bb4-9845-6bce853a6ea6":{"name":"General Hullin's audience, provided by the Dey of Algeria","description":"In August 1802, irritated by the repeated pillaging of his ships by Algerian pirates, Napoléon I sent General Hullin and Consul Dubois-Thainville to the then Dey of Algeria, Mustafa Pasha, with a threatening message. This print is an example of Napoleonic propaganda, as it attempts to highlight the \"insolence\" of the bey, who stays seated on the sofa, and the \"bravery\" of the general who, with a sword on his side, makes his speech.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"339661cd-4f3b-50e8-ac7b-98082ee3d45c":{"name":"*The mule which carries the Qur’an to Mecca*","description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"340abb76-0aa3-53e7-b9ea-c4ebf5b8737b":{"name":"Pharaoh Rameses II in the act of killing enemies with his spear","alternate_name":"Il faraone Ramses II trafigge un nemico con la lancia","description":"The print reproduces the drawing, today at the University Library of Pisa, realised by Giuseppe Angelelli. Angelelli’s painting is used for Table LXXXIII of the Historical Monuments which shows one of the engraved paintings from the southern wall of the temple of Abu Simbel, celebrating King Ramses piercing his enemy with a spear. This is a traditional scene that has been reproduced on numerous Egyptian monuments from early historic periods to show the supremacy of the Pharaoh above all foreign people. The enemies of the Egyptians are characterised by libic hair and dresses. An error was made by the copier in the spear used by Rameses, possibly reproduced within Angelelli’s painting because of the Director of the Commission wanted to correct the hieroglyphical text above.","type":"Print","holder":"Egyptian Museum (original drawing: Library of Pisa University)","dates":"1829 (original drawing)","location":"Florence (original drawing: Pisa)","provenance":"Egypt","copyright":"Copyright image: Su concessione del Ministero per i Beni Culturali e del Turismo - Museo Egizio di Firenze.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"341be9d6-6bac-5978-aa0e-844e03633f92":{"name":"The port of Brăila","description":"In 1829, an annex to the peace treaty of Edirne, that was concluded after the Russo-Ottoman war of 1828-1829, concerned the Principalities of Wallachia and Moldavia. One of its provisions was that the Sublime Porte had to give back to Wallachia the three cities situated on the left bank of the Danube, which it had conquered in the 15h-16th centuries. Among these was Brăila, a port on the Danube annexed by the Ottomans at around 1540. After 1829 measures were taken by the local authorities for the modernization of Brăila. The port subsequently developed thanks to the growth of Wallachian commerce as a consequence of the fact that by the treaty of Edirne the Ottoman Empire granted the freedom of commerce to the Romanian Principalities. In 1838 Brăila was given the status of free port (with no or few customs duties).","type":"Engraving","holder":"National Museum of Romanian History","dates":"1880","location":"Bucharest"},"3461e5ef-930c-5a8d-8393-eeb23e8eaffa":{"name":"The female surgery division of the Italian hospital in Tunis","alternate_name":"*Ospedale coloniale. Sala chirurgia donne*","description":"Prior to the establishment of the French protectorate on Tunisia in 1881, Italian doctors operated in Tunisia. The Bey had frequently employed Italian physicians. Some were born in Tunisia, of Jewish families from Livorno, others had arrived in Tunisia as political exiles in the first half of the 19th century. The largest contingent of Italian doctors, however, migrated to Tunisia after 1881.  \nIn 1890, the Italian community opened a hospital with about 100 beds. Italian physicians worked in the hospital as volunteers and indigent patients were treated for free. The initial funding for creating and running the hospital came from the Italian community; the Italian state contributed to pay the expenses for the construction of a new facility in 1900 and partly subsidized the hospital activities.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"348c2a80-0242-562a-93bb-7572f6c98b1b":{"name":"Map of Beirut port","description":"This map shows Beirut port after its expansion in 1890.","type":"Map","holder":"Khalil Itani's Archive","dates":"1890","location":"Beirut","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"34ebe371-2a09-50f9-8e86-921fabe509cc":{"name":"*Portico of the Temple at Edfu, Upper Egypt*","description":"Considered the best preserved cult temple of ancient Egypt, Edfu temple was swamped with sand in Roberts’s days, and houses had been built on top. The French archaeologist Auguste Mariette eventually excavated it in the 1860s.This view shows the temple's portico, its  sand-filled façade supported by six monumental columns. The columns on either side of the centre have large lotus columns, those flanking them are made to resemble vertically rising date palm fronds. The outermost columns carry capitals derived from composite Theban palm tree designs. Beyond the columns of the facade, two further rows of capitaled columns form the inner area of the portico, or pronaos. Over the entrance of the portico and on the upper shafts of the columns, pharaonic imagery, emblems, cartouches and hieroglyphs are clearly visible.  The artist emphasizes the monumentality of both the portico and the masses of sand that have invaded it by introducing a group of dwarfed visitors resting on one of the sand dunes in the centre – utterly dwarfed by their surroundings.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1846","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"35118a9c-ae87-5875-b6fd-694c3a29ac01":{"name":"*The Moroccan Embassy in Rome*","alternate_name":"The Sultan of Morocco’s ambassador who visited Italy in 1890 and some of his entourage (four captains, the interpreter, two servants); *L’Ambasciata marocchina a Roma (da fotografie del conte Luigi Primoli)*","description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with gifts.  \nThe Ambassador was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered him a gala dinner.  \nIn these pictures one can see (from the top left): four captains who escorted Morocco’s Ambassador, his interpreter Lamfaddal Elkabbagi, the Ambassador on a carriage arriving at the King’s palace, Hamed (one of the Ambassador’s servants), Pà Nadan (another servant), and two children travelling with the Ambassador on the hotel’s terrace.","type":"Photo published in a journal","holder":"State Library of Modern and Contemporary History","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"351e4901-7c17-581f-9b15-8be1d6fc3458":{"name":"Au Palais Arabe. A furniture shop of the Italians Eugenio and Alfredo Coen in Tunis","alternate_name":"*Palais arabe. Eug et Alf. Coen*","description":"“Au Palais Arabe”, Rue de Rome, 3, Tunis, was once the most important shop in town for furniture and other household items. Eugenio Coen (born in Livorno in 1855, migrated to Tunis in 1885) and his brother Alfredo (born in Livorno in 1868 and migrated to Tunis in 1887) also ran a furniture factory that, in 1906, employed about 100 carpenters, cabinet makers and other workers, 80 per cent of whom were Italian.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"Photograph: first years of the 20th century; building: late 19th–early 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"351f1d5e-9300-5133-9200-12abc5718e8c":{"name":"*Mosque of Sidi Bu Madyan, Tlemcen, Algeria*","description":"The mosque adjoins the shrine of Sidi Bu Madyan, a twelfth century holy-man, and was built by the Marinid dynasty in 1339. Fabrizi's view shows clearly the richly carved stucco decoration framing the simple horseshoe arches; through one of these is seen the tiled mihrab (niche indicating the direction of Mecca) and the wooden minbar (pulpit). Fabrizi has captured the moment after the formal prayers when each worshipper makes a personal supplication to Allah, holding his hands out in a gesture to receive His blessing.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1881","location":"London","provenance":"Algeria","author":"Victoria and Albert Museum"},"3540af77-ea01-5e4b-bd04-3e31d3b139e4":{"name":"Poster for the International Exhibition of Milan, 1906, depicting the opening of the Simplon Tunnel","alternate_name":"Manifesto dell'Esposizione Internazionale di Milano del 1906","description":"Leopoldo Metlicovitz worked as a lithographer and an illustrator. Among his works are illustrations for the Milanese newspaper *La Sera*, opera librettos and some cover pages of *Corriere della Sera*. He also made posters for an auto exhibition, an insurance company and the opening of the Simplon Tunnel in 1906. The erotic male nude recalls Michelangelo’s figures. The poster was chosen by the Committee of the International Exhibition despite the fact the it was not submitted within the competition. The artist depicts the personification of Progress and Science ideally leading the convoy towards the light beyond the tunnel. The tunnel, almost 20 kilometres long, was started following an 1895 agreement between Italy and Switzerland. The works were finished after long difficulties and the railway was opened on June 1, 1906 and celebrated at the Universal Exposition in Milan.","type":"Photo from magazine","holder":"State Library of Modern and Contemporary History","dates":"1906","location":"Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"3549f5be-8ae2-53fd-9501-cb96736906e9":{"name":"Panoramic view of the city of Mecca, painted by Muhammad ‘Abdallah, the Delhi cartographer","short_description":"The view of Mecca is remarkable for its comprehensiveness and accuracy and, in the manner of contemporary topographers, brilliantly combines a plan of the city with a bird’s-eye view from about 60 degrees. Muhammad ‘Abdallah, whose grandfather, Mazar ‘Ali Khan was court painter to the Mughal ruler Bahadur Shah II, was commissioned by the Sharif of Mecca to depict the sacred monuments of his realm in the second quarter of the 19th century.  \n  \nThis is the earliest known accurated depiction of the Masjid al-Haram and the immediate vicinity. The painting is also unique among such representations in its inclusion of a ‘vignette’ of a man attending to his jars…","type":"Painting; panoramic view; watercolour","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"*circa* 1845 AD","location":"London","method_for_datation":"The painting is signed.","provenance":"Saudi Arabia, Mecca","bibliography":"Rogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.298, pp.260–61.","keywords":["Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["Ink and opaque watercolour on paper"]},"355b8a63-ea50-5b91-9873-7e2c8152cab8":{"name":"*Catholic mission to Brazzaville: Brazzaville mission school - Vive la France!*","alternate_name":"[116 postcards of the French Congo, 1907]","description":"Evangelism and colonialism often went hand in hand, working together to Christianise local populations. The missionaries considered French society as the perfect model of Christian society, and the government thought missions would help consolidate colonialism. Schools were one of the places where this relationship is the most evident. This image clearly shows how the French instilled young African children with love for the French flag from a very young age.","type":"Photograph","holder":"National Library of France","dates":"1907","location":"Paris","translator":"Flaminia Baldwin"},"35b961a6-875c-5ccf-a80f-d6f917ccd48e":{"name":"Jozef Zachariasz Bem (1795–1850)","description":"Portrait of Jozef Zachariasz Bem as Turkish Pasha. Jozef Bem was born in the Austrian part of Poland. He fought as a Napoleonic officer against the Russians. In 1830 he participated in the Polish uprising against the Russians in Warsaw. In 1848 he was one of the leading Generals fighting with the Hungarian army against the Habsburg troops. After several defeats in 1849, he fled with 6,000 Hungarian-Polish soldiers to the Ottoman Empire. After converting to Islam, he became a Turkish General. In 1850 he suppressed an Arabic pogrom against the Christian population of Aleppo.","type":"Print","holder":"Austrian National Library","dates":"Before 1850","location":"Vienna","copy_editor":"Daniel de la Vega"},"36e1b6b4-30ae-5caf-b227-73b35b67c02b":{"name":"Fuad I, King of Egypt (1868–1936)","description":"Portrait of Fuad I, King of Egypt (1868–1936). In 1917 Fuad I succeeded his brother Hussein Kamil as Sultan of Egypt. In 1922, after Egypt had achieved independence from the Ottoman Empire, he became King of Egypt with the help of the British government.","type":"Photograph","holder":"Austrian National Library","dates":"After 1922","location":"Vienna","copy_editor":"Daniel de la Vega"},"370bd873-8035-59b2-bc6d-9c176b57e9d5":{"name":"Ibrahim Pasha (1789–1848)","description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"3729e16c-4e7e-5f2a-ab2f-106e9ada1d33":{"name":"Postcard","short_description":"Postcard; printed paper; photograph showing a view across downtown Zarqa, Jordan.","type":"Photograph","holder":"The British Museum","dates":"1993 (circa)","location":"London, United Kingdom","dimensions":"Height: 10,3 cm; width: 14,8 cm","place_of_production":"Zarqa, Jordan","obtention":"Donated by Dr St John Simpson in 2013.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-1058?selectedImageId=1342839001","keywords":["Communication","Jordan","Street","Transportation","Zarqa"],"materials":["Paper"]},"374a32ae-e579-53c0-bfce-25a5e5c80764":{"name":"*Tuğra* of Sultan Osman III.","description":"The Sultan's official monogram or *tuğra* (tughra) is drawn in gold outlined with black ink on a blue ground. The areas between the letters in the lower part of the *tuğra*, the 'arms' of the *tuğra*, and its flaring bow are filled with floral decoration. These floral compositions show two different styles: one following the Chinese influence *hatayi*\\-style, and the other reflecting the appearance of baroque designs in Ottoman illumination under European influence. In the upper right-hand corner are depictions of the Ka'ba in Mecca and of Medina rendered in an oval frame. The paintings of Mecca and Medina resemble similar compositions in AH 11th–12th- / AD 17th–18th- century decorative arts, manuscript painting and tiles. In the lower left-hand corner is a medallion containing the signature of the artist who drew the *tuğra*, Karabağlı Kaptan-ı Derya Süleyman Pasha, phrased thus: 'The slave of the court, Süleyman Pasha, made the *tuğra* of the Sultan of the world'. The date AH 1270 (AD 1854) is also given. This is surprising and possibly incorrect for Kaptan-ı Derya (Grand Admiral) Süleyman Pasha does not appear in the historical sources for that year. He was promoted to that rank by Sultan Osman III in AH 1168 / AD 1754 and remained in that position until he was removed from it in AH 1171 / AD 1757. In the same year he was restored to his post by Sultan Mustafa III (r. AH 1171–87 / AD 1757–74) and remained in it until AH 1172 / AD 1759. Since the work has undergone much restoration in various periods, the date must be AH 1170 / AD 1756–7 rather than AH 1270 / 1853–4.  \n  \nSultan Osman III, who ascended the throne at age fifty-five, was the oldest Ottoman prince to become sultan, and his reign lasted only three years. The *tuğra* reads 'Osman Khan, son of Mustafa, ever-victorious'. The *tuğra* was a kind of signature of the Ottoman sultans, drawn by a special official of the Imperial Chancery (*Divan-ı Hümayun*) or under his instruction. Because of its size and the fact that it is executed so as to display in detail all the aspects of a *tuğra*, this example must have been made in the Imperial Chancery as a model with the aim of ensuring that *tuğra* copies could be made without any mistakes.","short_description":"*Tughras*, official monograms of the sultans, are one the first things to come to mind when Ottoman art or history is mentioned. The size of this *tughra* of Sultan Osman III makes it an interesting example and it has features peculiar to the art of the AH 12th / AD 18th century.","type":"Wood, watercolor, guilding","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Sultan Osman III (r. AH 1168–71 / AD 1754–57).","dates":"Hegira 1170 / AD 1756–7.","location":"Sultanahmet, Istanbul.","dimensions":"Height 125 cm, width 90 cm.","method_for_datation":"Dated according to the signature, in which the name of the Grand Admiral Süleyman Pasha appears; he was Grand Admiral during the reign of Sultan Osman III. (No other Grand Admiral by that name was found in the historical sources for reigns other than that of Osman III).","method_for_provenance":"Only the Imperial Chancery (*Divan-ı Hümayun*) was allowed to print the sultan's *tuğra*. Large examples like this one were prepared as models to ensure that the *tuğra* was drawn correctly when added to official documents. Thus, it must have been produced in the Topkapı Palace, Istanbul.","provenance":"Istanbul, Turkey.","obtention":"Transferred to the Museum in 1916 from the library of Kılıç Ali Paşa in Istanbul.","bibliography":"Ölçer, N., *et al, In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.43, pl. 22, 61.","linkcatalogs":"IAM_TR_EN_001","author":"Sevgi Kutluay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["gilding","painting","tughra","tuğra","watercolour","wood"],"materials":["watercolour and gilding.","Wood"]},"377425e8-db47-571b-85e2-27702d394d1d":{"name":"Scroll with views of Mecca and Medina","short_description":"The text consists of Qur’anic verses, short prayers, invocations and numerous repetitions of the *basmala* and the *shahada*, the latter arranged into decorative shapes such as vases, flowers, a pagoda and *Dhu’l-faqar*, the bifurcated sword given by the Prophet to ‘Ali. In addition, there are depictions of the Masjid al-Haram at Mecca and the Prophet’s mosque at Medina (where the domed tomb is depicted on the wrong side). The last panel encloses the *hilya* of the Prophet Muhammad.","type":"Scroll; calligraphy; drawings; view of Mecca; view of Medina; *hilya*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1261 / AD 1845","location":"London","dimensions":"402 x 27cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"China; signed by Ayyub","author":"Nahla Nassar","keywords":["Basmala","China","Dhu'l-Faqar","Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","Shahadah"],"materials":["Ink","watercolours and gold on paper"]},"3854487a-c60c-5835-adc0-fa6fe0ed8d59":{"name":"Egyptian Furniture of the Italian Giuseppe Parvis Living in Cairo [Paris Exhibition, 1878]","alternate_name":"*Mobili egiziani del'italiano Giuseppe Parvis dimorante al Cairo*","description":"Giuseppe Parvis, who emigrated from Italy to Egypt, began extensive production of elegant furniture adapted to Arabian taste and decorated with mother-of-pearl and metal inserts. He won awards for his work at the Universal Exhibitions of Paris in 1867, Vienna and Philadelphia. Giuseppe Parvis is an example of successful businessman who successfully adapted to the Egyptian market. He was able to run laboratories with 50 workers and trained a large number of students in ebony furniture making. Over the span of 20 years he introduced and sold furniture to Arabian people who traditionally did not possess such furniture, using an Arabic style and taste and by using woods found in the East, Egypt and China.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"390fed84-29b4-5b5f-8552-8a2d440391d6":{"name":"*Colonial Education*","alternate_name":"*La Dépêche Tunisienne*","description":"This article on the \"colonial education\" the youth received in France, published in a newspaper for the French community in Tunisia, has a didactic objective, encouraging and legitimising French economic colonialism in Tunisia, and thus also the migration of French youth to Tunisia.","type":"Press; newspaper","holder":"National Library of France","dates":"7 August 1898","location":"Paris","translator":"Flaminia Baldwin"},"392f3d7f-32c6-5e59-aeea-0cf54fb842cc":{"name":"*The Victoria Nile - At Rionga's Island*","alternate_name":"Egypt. The Victoria Nile - exploration by canoe among the papyri","description":"People had been trying to find the source of the Nile since antiquity. However, interest in this increased significantly in the early 19th century, and lead to various scientific observations. These observations were published and illustrated with engravings, which allowed Europeans to better understand the African continent.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"39c5d2fa-be8f-55e6-97ea-9cd4b0e30514":{"name":"*Constantinople et le Bosphore de Thrace*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"3a20e143-6e36-5c47-8630-b7694a01419b":{"name":"Jubbeh","alternate_name":"Villager from the Beqaa Valley in traditional dress","description":"A 'Jubbeh'.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"3a479e74-ad19-5334-a508-9d331c6ee9bd":{"name":"'Air force'","alternate_name":"An Italian cartoon protesting the Italian aerial bombing of Libyan villages; *'Aviazione'*","description":"In 1911, in Libya, the newly founded Italian Air Force carried out the very first aerial bombing of civilian targets in world history. Italian anti-colonialists vocally protested such practice, as Scalarini’s cartoon shows.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"1911","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"3a6414c9-05eb-59ee-b5b1-43057ab8b195":{"name":"*Chateaubriand at the ruins of Carthage*","description":"This engraving of the French poet René de Chateaubriand shows him sitting on a hill facing the sea, surrounded by the ruins of Carthage. Fascinated by Didon's city and its glorious past, the poet visited Carthage in January 1807, and recorded his observations in his book entitled *Itinéraire de Paris à Jérusalem et de Jérusalem à Paris en Allant par la Grèce, en Revenant par l’Egypte*, published in Paris in 1811 by Lenormant, in three volumes.","type":"Engraving/Etching","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"3b3c9b35-91d8-5460-af41-e16d0268e789":{"name":"Orient Express Poster","description":"The Orient Express, owned by the Wagon-Lits Company, connected Paris and Istanbul between 1883 and 1977. French, German, Austrian and Ottoman diplomats and civil servants were on board for its first journey. In the early years, the travellers stayed in different hotels in Istanbul but starting from 1895, passengers stayed exclusively in Pera Palace, which was bought by the Wagon-Lits Company. The Orient Express did not run during World War I, from 1914 to 1918.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1898","location":"Istanbul","copy_editor":"Daniel de la Vega"},"3c0de00c-d143-5139-b9fd-ae28536aadec":{"name":"Map of the Beirut–Damascus railway","description":"This map shows the railway line connecting Beirut and Damascus. The table on the right shows the distance between each city along horse tracks.","type":"Map","holder":"Khalil Itani's Archive","dates":"1910","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"3cc5829d-ae99-58ec-bc85-707e431d5db4":{"name":"*Edward Jenner*, Marble Group by Giulio Monteverde","alternate_name":"*Edoardo Jenner*, gruppo in marmo di Giulio Monteverde","description":"Giulio Monteverde was an Italian sculptor who started carving wooden crucifixes and then moved on to sculpture during his years at the Academy of Fine Arts in Genoa. In 1865 Monteverde moved to Rome to study at the Academy of St. Luke. The sculpture of Edward Jenner (1749-1823) represents the British physician and naturalist inoculating for the first time, on his own son, the smallpox vaccine that he invented. This work was initially rejected by the Academy of St. Luke, entrusted with selecting works of art for the International Exposition in Vienna, and then exhibited in it thanks to an influential friend of the artist. The plaster cast of Jenner won the gold medal in Vienna. The engraving celebrates Monteverde's deeds. Chroniclers report that in 1878 the marble version of the group sculpture was awarded a huge prize at the International Exhibition in Paris: a gold medal and a hearty public welcome.","type":"Photo from Magazine","holder":"National Central Library","dates":"1878","location":"Rome","provenance":"Italy","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"3cd5a4c9-7c30-53cb-877b-5bf9e71bca5b":{"name":"*One Thousand and One Nights: Arabic fairytales tanslated by Galland, illustrated by the best French artists…*","alternate_name":"*This edition of the One Thousand and One Nights is a beautiful new volume of eleven hundred and twenty pages* \\[…\\] *subscriptions available in all bookshops: published in 52 installments.*","description":"The *One Thousand and One Nights* played an important role in bringing the East and the West closer together. Galland was its first French translator, translating with much liberty the tales that he had been able to understand in the early 18th century. The translated One Thousand and One Nights were extremely successful, and became the subject of a variety of art forms, both allowing Europeans to become better acquainted with the Arab world, but also forming the basis for lasting stereotypes.","type":"Poster","holder":"National Library of France","dates":"1875","location":"Paris","translator":"Flaminia Baldwin"},"3d30eac6-fec9-5efa-aa61-82d8011a50af":{"name":"Italian Workers Friendly Society (Tunis)","alternate_name":"*Società operaia italiana di mutuo soccorso. Tunisi*","description":"The Italian Workers Friendly Society was only one of the many organizations that the Italian migrants set up in Tunisia, ranging from the Chamber of Commerce, to Masonic Lodges, to religious organisations, to cultural associations and political groups.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","copy_editor":"Anne Dowell"},"3dfa891b-481b-5a43-b37c-1a41ad7c72c1":{"name":"Resistance to the occupation at Oued Zarga","description":"This photograph shows Tunisians attacking the train station at Oued Zarga. The Tunisian resistance caused the French troops many problems as they advanced towards Tunis, where they hoped to force the bey to accept the French protectorate. The attack at the Oued Zarga station, a few hundred kilometres to the west of Tunis, is an example of this. The station itself, which was built by the French, became a symbol through which Tunisians attacked French interests.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"3f21696b-6178-5310-a618-3b1cbb1ec3d6":{"name":"*Shéhérazade*","description":"George Auriol, the typographer renamed after his creations, was a multitalented artist, and thus in his work he reflected many different influences of the late 19th century. As an artist and musician, he was interested in the different graphic movements, as is clear from this image: the theme is clearly \"Oriental\", but the composition of the piece borrows characteristics from Japanese aesthetics and Art Nouveau.","type":"Print (coloured lithography)","holder":"National Library of France","dates":"1895-1897","provenance":"France","translator":"Flaminia Baldwin"},"3f284929-6dd8-5a5b-9540-23005e47ac6c":{"name":"Colonial school in Paris, project of M. Maurice Yvon","alternate_name":"*Longitudinal view; Plan of the first floor*; Part of the Modern Construction","description":"In 1885, the French diplomat Auguste Pavie brought thirteen young Khmers to Paris so that they could see France. This \"Cambodian mission\" was soon transformed into a colonial school which accepted young students of French, Cambodian or African origins in order to train the future civil servants of the colonies. Over first two, then three, years the students studied a variety of languages, French law, and ethnology. in 1895 the architect Maurice Yvon, son of an Orientalist painter, was appointed as the architect for a specialist school on 2 Rue de l'Observatoire. Insipired by \"neo-Moorish\" architecture, the resulting structure became a key example of \"colonial art\".","type":"Printed and illustrated text","holder":"National Library of France","dates":"1828","location":"Paris","translator":"Flaminia Baldwin"},"3f842425-2ace-59ff-ad9e-176b0b58c8f7":{"name":"*Société les Affréteurs Réunis* \\[…\\] *Weekly, individual direct services from Rouen and Bordeaux-Bayonne to Algeria and Tunisia, and vice versa.*","description":"In Algeria and Tunisia, the French colonisers developed viticulture, cereal farming, and the extraction of minerals for export to France. The transportation of these goods took place by boat. Various firms emerged specifically for the transportation of this type of product, providing specialised ships and regular shipments between North Africa and the major French Atlantic ports. This map indicates the ports in Tunisia and Algeria and the railway networks connecting them (Oranais network, etc.).","type":"Map","holder":"National Library of France","dates":"1913","location":"Paris","translator":"Flaminia Baldwin"},"401e4018-e1ee-5a6d-87f6-467eb15b5da9":{"name":"Oriental Festival at the Turin Exhibition, 1911","alternate_name":"*Le Esposizioni del 1911. Torino. La vita orientale e la grande kermesse*","description":"In 1911 the city of Turin organized an International Exhibition in the Valentino park, on the banks of the Po River. Beyond the Isabella Bridge another huge park was built to house entertainment and attractions. One of the most popular attractions was the so-called \"Kermesse Orientale\", in which the public experienced the illusion of making a journey through the different parts of the Eastern world. Five new areas were built, according to photographs taken at the time. The first one represented Arabian, Egyptian, Tunisian and Turkish environments while the fourth area reproduced Japan and India. The park also showcased a harem, a mosque and a Moorish school and the visitors could enjoy belly dancing shows and walks on camelback.","type":"Photo from book","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"409e4adf-c1cd-577f-9523-9ffc50214d63":{"name":"'Ethnographic Exhibition' [Paris Exhibition, 1878]","alternate_name":"*'Esposizione Etnografica'*","description":"Colonel Le Clerc organized an ethnographic gallery inside his own museum of artillery for the International Exhibition of Paris in 1878. He arranged 72 examples of warriors coming from almost every part of the world in a three-room exhibit. These characters were modelled from actual examples and resembled Arabic, Australian, African and Indian people with costumes and features. The exhibition paid great attention to facial renderings and the physical appearance of the warriors.","type":"Photo from magazine","holder":"National Central Library of Rome","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"40b694ae-445b-54d8-b559-e424f0a605c7":{"name":"*Alexander Karatheodori Pasha (1833–1906)*","description":"Portrait of Alexander Karatheodori Pasha. He was born in 1833 in the Greek quarter, Phanar, in Constantinople and served as leading diplomat (Premier Plénipotentiaire) of the Ottoman Empire at the 1878 Congress of Berlin. With the consent of the Ottoman government, Austro-Hungarian troops occupied Bosnia-Herzegovina.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"1878","location":"Vienna","copy_editor":"Daniel de la Vega"},"40e07960-2c59-5c21-8ff8-0aa9645bf0eb":{"name":"Postcards showing Romanian tourists in Egypt","description":"In the 19th century, North Africa was mostly known to Romanians from geography schoolbooks and newspaper articles. However, starting from the middle of the 19th century there are information about wealthy Romanians who visited North African countries, some of them recounting in their memoirs their African experiences. For example, Romanian poet and politician Vasile Alecsandri visited in September-October 1853 the Moroccan ports of Tangier and Tétouan and published his impressions in a Romanian literary periodical. A bit more than half a century later, four Romanian students entered an international competition for travelling by foot 100,000 km. In July 1911 they reached Egypt, where they visited Cairo, the pyramids, the Valley of the Kings, Memphis, Luxor, Karnak, Aswan, the Abu Simbel temples.","type":"Postcards","holder":"National Museum of Romanian History","dates":"Beginning of the 20th century","location":"Bucharest"},"40ef2328-28fd-59f1-96b3-b75abf4e6c58":{"name":"*Bedouin of the Houran*","description":"The constant movement of large Bedouin confederations regularly impacted on the history of the Middle East, in particular when it intersected with settled societies and cities. The bedouins of Hauran lived in the Hauran plain in what is now SW Syria/ NW Jordan at the time. The Sheikh of the Hauran bedouins was employed by the Ottoman pasha of Damascus to collect tribute from all tribes in the area and help in its defence. Philip Meeder was a British wood engraver, who died in 1913. The image is taken from ’Picturesque Palestine, Sinai and Egypt’, Charles William Wilson ed., 1881. The accompanying text in the book reads: 'A bedouin of the Haurân. Bedouins occupy the north-west district of the Haurân; the plain is inhabited by peasants, and the Druses for many centuries have colonised the mountain range.","type":"Wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1881–1884","location":"Sharjah","provenance":"New York","author":"Ulrike Al-Khamis"},"40f40e78-356d-5bdf-a281-3045eb71b83b":{"name":"Hammam-el-Lif, Tunis. Seaside resorts and thermal springs","description":"Hammam el-Lif is a seaside town near Tunis. In 1750, Ali II Bey of Tunis had a pavilion built by the thermal springs, which Hussein II Bey then completed in 1826.","type":"Poster","holder":"National Library of France","dates":"1885","location":"Paris","translator":"Flaminia Baldwin"},"412af98f-597f-5bd8-9bce-18aac056c045":{"name":"Jars from the Company of Glass and Mosaic of Venice and Murano [Paris Exhibition, 1878]","alternate_name":"*Vasi della Compagnia di Vetri e Mosaici di Venezia e Murano*","description":"“The Chronicle of the Universal Exhibition of Paris” of 1878 celebrates the city of Murano’s commercial success in glass production. A large number of these objects reside in the collection of the Museum of Industrial Arts in Rome (M.A.I.), now part of the acquisitions of the National Museum of Antique Art on display at Palazzo Barberini. M.A.I. was established in 1872 in Rome as a collection of manufacts (glasses, majolica, sculptures, materials, photographs, metals, casts and other) from antiquity to 19th century, and as a training school for specialising artisans, as part of the process of revaluation of the so-called \"minor arts\". Venetian glass has a long history, inherited from the Roman, Byzantine and Islamic tradition in the Middle Ages. These jars were manufactured by the famous glass company Salviati, founded in 1866 and established in Venice and Murano. In presenting these objects they claimed the rebirth of a long-forgotten antique art and the rebirth of glass industries in Italy. Tomb excavations brought to light a series of vases. New objects based on those excavated were made on the occasion of the International Exhibition in Paris in 1878.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"416183bd-8afc-5737-8b32-4fcbb3e2e553":{"name":"Ali ben Ghedhahem's seal","description":"This seal, dating to 1864, belonged to 'Ali ben Ghedhahem, an educated man and the son of a qadi from the Kasserine region. He was one of the biggest figures in an insurrection triggered by the issuing of a decree to double taxes in Mejba, April 1864. The revolt started in the west, but quickly spread to the whole regency, with the exception of just a few coastal towns. However, it was soon qashed, and the violent suppression the people were subjected was not forgotten until the mid-20th century. The legendary hero 'Ali ben Ghedhahem was arrested and convicted.","type":"Photograph; stamp","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1861","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"41adce0c-3867-5629-8e66-064e9b952e0c":{"name":"Refugees' documents for refuge house after the population exchange","description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. These are refugees' documents for the Papoukidis family's stay at a refuge house.","type":"Historical document","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1923–1924","location":"Istanbul","provenance":"Greece","copy_editor":"Daniel de la Vega"},"42290171-ded6-5da8-9103-76fb7763204e":{"name":"*The Attack of the Enemy’s Cavalry at Shinaass January 2nd, 1810*","description":"This image, recorded by a British soldier, who participated in the campaign to destroy the Qawasim's economic hegemony in the Lower Gulf, shows a group of Arab fighters, those on horseback carrying lances, those on foot swords, engaged in fierce combat outside the fortress of Shinas, a Qawasim stronghold on the east coast the British turned to after destroying their bases in Ras al Khaimah and on the Persian coast. Seemingly endless rows of British artillery and infantry are approaching from the beach on the right, with the mast of the British frigates clearly visible at sea. For their attack on the east coast postions of the Qawasim, the British enlisted the support of Omani forces, and it is presumably them that are engaging the mounted Qawasim fighters in this image. British eye witnesses report that the Qawasim fought extremely bravely and obstinately, preferring death to surrender. Nevertheless, the overwhelming military machine of the British eventually took Shinas, with at least 400 Qawasim casualities.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"433df55d-0327-5977-a447-ca5420a7ce29":{"name":"Laënnec examining a patient at the Necker Hospital in 1816","description":"The 19th century saw a number of important advances in the medical field. René Laënnec (1781–1926) was a French doctor who invented the stethoscope, allowing him to improve medical diagnoses by listening to patients' chests. Doctors were thus able to analyse sounds inside the body, and link them to illnesses such as tuberculosis, which was very common in the 19th century.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"43466c72-e5b9-5030-8983-576a5a27f879":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Print","holder":"Austrian National Library","dates":"c.1914","location":"Vienna","copy_editor":"Daniel de la Vega"},"43887649-28e4-5e71-ad7d-9a1cc8750dfc":{"name":"*Art exhibition at school, 12–25 June, 1904*","description":"The introduction of art as a primary school subject was a long and difficult process. Linear drawing was introduced first with a utilitarian objective. From 1879, teaching art became mandatory due to a standardization of teaching practices, and specialised teachers were recruited for this purpose. From the early 20th century onwards art became, supposedly, the art of depicting reality. Various organisations also pushed for the democratisation of art in schools. This poster shows a school student taking interest in famous paintings, such as those by Millet.","type":"Poster","holder":"National Library of France","dates":"1904","location":"Paris","translator":"Flaminia Baldwin"},"441fd91e-6a8d-5ba0-b0fb-73ae59155d8a":{"name":"*Voyage Dans Le Levant*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1819","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"443b06f0-b14c-5ef9-9ab2-20b5d7d56003":{"name":"*Clothes for prisoners of war. Charitable organisation attached the French \\[Red Cross\\]. Donations both in cash and in kind should be delivered to the organisation's headquarters, at 63 Avenue des Champs-Elysées.*","description":"Throughout the First World War, many charitable organisations came to the aid of soldiers and civilian populations in occupied territories. They carried out poster campaigns or published appeals in the press to obtain donations. This poster depicts a military prisoner of war's sadness as he writes to his loved ones. The Red Cross supervised these charitable partnerships in order to ensure the safe arrival of the donations in \"enemy\" territory.","type":"Poster","holder":"National Library of France","dates":"1916","location":"Paris","translator":"Flaminia Baldwin"},"447b3071-8472-521a-b586-24ed31569284":{"name":"Official Hijaz Railway Postcard","type":"Postcard","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"early 20th century","location":"London","dimensions":"Height: 14,1 cm; Width: 9,1cm","provenance":"Germany","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/official-hijaz-railway-postcard-arc-pc-432/","keywords":["Construction","Muzayrib","photography","postcard","tunnel"]},"4543ccbf-dceb-5300-941b-8c2f10ba3b29":{"name":"The port of Galaţi","description":"After the Russian annexation of Bessarabia (the eastern part of Moldavia) in 1812 and until the restoration by Russia of Southern Bessarabia (1856), Galați remained Moldavia’s only port on the Danube. Understanding the city’s importance for Moldavia’s economy and wanting to ensure its development, prince Mihail Sturdza, who was appointed ruler of Moldavia by the Sublime Porte in 1834, issued in 1836 an act stipulating that Galați was to be a free port (with no or few customs duties) starting with March 1837. Also, a new neighborhood was to be built based on modern urban planning prescriptions and Galați received the right to organize annually five national fairs, during which traders from everywhere could sell any type of products.","type":"Lithograph","holder":"National Museum of Romanian History","dates":"First half of the 19th century","location":"Bucharest"},"454ea471-63b6-545e-9c35-ea8207b4746b":{"name":"*General View of the Erecteion* (Athens)","alternate_name":"*Vista general del Erycteion*","description":"View of the Erecteion in Athens. The drawing is part of the documentation of different monuments during the trip in the Arapiles frigate to Near East.","type":"Litography","holder":"National Archaeological Museum","dates":"c. 1871","location":"Madrid","copy_editor":"Anne Dowell"},"46069753-8d25-527b-8ca3-f62f78f6b3d2":{"name":"Algerian Shoemaker at the Trocadéro [Paris Exhibition, 1878]","alternate_name":"*Il calzolaio algerino, al Trocadero*","description":"At the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion, as part of the reconstruction of a hypothetical typical neighbourhood. The characters shown here are Algerian shoemakers from the Trocadero area working under a tent.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"460ebced-3992-593a-a42e-32453e973f11":{"name":"*Mountain people from Mostaganem*","description":"The subjects of this piece, drawn from life, are men from the west of Algeria. Although we know that Chassériau's main source of inspiration in Algeria was the city of Constantine, he also spent some time in Algiers with his uncle the architect Frédéric Chassériau, who had been employed by Napoléon III to build up the city's seafront. The artist's keen attention to detail is highlighted by his authentic rendition of his subjects' dress and his occasional use of Arabic in his annotations.","type":"Drawing","holder":"Musée National des Beaux-Arts","dates":"1846","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"46d97a8f-bb71-5869-a2ce-ba8b09411232":{"name":"Bond of 100 francs issued by the Caisse Générale de Secours et de Bienfaisance Israélite de Tunis, in order to raise funds for the construction of a new synagogue in Tunis, and bought by Leone Moreno","description":"The construction of the Great Synagogue in Tunis had a long and complicated history. In 1883, the Bey granted a plot of land on which to build the temple to the Italian Jewish physician and president of the Alliance Israélite Universelle of Tunis, Giacomo Castelnuovo. However, the synagogue was ultimately built on a different lot, acquired thanks to a private donation. In the first years of the 20th century, different projects were discussed. The synagogue was finally built in the 1930s.  \n  \nLeone Moreno (Tunis 1852 – Tunis 1950) was a successful Italian entrepreneur. He belonged to a Jewish family that had migrated from Livorno (Tuscany) to Tunis around 1830. He was awarded honours both by the Italian King (Cavaliere dell’Ordine della Corona d’Italia) and by the Bey of Tunis (Nichan Iftikhar).","type":"Bond","holder":"State Archives of Livorno","dates":"12 November 1905","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"46e5760e-4ca7-5891-b293-149dd73cdb25":{"name":"*View of Jaffa*","alternate_name":"*Jaffa*","description":"Travel illustrations in the 19th century, with their images of life, history and topography, had a great influence over Orientalism. This engraving appeared in a publication about the history of Turkey. Jaffa was a very important port in East Mediterranean.","type":"Print","holder":"National Museum of Romanticism","dates":"1840","location":"Madrid","provenance":"France, Paris","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell"},"47365132-f164-5764-a7d6-518e266d0b96":{"name":"*Arab Vase*","alternate_name":"*Jarrón Árabe recientemente adquirido por el Museo*","description":"Drawing of a vase known as \"The Alhambra vase\". The ceramic vase is a good example of the development of the Nasrid workshops. This vase came from the church of Nuestra Señora de la Asunción in Hornos (Jaén) and it was acquired by the National Museum of Archaeology in 1875. This type of vase is very rare and few of them have survived.","type":"Print","holder":"National Archaeological Museum","dates":"1875","location":"Madrid","provenance":"Madrid","copy_editor":"Anne Dowell"},"477e3472-eb64-5968-9da0-4243b0453c73":{"name":"*The Great Hall of the Musée Assyrien in the Louvre*","alternate_name":"Taken from the collection *Topographie de Paris*, \"1er arrondissement, 1er quartier, Le Louvre\"","description":"In May 1847, the world's first \" Musée Assyrien\" was opened at the Louvre. This was enabled by the arrival of 37 enormous bas-reliefs discovered by Paul-Émile Botta (1802–1870), the French consul in Mosul, at the site of Khorsabad. Botta, a diplomat, doctor, explorer and archaeologist, organised excavations in the hope of rediscovering Nineveh and its Assyrian monuments, and thus brought about the discovery of Khorsabad which in turn aided and accelerated the deciphering of Cuneiform in Mesopotamia. The \"Musée Assyrien\" pictured here was a great success and  attracted much attention on its opening in Paris in 1847.","type":"Print","holder":"National Library of France","dates":"1862","location":"Paris","translator":"Flaminia Baldwin"},"478abce7-afc2-532d-82bd-fbecf067ac32":{"name":"*One Thousand and One Nights*: decorative sketch of the palace gardens. Façade of an","description":"The collection *One Thousand and One Nights* was translated into French in the early 18th century. The rise of Orientalism caused it to become extremely popular, appearing as the subject of numerous editions, adaptations, etc. In the 19th century, a tale from the collection was staged in one of Paris' most famous theatres (the Théâtre du Châtelet), and, as this image shows, the theatre was redecorated as an \"Oriental palace\" for the occasion.","type":"Print","holder":"National Library of France","dates":"1881","location":"Paris","translator":"Flaminia Baldwin"},"47de166a-64f2-5809-807d-457eb735b800":{"name":"Stefan Petrovic Knicanin (1809–1855)","description":"Portrait of Stefan Petrovic Knicanin. The Serbian officer Stefan Petrovic Knicanin supported the Austrian Emperor during the 1848 revolution. In 1849 he returned to Serbia and fostered good relations between Serbia and Austria. He died in 1855 in Belgrade.","type":"Print","holder":"Austrian National Library","dates":"1849","location":"Vienna","copy_editor":"Daniel de la Vega"},"483aa52a-ff95-52c4-b7ab-c693f1780161":{"name":"Map of the Red Sea by Jean Baptiste D’Anville, Paris, 1765","short_description":"The French geographer and cartographer Jean-Baptiste Bourguignon d’Anville was born in Paris in 1697 and died in 1782 and was well known for his significant contribution to European map-making. In 1754 he became an elected member of the l'Academie Royale des Belles-Lettres where he held the position of geographer and was appointed first geographer to the King of France in 1773.  \nThis large copperplate-engraved map of the Red Sea is entitled: ‘*Golfe Arabique ou Mer Rouge Par le Sr. d'Anville de l'Academie Royale des Belles-Lettres, et de celle des Sciences de Petersbourg, Secretaire de S.A.S. Mgr. le Duc d'Orleans, MDCCLXV*’. It marks: ‘*Le Caire*’ (Cairo), ‘*Medine ou Iatrib Iathrippa*’ (Medina), ‘*Mt Ohhud*’ (Mount Uhud), ‘*Giddah*’ (Jedda), ‘*La Mekke Maco-raba*’ (Mecca), ‘*Mt Arafat*’ (Mount Arafat) and a dotted line showing ‘*Limites du Territoire de la Mekke et de Medine*’ (the extent of the territories of Mecca and Medina).  \nD’Anville was a classical scholar and used ancient texts, including those in ancient Greek to help compile his maps; he was also certainly aware of some Arabic words and read Arabic literature in translation. In his important personal project entitled ‘*Mémoires sur l'Egypte ancienne et moderne, suivis d'une description du Golfe Arabique ou de la Mer Rouge*’ printed in 1766, d’Anville notes that *Maco-raba* is a term used by Ptolemy and he goes on (a year later than our map) to analyse the Red Sea in sixty pages. The reference to *Maco-raba* (Makoraba) to describe Mecca is indeed generally considered to be the classical name given to Mecca by Ptolemy in his *Guide to Geography*, although this is a contested attribution; d’Anville also uses the Ptolemaic ‘*Lathrippa*’ (Yathrib) to describe Medina. The Red Sea was of great interest during the eighteenth century, it being an opportunity to explore Egypt as well as the broader ancient world.","type":"Map; chart","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1765","location":"London","dimensions":"75.5x55.5cm","method_for_datation":"Map is dated MDCCLXV (1765)","provenance":"France, Paris","obtention":"Altea Gallery, London","bibliography":"Armitage, D., Bashford, A., Sivasundaram, S., (eds), *Oceanic Histories*, Cambridge: Cambridge University Press, 2018.  \nD'Anville, J., *Mémoires sur l'Egypte ancienne et moderne, suivis d'une description du Golfe Arabique ou de la Mer Roug, De l'Imprimerie Royale, à Paris, 1766*.  \nHaguet, Lucile, “J.-B. d'Anville as Armchair Mapmaker: The Impact of Production Contexts on His Work”, *Imago Mundi*, 63, 1 (2011): 88-105.","author":"Qaisra Khan","keywords":["geography","hajj","Hijaz","Hijaz Railway","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","Pilgrimage route","prayer","Prophet Muhammad","Religion","travel"],"materials":["Paper"]},"485d12ca-7825-5990-8b96-58cf495684ae":{"name":"*Drummer*","description":"Sheet from a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. *Köşcü*, the drummer who played the big drum (*köş*) in the Mehter band.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"490493f4-f4d8-56c4-8bdc-7207e915de8b":{"name":"Travels in the Read Sea. *The Temple of Medina*","alternate_name":"Taken from *L'illustration*","description":"*L'Illustration* was a weekly French magazine published between 1834 and 1944. The greatest artists and photographers were featured in its pages, which dealt mainly with current affairs, and offered a great variety of information to the French public. Pictured here is a view of the mosque of Medina and the many pilgrims who had travelled there.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1854","location":"Paris","translator":"Flaminia Baldwin"},"4910bd38-cc21-5b54-81dc-f3e7ee09ef0a":{"name":"Qaftan","alternate_name":"Costume of the village chief of the high mountains of Byblos","description":"The lavish garments previously worn by Lebanese emirs and *shaykhs* were swapped in the 19th century for more sombre items, such as this Qaftan.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"4a2a96ac-fddb-5683-9208-73c5deb06b72":{"name":"The Italian-language newspaper *L’Unione* (1886–1943), printed in Tunis","description":"Italian immigrants in Tunisia gave life to a vibrant press. Between 1838 and 1956, 123 Italian periodicals of different type were published in the country. *L’Unione* was the most successful and politically influential among them.","type":"Newspaper","holder":"State Library of Modern and Contemporary History","dates":"19 September 1915","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"4acd8717-82fe-538c-b4c9-53b16ce962bb":{"name":"The plan of Haydarpaşa Train Station","description":"The original plan of Haydarpaşa Train Station, viewed from northern frontage. In 1871 Sultan Abdülaziz ordered a rail line to be built from Haydarpaşa to İzmit. Haydarpaşa station opened in 1872, and in 1888 the Anatolian Railway (CFOA) took over the line and the station. Since the station was built next to the Bosporus, freight trains would unload at Haydarpaşa and the freight would be transferred to ships. Haydarpaşa was chosen to be the northern terminus of the Baghdad Railway and the Hijaz Railway in 1904 and with rail traffic increasing, a new and larger building was required. The Anatolian Railway hired two German architects, Otto Ritter and Helmut Conu, to build the new building. They chose a neo-classical structure and construction started in 1906.","type":"Plan","holder":"Istanbul Railway Museum","dates":"Late 19th – early 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"4b5e4dc3-5bd8-50b3-b3e3-72e9cb04670a":{"name":"*The Mandarin*","description":"A brief tale based on the knowledge of the Chinese fantasy that intersects with the Western imagination the figure of the devil, one of the characters of the text. The tale, in which the main character is a mandarin, is a short fictional narrative that can be read in one night.","type":"Book","holder":"National Library of Portugal, Digital Library","dates":"1880","location":"Lisbon","author":"BNP"},"4ba698dd-340a-5068-ac6e-53bd809620f8":{"name":"*Old Oriental Gilt and Enamelled Glass Vessels extant in Public Museums and Private Collections*","description":"An illustrated publication by Gustav Schmoranz on the history of Mamluk enamelled glass and example from public and private collections. It was published with the sanction and assistance of the imperial Austrian Ministry of Education by the Imperial Handels- Museum of Vienna. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1899","location":"Athens","provenance":"Vienna","author":"Mina Moraitou"},"4bacddd8-1bf3-5cf7-ae4b-b8ebd6e26987":{"name":"Archaeological and topographic map of the Carthaginian ruins","description":"Having been invaded and destroyed many times, the city of Carthage was then subject to various sackings, and its ruins served as a quarry for nearby towns. The site was rediscovered in the 19th century and became fashionable following the publication of Flaubert's novel *Salammbô*. Archaeologists soon felt the need for the different sites to be mapped, and in 1833 a Danish marine, Falbe, put forward a proposal for the *Recherches sur l'Emplacement de Carthage*. Thanks to the maps drawn up by the army's geographical service and military engineers, by the end of the 19th century archaeologists were able to conduct more detailed work, particularly with regards to the division of land.","type":"Map","holder":"National Library of France","dates":"1907","location":"Paris","translator":"Flaminia Baldwin"},"4bef9a7e-ee5d-50e6-bbc2-ad9258836fd3":{"name":"Carlo de Rossetti (consul of the Grand Duke of Tuscany) gives notice of a new ferry boat service between Alexandria (Egypt) and Constantinople operated by a Tuscan steamship","alternate_name":"*Notificazione concernente l’attivazione di corse regolari fra Alessandria e Costantinopoli, e viceversa, mediante il Battello a Vapore Toscano* Il Generoso, *ed il suo servizio*","description":"The steamboat Il Generoso had three classes of service: the first-class ticket cost 42.5 Thalers and the second class one 30 Thalers; they both included meals. By contrast, the third-class ticket (12 Thalers) did not entitle one to meals. The trip lasted five days. According to the poster, the steamboat Il Generoso was equipped with “very confortable cabins and living rooms, including a special living room for ladies”.","type":"Poster (archival document)","holder":"State Archives of Livorno","dates":"Alexandria, 19 April 1838","location":"Livorno","author":"Cristina Francioli","copy_editor":"Anne Dowell"},"4bf6a5a2-2ef7-5efd-930f-e900942ddaa6":{"name":"*La Péri: thirteen costume sketches*","description":"*La Péri* is a fantastical ballet in two acts with the scenario written by Theophile Gautier and the music by Burgmüller. This ballet, first performed in 1843, brought the audience to a grand Egyptian palace. Théophile Gautier dreamt of visiting Egypt, where his friend Gerard de Nerval had been living and sending him details to help him make the ballet more realistic.","type":"Drawing","holder":"National Library of France","dates":"1843","provenance":"France","translator":"Flaminia Baldwin"},"4c695d43-f03d-5a2c-8f4d-af48b299d76b":{"name":"Map of the Network of Caravans","description":"This sketch shows the network of caravans in Egypt, North Eastern Africa and Western Arabia.","type":"Print; map","holder":"Austrian State Archives","dates":"1856","location":"Vienna","copy_editor":"Daniel de la Vega"},"4c6c73fd-b2b8-5169-9f5b-defe03f3bbce":{"name":"*Bilder aus Mekka von C. Snouck Hurgronje*, published Leiden, 1889","short_description":"*Bilder aus Mekka* was published in 1889 by the Dutch orientalist Christiaan Snouck Hurgronje. Consisting of 20 collotype prints mounted on 18 leaves, it is one of the earliest photographic records of the Hajj, preceded only by photographs taken in 1881 by Muhammed Sadiq Bey. *Bilder aus Mekka*came one year after *Bilder-Atlas zu Mekka*. This was a collection of lithographs including images predominantly of Mecca and portraits of pilgrims, taken by Snouck himself on his research trip to Jidda and Mecca between August 1884–August 1885. Alongside this he published *Mekka*a work that focussed on the history of Mecca and the origins of Islam. Following on from the publication of these two volumes, and having not been able to photograph the hajj himself, Snouck used images taken by a Meccan physician named ‘Abd al-Ghaffar of the Hajj of August 1888 to publish *Bilder aus Mekka*.  \nSnouck met ‘Abd al-Ghaffar during his stay in Mecca in 1885, and although ‘Abd al-Ghaffar was already familiar with photography, Snouck is supposed to have helped refine his skills and he became Snouck’s photographic assistant during the six months he was in Mecca.  \nThe photographs include views of Mecca, Mina and Arafat, and depict the various stages of Hajj. Although traces of ‘Abd al-Ghaffar’s signature are still visible on the photographs, there is clear evidence of an attempt to erase them by Snouck. A summary text written by Snouck opens the volume and a list of plates precedes the images.","type":"Album; book","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1889","location":"London","dimensions":"36.5x27.5cm","method_for_datation":"The date and publication details are included within the book.","provenance":"Europe","bibliography":"Sheehi, S., *The Arab Imago: A Social History of Portrait Photography, 1860–1910*, Princeton: Princeton University Press, 2016.","author":"Qaisra Khan","keywords":["book","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","photograph","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["Collotype prints"]},"4c7b394a-e1a0-5aff-b896-8caf9feaef32":{"name":"Original sheet music of 'The Portugueza'","description":"Original sheet music of “The Portugueza”, initially a contest song against the British Ultimatum. It became the national anthem after the Republican Revolution.","type":"Sheet music","holder":"Centro República","dates":"Published in the supplement of the *Ocidente*, n. 405, 21 March 1890","location":"Lisbon"},"4c7e1862-a363-5135-ad52-ffdf9df7a680":{"name":"*The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, Volume 1, title page*","description":"This vignette depicts the façade of the Church of the Holy Sepulchre in Jerusalem, located on the spot where it is bellieved both the crucifixion of Jesus Christ and his burial took place. David Roberts, the prominent Scottish Orientalist painter(1796-1864) visited at Easter time, when the square in front of the church was crowded with pilgrims and traders selling their wares. Nevertheless, he shows the scene not with contemporary life milling around the church, but enlivened only with his usual repertoire of carefully staged, oriental types. Originally, the church was accessed by a flight of steps from the main street of Jerusalem, but in the 11th century, the entrance was moved its south side, where it remains to this day, including he double-doorway, its right section walled up since 1187. Only the original, carved lintels still recorded by Roberts had to be removed after an earthquake in 1927.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1842","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"4c84389a-5e72-52a7-92f3-aa8604a09e9c":{"name":"Declaration by the Bey of Tunis assuring that in future wars with any European power prisoners will not be enslaved","description":"This declaration was an annex to a treaty between the King of Sardinia (who ruled over Piedmont, Genoa and Sardinia) and the Bey (who ruled Tunis), concluded by British Admiral Baron Exmouth, who lead a military expedition against the Berber states in 1816. The Bey declared that in case of future wars with any European power, “none of the prisoners made on either side shall be consigned to slavery, but treated with all humanity as prisoners of war, until regularly exchanged according to European practice”.  \nThe Exmouth expedition was aimed at stopping Barbary corsairs from raiding European shipping in the Mediterranean. At the time, privateering was considered a legitimate form of warfare by European and North African countries alike. Only in 1856 did France, the United Kingdom and other European powers (except from Spain) declare privateering illegal.","type":"Printed Treaty (archival document)","holder":"State Archives of Turin","dates":"Palace of Bardo (Tunis), 17 April 1816","location":"Turin","author":"Edoardo Garis","copy_editor":"Anne Dowell"},"4ceec2b5-7808-56c2-b795-ced282fa861d":{"name":"*24 hour optical telegraphy presented to the minister by a marine officer and used by the coast signalling services* (1802)","description":"The telegraph was an important piece of technology for Napoléon I, as it allowed him to send information quickly from both land and sea during the War of the First Coalition. A huge network of telegraph lines was created during his reign.","type":"Print","holder":"National Library of France","dates":"1801","location":"Paris","translator":"Flaminia Baldwin"},"4dcb750e-6c2b-5848-924b-43fb6905059d":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega"},"4e04768a-5d14-5f0c-94df-814f2d4400f7":{"name":"*The Exhibition!! The triumph of industry*","description":"Alfred Rodiba (1848–1926) was the artist of many dystopian works, a very fashionable theme at the time. Although he appreciated the 1889 Exposition Universelle (world fair), the cartoonist inside him also noticed a \"universal\" worship of industry which made everyone unaware of the pollution these inventions were producing.","type":"Periodical","holder":"National Library of France","dates":"1867","location":"Paris","translator":"Flaminia Baldwin"},"4e299372-2148-578c-ac70-4b781a5ad8ce":{"name":"*The First Train in Spain: Inaugurated 28 October 1848*","alternate_name":"*Primer ferrocarril de España, inaugurado en el 28 de Octubre de 1848*","description":"The railway connecting Barcelona and Mataró was the first one to be inaugurated in Spain. This train connected two important industrial hubs of Catalonia, as an example of the industrial development of this area in the middle of the 19th century.","type":"Print; Painting","holder":"National Museum of Decorative Arts","dates":"1848","location":"Madrid","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"4e2c253d-3f40-5817-ad41-b7fde8b9f4b8":{"name":"Confidential report related to the Iraqi State Railways and the Trans-Iranian Railway","description":"Report surveying the state of the railways and the gauges used by the Iraqi State Railways and the Trans-Iranian Railway between 1942 and 1944. The report is incomplete; 11 pages are related to Iraq (pp. 54-85), while 16 pages cover Iran (pp. 73-160). The typewritten text is accompanied by photomechanical prints and technical drawings of locomotives. The report might have been produced both by the British or the American intelligence. It includes The Second World War-era British military map showing regional railway networks (established or under construction) in the (ex) Ottoman Empire. Manuscript annotations highlight the geopolitical interests of various nations involved in their construction. The piece also has the stamp of the Survey Directorate, GHQ Middle East.","type":"Archival Material","holder":"Qatar National Library","owner":"QNL","dates":"1939-1944","location":"Doha","dimensions":"Height: 21 cm; width: 27 cm","place_of_production":"Great Britain","catalogue_holding_link":"https://elibrary.qnl.qa/iii/encore/record/C__Rb2711204__SHC.ARC.2016.0094-0004__Orightresult__U__X3?lang=eng&suite=def","author":"Moez Dridi","keywords":["20th Century","Middle East","Railways"],"materials":["27 folios and 1 map"]},"50134a0e-a943-5f25-a36c-43032ad0dd5e":{"name":"Bob Walter [veiled dancer]","description":"The \"serpentine dance\", invented by Mary Louise Fuller, was copied by many dancers, and even parodied. Like Fuller, these dancers also used veils and lighting effects, characteristics typical of the Art Nouveau movement.","type":"Poster","holder":"National Library of France","dates":"1898","provenance":"France","translator":"Flaminia Baldwin"},"51be354a-b339-5d93-8690-4f26618ea9fb":{"name":"Tramway","description":"This railway carraige from the French Bône-Guelma company inaugurated, in April 1879, the opening of the first section of a 100 km long line which connected Tunis to Algeria. In 1800 it also acquired the Tuni-Sousse and Tunis-Bizerte lines, and thus gained a monopoly over the construction of railway lines in Tunisia, while the Italians bought the small Tunis-La Goulette-La Marsa (TGM) railway track.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"523087c9-9a15-54a0-b37b-745c43c2cb51":{"name":"An olive oil factory run by an Italian migrant in Monastir (Tunisia)","alternate_name":"*Fabbrica d’olio d’oliva F. Casella – Monastir*","description":"According to a 1895 survey by the Italian Chamber of Commerce of Tunisia, 82 modern olive-oil industries operated in the country; 34 (41 per cent) were run by Italians, 24 by French nationals, 19 by Tunisians and the remaining five by persons of other nationalities.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"52e912d6-db07-5f7b-a1e2-6593559e25f6":{"name":"Illustrated guide and timetable for travelling in the Orient. Featuring description of Constantinople and the most important cities in Turkey, Egypt, Greece, etc.","alternate_name":"Service Maritime Roumain (Serviciul Maritim Român)","description":"The growth of tourism entailed the production of travel guides, such as this one, which gave the potential tourist advice for travelling in \"the Orient\" - here meaning Greece, Turkey and Egypt.  This page provides a timetable for steam boats with timings which coincide with the international train lines, such as the Orient Express.","type":"Travel guide","holder":"National Library of France","dates":"1909","location":"Paris","translator":"Flaminia Baldwin"},"52eaca9c-9b61-57ba-8d7c-426a9c33c3f1":{"name":"Lithographs after the panoramic photograph taken by Robertson and Beato, *Faust: Poligrafisch Illustrirte*, Zeitschrift, 1857, Vienna","description":"James Robertson is the first Istanbul photographer known to have taken 360 degree panoramic photographs of the city. The first panorama, which was taken in May 1854 from the War Ministry tower in Beyazıt, consists of twelve separate photographs. The most successful printed reproductions based on Robertson’s photographs curiously enough were produced in Vienna. Issues of *Faust* published during 1857 report fascinating bits of information as well as pictures that are important to the history of printing and visual arts in the Ottoman Empire. A plate published in *Faust* contained a panoramic view from the Istanbul Beyazıt tower that is made from Robertson’s panorama.","type":"Lithographs","holder":"Ömer M. Koç Collection","dates":"1857","location":"Istanbul","author":"Bahattin Öztuncay","copy_editor":"Daniel de la Vega"},"5384029c-eb52-5179-984d-a80e0e272e8c":{"name":"*Illustrated dictionary of Tunisia: the people and things of Tunisia*","description":"Italian immigration to Tunisia in the 19th century was, quantitively speaking, extremely significant. This is evident from advertisements such as this one, where the headquarters, names and addresses of a Tunis-based firm are Italian.","type":"Publication","holder":"National Library of France","dates":"1912","location":"Paris","translator":"Flaminia Baldwin"},"5426a620-cbfc-5b20-bed9-14fa1801de7d":{"name":"*Medjmouaï teçavir* (Collection de costumes)","description":"Popular postcard from Turkey showing the costume worn by various people, according to occupation, activity, etc. At this time Turkish financial officials worked under European management.","type":"Postcard","holder":"The British Museum","dates":"c. 1900","location":"London","provenance":"Turkey"},"544117f8-c7fb-5075-b36e-315986c47bec":{"name":"Transport plan of Beirut","description":"This map shows a plan of transport terminals in Beirut in 1891.","type":"Print","holder":"Khalil Itani's Archive","dates":"1891","location":"Beirut","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"54f861aa-1d28-5c1b-b3c3-07e65ff10862":{"name":"'Picture of the Tents of the Turks'. Photographer: H. A. Mirza & Sons","description":"This image shows the tents of the Ottoman Turkish troops at their camp at Medina. Despite the apparently secular nature of the subject, and the fact that the camp does not depict a stopping-off point on the hadj, the laudatory poetry and prose makes clear the relevance of the image to the experience of the hadj – that is, that the Turks, as ‘military people of the highest rank’ serve Islam by defending and enabling the passage to Mecca and Medina for other Muslims.  \n  \nAs with the other photographs in this album (Photo 174/1-13), whose subjects are architectural and landscape, the figures are not the subject of the image. However, a detailed examination of the image shows the soldiers going about their day-to-day activities, such as cooking and eating. The method by which the ground would have been prepared before a tent was erected is indicated by the empty low circular foundation in the lower left corner of the image. In the distance, in the right-hand background of the image, beyond the dry-stone wall delineating the camp, palm groves and permanent dwellings can be identified.","type":"Photographic print","holder":"Qatar National Library","owner":"QNL","initial_owner":"India Office","dates":"1907","location":"Doha","dimensions":"Mount (external): 35 x 44,6 cm; Mount (internal): 20,2 x 27,3 cm [landscape]","place_of_production":"India","provenance":"India Office","copyright":"Public Domain","catalogue_holding_link":"https://www.qdl.qa/archive/81055/vdc_100023483748.0x00000d","keywords":["Hijaz","Mecca","Medina","travel"],"materials":["Card","gelatin silver print","indigo ink (printed)","Mottled blue-tinted window mount","red ink (hand-painted)"]},"55244670-bd54-51f4-982e-13682dbb1443":{"name":"A map of Tunisia (1:1,600,000) showing Italian agricultural settlements, mines, coral- and sponge-fishing areas and boat lines","alternate_name":"Carta della Tunisia protettorato francese, 1906 disegnata dal prof Cesidio Bonanni","description":"The green rectangles on the map indicate Italian agricultural settlements; the number of settlers is indicated as well. In 1906 the majority of the Italian peasants had settled around Tunis and the Gulf of Hammamet. By contrast, few Italian peasants had settled in the South and in the interior of the country (the map indicated only 300 Italian peasants near Sfax and 400 near Kef).","type":"Map from a book","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"55d4b6d2-fc7e-5bc6-a971-7a640559de05":{"name":"*A Muslim man praying*","alternate_name":"*La oración del moro*","description":"One of the drawings by Fortuny, one of the most important European painters of the last quarter of the 19th century. He travelled to Morocco in 1863 and he was taken by the light, colour and characters of the country. He was an important collector of Islamic artworks, some of them depicted in his paintings.","type":"Drawing","holder":"Lázaro Galdiano Museum","dates":"1851–1875","location":"Madrid","provenance":"Roma(?)","author":"Ámparo López","copy_editor":"Anne Dowell"},"562cd119-0bf1-544d-a90a-b4094899b356":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"c. 1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"563af385-75b3-5cc2-a71e-50f89ce6f746":{"name":"*Andalucía under Arab rule. Exposition of 1900*","description":"This exhibition on the Arab presence in Andalucía was featured in the 1900 Exposition Universelle (world fair), reflecting a fashion for the rediscovery of Spain's North African past. Recently, for example, buildings in Granada and Córdoba had been rebuilt to host dances and fantasias. The artist of this poster, Eugène Grasset, has combined his two principal sources of inspiration - curiosity towards the Arab world, and japonese-inspired aesthetics.","type":"Poster","holder":"National Library of France","dates":"1900","location":"Paris","translator":"Flaminia Baldwin"},"5686a4e1-e33b-5ad7-8f7a-20b3b101f2ca":{"name":"Petar (Pezia) Petrovich (2nd half of the 19th century – 1900)","description":"Portrait of Petar (Pezia) Petrovic. He was Chief of the Albanian Mirdita tribes fighting against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"574d6f3c-2cbb-5d5b-9f00-e0dd275b71a9":{"name":"*Excavation of the Great Temple of Ramesses II at Abu Simbel*","description":"An intrepid and versatile Frenchman, Linant came to Egypt in 1818. In Cairo he adopted the life of an Ottoman Turk, but was known and consulted by European residents and visitors as well as by the Pasha of Egypt, Muhammad Ali. At various times his talents were employed as a geographer, explorer, engineer, cartographer and draughtsman.  \nHis first adventure was an expedition to Upper Egypt that Henry Salt, British Consul-General in Egypt , took to Abu Simbel in 1818-19. Although there were other artists in the party it is likely that this watercolour is by Linant and that it depicts Salt's attempts to clear away the ever encroaching sand from the facade of the Great Temple. Linant took part in several subsequent expeditions up the Nile, and was one of the first Europeans to reach the Pharaonic sites of Meroe and Musawarat.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1818–19","location":"London","provenance":"Egypt","author":"Victoria and Albert Museum"},"574ec553-46f8-5bdf-871c-23a4e10a1779":{"name":"Bellino copy","description":"Hand drawing by Bellino of BM 22502. Bellino’s technique produced wonderfully accurate copies, despite the fact that cuneiform was not yet deciphered.","type":"Drawing","holder":"The British Museum","dates":"c. 1810–1820","location":"London","provenance":"Iraq"},"578a0774-be4c-5eb0-85a3-86bf64c69e71":{"name":"Palais du Bardo","description":"This postcard shows the throne room of the Palais du Bardo, with its rich furnishings and monumental chandeliers hanging from the ceiling. The bey's throne sits in the centre, surrounded by paintings of the princes of the Husainid dynasty, painted wooden ceilings, mirrors and console tables carved and painted with gold leaf, and with two great rooms on either side. From the 18th century onwards the Husainid beys continuously expanded and decorated the Palais du Bardo. The architecture and furniture all indicate a strong European, particularly Italian, influence.","type":"Photograph","holder":"Archives Nationales","dates":"19th century","location":"Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"57ffa9ee-eaef-5f59-b4a3-2237ac46b63a":{"name":"The ivory trade","alternate_name":"Transporting elephant tusks from Congo. Exhibition of the goods before sale in Anvers.; Taken from l'Illustration","description":"Although banned in 1989, in the 19th century the ivory trade was flourishing. Many different objects, all marketed to a wealthy buyer, were made from this material: decorations, piano keys, knife handles, combs, fans, umbrella handles, and more.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1886","location":"Paris","translator":"Flaminia Baldwin"},"58863077-c5fb-5b7d-bc4c-25779a9e566e":{"name":"*The Royal Palace at Buda as a University*","description":"At the end of the 18th century, the Hungarian aristocracy expressed a desire to turn the reconstructed Royal Palace at Buda back into a royal residence. Following reconstruction of 1750–1770, the palace was used only once by Queen Maria Theresia. From 1777, the University of Nagyszombat (Trnava) was located in Buda, and from this time up until 1784 the Royal Palace was used as the university. This is the only representation of the royal castle in Buda being used as the university during the 18th century.","short_description":"The engraving and etching is an excellent example of a Baroque *veduta* representing the Royal Palace at Buda, a building of outstanding importance, being used as university at the end of the 18th century.","type":"Print (Engraving/etching; *veduta*)","holder":"Budapest History Museum","dates":"1777","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 18.5 cm; w: 30.4 cm","method_for_datation":"On the basis of the signature","obtention":"Transferred from the Capital’s collection in 1945.","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.23.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","education","engraving","etching","Maria Theresia","Nagyszombat","school","Trnava","Tyrnau","university"],"materials":["Engraving and etching on paper"]},"58b9f9f7-6b17-532d-8f51-0f4b19d4fb8d":{"name":"*Vue d'Alger*","description":"These two original lithographs depict the city of al-Jaza'ir (Algiers) prior to the English bombardment led by Lord Exmouth on 26 August 1816. The regency was ruled first by the *Beylerbeys* (general governors) from 1518 to 1587, then by the Pashas from 1587 to 1659, the *Aghas* from 1659 to 1671 and the Deys from 1671 to 1830. The reign of the final Dey of Algiers, Hussein, lasted 12 years until the French conquest in 1830.","type":"Print; lithography","holder":"Musée National des Beaux-Arts","dates":"1816","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"59043927-aae8-5c23-9db7-2ff253833d51":{"name":"*The political refugee*","alternate_name":"Illustration for \"The Bohemians of Paris\", *Le Charivari* 11","description":"The cartoonist Honoré Daumier (1808–1879) was one of the first to be interested in the theme of migration, and drew many cartoon strips which dealt with the difficulties of exile. He did some more comic drawings on this theme, which are harder to understand. In this image, published in a series on the theme of the \"Bohemian\" (an artistic community attempting to live without restrictions), he highlights the gaze of his contemporaries on the \"other\" or the \"stranger\". The image also mocks the suspicious young woman just as much as the asylum seeker.","type":"Lithograph","holder":"National Library of France","dates":"1841","location":"Paris","translator":"Flaminia Baldwin"},"598fbe2f-0ba0-5a5a-92b7-3f83e20bded7":{"name":"*Mr Drovetti and his entourage measuring a fragment of the Colossus in Upper Egypt*","alternate_name":"Taken from *Voyage dans le Levant en 1817 et 1818*, by M. le Comte de Forbin","description":"Bernardino Drovetti (1776–1852) an Italian who joined the French army, was made a diplomat after having elicited Napoléon I's sympathy by saving his step-brother. Having been sent to Egypt as a consul, he then collected antiquities and thus portrayed himself as a defender of discovered treasures. He is pictured here with his team holding a plumb line in front of a colossus. Jean-Jacques Rifaud is leaning on the sculpture's head and dressed in an imitation of the local style. Dovretti later sold his collections to the Prince of Piedmont, to King Charles X of France and to the King of Prussia.","type":"Print","holder":"National Library of France","dates":"1819","location":"Paris","translator":"Flaminia Baldwin"},"59eb8eb8-862f-5124-b1c8-abb0f2db5588":{"name":"Hydrographic map of Lower Egypt and part of the Suez isthmus, engraved at the Dépôt de la Guerre","alternate_name":"Drawn according to the work of M. Linant de Bellefonds, reviewed and completed in 1882 for the railways and the Suez canal. 1:250,000","description":"Louis Maurice Adolphe Linant de Bellefonds (1798–1883), artist and explorer passionate about Egypt, played a key role alongside Ferdinand de Lesseps in drawing and constructing the Suez Canal. He was given the title 'Bey' by the Egyptian viceroy, appointed director of Egyptian public works, and contributed to the irrigation of farmland. The map drawn in 1855 included the barriers; the outline of the Suez Canal and the railways were added in 1882.","type":"Map","holder":"National Library of France","dates":"1882","location":"Paris","translator":"Flaminia Baldwin"},"5a482712-4636-5e5b-aa8a-6973d1c66d25":{"name":"*The Approach to Nablus (Shechem)*","description":"This image shows the approach to Nablus (at the time believed to mark the biblical Shechem, according to the Bible first capital of the Kingdom of Israel and situated in the vicinity of several important Abrahamic sites). The caption further explains that the view is taken through the olive groves on the eastern side of the city, and that 'the gate is shown beneath the minaret'. The artist who created this work, Josiah Wood Whymper, was a British watercolour painter, engraver, and illustrator, who apparently never left Britain, but provided a prolific body of engravings to publishers, in particular the Society for the Promotion of Christian Knowledge. This print originally appeared in Vol. 1, page 243 of Charles William Wilson's  'Pituresque Palestine, Sinai and Egypt', published between 1881 and 1884.","type":"Wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1881–1884","location":"Sharjah","provenance":"England","author":"Ulrike Al-Khamis"},"5aea6a37-19f3-5c61-ac76-f38f3922c376":{"name":"Fraser Album Artist: *The Bullock-Drawn Carriage of Prince Mirza Babur*","short_description":"'The special chariot of the son of the spiritual preceptor of the horizons (Murshidzada-i afaq), Mirza Babur Bahadur'. Mirza Babur (b. 1796) was one of the sons of the penultimate Mughal emperor, Akbar II (reg. 1806–37), and the honorific title refers to the Emperor's role as a Sufi spiritual leader. Mirza Babur appears in a group portrait dated 1812 in the British Library, depicting Akbar II with three other sons (see J. P. Losty, M. Roy, *Mughal India: Art, Culture and Empire*, London 2012, pp. 209-10, fig. 150). 'Zana, bullock-cart driver, Ahir Jadubansi \\[of the cowherd caste of the Yadava race, descendants of Shri Krishna\\], inhabitant of Delhi'. The Fraser Album, which emerged from amongst the papers of the family of that name in Scotland in 1979, consists of more than ninety watercolours of high quality, and aside from their technical and aesthetic features provide an extraordinary portrait of life in and around Delhi in the early 19th century, an area which was relatively unknown to the British at that date, with Mughal control ceded to them only in 1803 and the Emperor nominally in power. James Baillie Fraser (1783–1856) and his brother William (1784–1835) came from Inverness. William went to India aged 16 as a trainee political officer in the East India Company; James arrived a year later in a commercial position in Calcutta. While James was a talented artist himself, publishing collections of views of the Himalayas and of Calcutta, when he joined William in Delhi in 1815 the two brothers commissioned local artists to depict servants, tradesmen and figures from the irregular military units, some of which were employed by the British, including Gurkha soldiers and the colourfully-attired troopers of bodies such as Skinner's Horse. More than one artist was employed on the paintings which go to make up the album: some are usually attributed to Ghulam ʽAli Khan, but it is likely that the rest were produced by other members of his family. The works date between 1815 and 1820. The three lots in the present sale capture the richness of ceremonial life in Delhi, and are also representative of the British fascination for types of transport and servants which appears in other more typical examples of Company School painting.","type":"Miniature painting","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1215-19 / c. AD 1815-19","location":"Kuala Lumpur","dimensions":"30.5 x 41.2cm","method_for_provenance":"\\- Private collection;  \n\\- Christie's, The Ismail Merchant Collection, 7th October 2009, lot 138;  \n\\- Sotheby's, Fine Oriental Manuscripts, Miniatures and Qajar Lacquer, London, 7th July 1980, lot 2.","provenance":"Delhi","bibliography":"Archer, M., and T. Falk, *India Revealed: the Art and Adventures of James and William Fraser 1801-35*, London, 1989: 108.","materials":["heightened with bodycolour and gold","on paper","Pencil and watercolour"]},"5b43be53-1e86-5b15-9cc1-477c08fb7fbb":{"name":"Official Bulletin establishing the Post, Telegraph and Telephone Office (PTT.)","description":"An Official Bulletin, signed by the Sultan of Morocco Mulay Yusuf ibn al-Hasan I, which concerns the creation of the Post, Telegraph and Telephone Office. The establishment of this Office was part of an agreement between Morocco and the French authorities, to promote the telecommunications sector, and put a stop to attempts by Britain and Spain to capitalise from it. The text defined the functions and services of the Office and its organisation. After independence, the Office became the Ministry (*Makhzen*) of Post, Telegraph and Telephone.","type":"Official Bulletin; historical document","holder":"National Library of the Kingdom of Morocco","dates":"1914","location":"Rabat","provenance":"Rabat"},"5cada7e5-c863-5bd3-ae0b-41ec4765404d":{"name":"*Grand Vizier*","description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"5cdd4963-ab03-5834-84db-f850572ca208":{"name":"Maronite Benevolent Catholic Society of New York rule book","description":"A copy of the book of regulations for the Maronite Benevolent Catholic Society of New York, a charitable society aimed at helping the needy within the Maronite community. It provided financial support for the poor and free medication for the sick, and financially supported burial of the deceased. The book outlines the objectives, rules and structure of the association.","type":"Print; printed book; booklet","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"1895","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"5d280899-351f-5ef7-95bb-ed98a12d141d":{"name":"An open letter from the Tuscan community in Constantinople to the Chargé d’Affairs of Tuscany, protesting the detention of three Italian democrats exiled by Ottoman authorities","description":"Italian communities abroad actively supported the movement for Italian national unification known as “Risorgimento”. The Italian community in Constantinople raised funding to donate a cannon to the Kingdom of Sardinia, which in 1848 was at war with the Austrian Empire. After the Kingdom of Sardinia’s army was defeated, conflicts between the most moderate wing of the nationalist movement and the republicans (supporters of Giuseppe Mazzini) broke out and the Kingdom of Sardinia’s authorities started to persecute the latter.","type":"Archival document","holder":"State Archives of Livorno","dates":"Constantinople, 9 August 1848","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"5dc4fbc5-e8e9-52ae-aa62-690ee8359b41":{"name":"Lake d'Orta. Villa Crespi","alternate_name":"*Lago d'Orta. Villa Crespi*","description":"Cristoforo Benigno Crespi was a successful businessman active in the cotton industry. In 1879, he bought an estate near the lake d’Orta (Piedmont, Northern Italy), in order to build a vacation house in honour of his wife, Pia Travelli.  \nHe had fallen in love with the architecture of Baghdad, where he went to buy cotton, and asked architect Angelo Colla to build a villa in the Moorish style. Architect Enrico Combi designed the magnificent park.  \nThe villa features a 48-meter high minaret and has richly decorated interiors, made with marbles of great value, imported from several different countries. It required 12 year of works to be completed. The estate comprises a greenhouse, a wet dock, stables, a big fountain, an annex, and is surrounded by walls, with valuable wrought iron gates.","type":"Postcard","holder":"Private collection","dates":"First decades of the 20th century","author":"Ignazio Galella","copy_editor":"Anne Dowell"},"5dc7ada7-555b-5b55-b162-ac8e969fa698":{"name":"*A Place for Breakfast in the Algerian Pavillion* \\[Paris Exhibition 1878\\]","alternate_name":"*Un asciolvere nel padiglione algerino*","description":"Within the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion This scene shows a refreshing small space that the author used to depict the tradition of sharing a couscous with friends or work colleagues. The recreation of an – even only hypothetically - typical setting had to include also works and related activities.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"5e2b03cb-5bee-5604-be76-35ecf0de0e45":{"name":"*Valahian Caravan*","description":"In Wallachia and Moldavia transportation of merchandise by land was done similarly to the Arab and Ottoman world, but using big carts pulled by horses instead of camel caravans. Both the vehicle and a group of carts travelling together for commercial purposes were called \"chervan”, a term derived from the Turkish word \"kervan\", meaning \"caravan\". The lithograph, depicting a carriage drawn by 12 horses and followed by a second vehicle, was printed in Vienna and its legend (*Wallachian carriage*) is written below the image in German, Hungarian and French.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1869","location":"Bucharest"},"5e4318a5-d6ea-59f6-b209-38ea0cff4654":{"name":"Postal map","description":"The network of routes for sending messages and transporting troops and supplies was carried out with a relay system, established in the 16th century in the Ottoman Empire. The messengers, who conveyed dispatches throughout the country, were identified as the Tatars. Private or personal correspondence was not a part of that relay system; it was built to fulfil governmental needs. Because of this reason the *reaya* (public) created an alternative postal method by using caravans, pilgrims, and private couriers called *ulaks*. The *Tanzimat* Decree, which was the declaration of process included reformation, modernization and westernization in 1839, proved that the Ottoman Empire was focused on its policy of changing governing to be more like modern Western European-style administrative practices.","type":"Map","holder":"Istanbul Postal Museum","dates":"1911","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"5ec581f1-3f8e-5a5c-bdc5-c2d1b4b525e3":{"name":"A postcard advertising the Singer sewing machine and at the same time supporting Italian colonial expansion in Libya","description":"This postcard sends the message that the Italian colonisers brought modernity to Libya. Both the sewing machine and the plane in the background epitomise modernity. The soldier is sewing an Italian flag. The postcard’s message is at the same time political and commercial.","type":"Postcard","holder":"Enrico Sturani Private Collection","dates":"1910s","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"5f3b539e-1d3b-5ad6-9c3f-11df8f1f7e2f":{"name":"*Thebes. Hypogea. Pictures drawn after the covering of the mummies*","alternate_name":"Taken from *Description de l'Egypte, ou, Recueil des Observations et des Recherches qui ont été faites en Egypte pendant l'Expédition de l'Armée Française*, vol. 2","description":"During the Egyptian expedition (1798–1801), Napoléon Bonaparte brought with him a group of scholars, engineers and artists, charged with collecting as much scientific information as possible. This was then used in a publication (of exceptional quality and execution) entitled Description de l'Égypte, in which the observations and enquiries made by the military expedition in Egypt were collected. The collection comprises of 10 volumes of illustrations and 9 volumes of texts published betwen 1809 and 1826.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1809–1822","location":"Paris","translator":"Flaminia Baldwin"},"5f76f108-6ffb-5c2b-8fe2-0ec05a6fae48":{"name":"Various hydraulic machines used in Egypt to water the land. The first method is constructed in a linear manner and provides the land with water whenever it is in need. Part of \"Dyke A\"","alternate_name":"Illustrations taken from *Voyage d'Egypte et de Nubie*","description":"The captain of the Danish Royal Marines Fréderic-Louis Norden (1708–1742) was sent to Egypt to draw monuments. His collection, *Voyage d’Égypte et de Nubie*, was published posthumously in 1755, and was added to in 1795 by the inclusion of scientific commentaries by Louis Langlès (1763–1824), founder of the École Spéciale des Langues Orientales and curator of oriental manuscripts at the Bibliothèque Impériale. This new edition, a product of Europen \"Egyptomania\", introduced some splendid new illustrations. In this particular page, the artist has focused on traditional hydraulic machinery.","type":"Engraving","dates":"1795","location":"Paris","translator":"Flaminia Baldwin"},"5f7be233-5b3b-542f-9b15-c37a25a0932f":{"name":"Plan of Jerusalem","description":"Plan of the area to the South of the Haram al-Sharif, Jerusalem, showing the location of the shafts dug by Lieut. Charles Warren, R.E., and his team to explore the topography of ancient Jerusalem. This work established the history of the development of the Old City of Jerusalem. While engaged in this work, Warren also carried out a major study of the economy of Jerusalem in the period 1867–1870, which was published in the SWP in 1884.","type":"Plan","holder":"The Palestine Exploration Fund (PEF)","dates":"1867","location":"London","provenance":"?"},"5f941ae8-9023-5935-99ef-eaae452485b9":{"name":"Egyptian Pavilion of Chocolate and Cocoa Factories – Michele Talmone – Turin","alternate_name":"*Padiglione Egiziano delle Fabbrichedi Cioccolato e Cacao – Michele Talmone – Torino*","description":"For the International Exhibition in Turin in 1911 the Talmone Company built an Egyptian Pavilion resembling an Egyptian temple. The architecture is a pastiche of ancient and oriental architectural elements. An interior stained-glass window shows a stunning view of the desert walked by a caravan.","type":"Postcard","holder":"The House of Antique Tin Boxes","dates":"1911","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"5fa7cbde-981a-5031-afe4-3cc242fd75c7":{"name":"*Remains of the Garments of Prince Philip of Castile, son of Ferdinand III*","alternate_name":"*Restos del trage* \\[sic\\] *del Infante D. Felipe, hijo de Fernando III el Santo (Museo Arqueológico Nacional)*","description":"Drawing of part of the garment of Prince D. Felipe, son of the King of Castile Ferdinand III. These garments are a good example of the rich silk textile from the Arab workshops of the Al-Andalus.","type":"Print","holder":"National Archaeological Museum","dates":"1878","location":"Madrid","provenance":"Madrid","copy_editor":"Anne Dowell"},"601e5d3a-e68f-587a-846c-d0f3657cf4f6":{"name":"*Dar al-Baladiyya, Damascus*","alternate_name":"City Hall at the new urban centre at Merje Square","description":"Built between 1892 to 1894, the Dar al-Baladiyya was a prestigious edifice in stone. With its neo-classical elements and prominent middle projection, it was designed to display the power of the “new” state. The purpose of building the City Hall was functional, since the administrative workload, which rapidly increased after the reforms of the administrative system had to be accommodated.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1900","location":"Berlin","author":"Stefan Weber"},"60b297ce-03b5-5b81-8b64-abe6de2613c4":{"name":"The Various Ages of Woman","alternate_name":"*Le varie eta' della donna*","description":"The National Museum of Popular Arts and Traditions in Rome was founded by Lamberto Loria (1855–1913), an Italian ethnologist passionate about the need to record the agro-pastoral Italian culture that was disappearing to industrialization and the consequent migration from the countryside towards the cities. In 1911, 50th anniversary of Italian unification, or Risorgimento, Loria organized the Italian Ethnographic Exhibition in Rome. Through the help of a group of coworkers, Loria gathered over three-thousand objects from exhibition of 1911, which today form the principal nucleus of the Museum’s collections.","type":"Print","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"Beginning of the 20th century","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"60b8885d-3137-5d4a-a32b-9222e6ec69cb":{"name":"Two bills from Beirut port","description":"Two bills from Beirut port, both for a value of 22 Ottoman pounds. The bill on the right is dated to 1 September 1895 and the bill on the left is dated to 24 July 1899.","type":"Bills; bonds","holder":"Khalil Itani's Archive","dates":"1895–1899","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"61490dc8-89a2-5eeb-adc6-a5f3b1bd62aa":{"name":"*His Excellency Mirza Abulhassan Khan, Persian ambassador*","description":"Mirza Abulhassan Khan was sent to London by the Persian Shah in order to learn English. His visit, in the capacity of ambassador, attracted much attention from various European courts who did not know anything about Persia.","type":"Print","holder":"National Library of France","dates":"1817","location":"Paris","translator":"Flaminia Baldwin"},"61c3f6f4-ae5b-5188-a071-b1ffe734cb27":{"name":"Messageries Maritimes's Istanbul-themed posters","description":"*Messageries maritimes* was a French merchant shipping company. When it began, it operated on routes to the Middle East. Its ships were used as troop transports during the Crimean War, and were so helpful for the army that the Emperor gave the company the right to operate on the Bordeaux-Brazil route as thanks. This was the first French transatlantic line equipped with steamers. The following year, the *Société générale maritime* (later called *Compagnie générale transatlantique*) received the North Atlantic lines. From 1871 to 1914 the shipping company, now called *Compagnie des messageries maritimes*, saw its Golden Age.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1909","location":"Istanbul","copy_editor":"Daniel de la Vega"},"61dba05c-1c18-5736-85f3-727803bfc389":{"name":"*Housing in the Pierrefitte Chateau and Gardens* \\[…\\] *Payable in installments* \\[…\\] *\\[Epargne Foncière Immobilière des Quinze - Vingts\\]: open to visitors every day.*","description":"Pierrefitte-sur-Seine was still a farming village in the mid 19th century. The construction of the Paris-Lille railway line in 1859 brought in rich Parisians in search of country air. The town was transformed again in the 20th century, thanks to the construction of factories in the Saint-Demis plains and the arrival of people looking for cheaper housing. The first tramway was also built in 1901. This poster advertises housing in an area outside the tramway's reach, which had remained wooded and rural, and was equipped with the most modern technologies available, such as gas and telephone.","type":"Poster","holder":"National Library of France","dates":"1908","location":"Paris","translator":"Flaminia Baldwin"},"61eb1293-6209-599c-bd83-34f180e3bec2":{"name":"*The Port of Constanţa*","description":"The Black Sea port of Constanța underwent its first modernization while Dobruja, the province where it is situated, was under Ottoman control. In 1857, when the Ottoman government hired a British company to build a railway in Dobruja, the concluded contract also stipulated the reconstruction of the Constanța port. Completed in 1864, it was still a small harbor with a wooden dock, a dam and one cereals depot. After Dobruja was annexed by Romania, a law was issued in 1885 for the “improvement and augmentation” of the port. In 1896 its modernization was leased to a French enterprise but due to some disagreements, three years later the state took over the works, which were led by architect Anghel Saligny. Inaugurated in 1909, the new port had 3 dams, several docks, depots, silos, an oil basin, an electric plant.","type":"Postcard","holder":"National Museum of Romanian History","dates":"1906","location":"Bucharest"},"61ff0f1e-695e-5970-a8a9-44151ef0e284":{"name":"Traditional peasant attire","alternate_name":"Villager from the Beqaa Valley in traditional dress","description":"Peasants and ordinary people's clothes did not change much over the centuries. It generally consisted of a shorter, narrower and darker coloured pair of baggy *shirwal* trousers for winter, and another pair in a lighter beige or khaki colour for the summer. This was paired with a cotton shirt or vest, called a *sudriye*, and a short embroidered *abaya*. A *keffiye*, a large scarf made of white cotton, was worn on the head with a *lebbede* or *'agal* on top.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"6215ebc8-8b3b-5484-8ac2-a702cc00efad":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","description":"Portrait of Carol I, King of Romania (1839–1914) on horseback/ Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega"},"6345c672-a66e-5ec9-a903-e3ddfbdcb159":{"name":"*Chiefs of nomadic Arab tribes in Syria visit the Abbot Desmazure, Latin father of the Saint-Sépulcre in the Convent of the Latin Fathers of Jerusalem, built on mount Gihon*","description":"Syrian tribal leaders visited the Abbot Desmazure in 1827, in the Convent of the Latin Fathers of Jerusalem. He happily volunteered to show Jerusalem to visitors passing through the city, and tried hard to find diplomatic solutions to the religious tensions within the Christian community.","type":"Print","holder":"National Library of France","dates":"1845","location":"Paris","translator":"Flaminia Baldwin"},"637e27e9-204e-5721-869e-ad4380dc0140":{"name":"*The great celestial globe. 1900 Exposition Universelle.*","description":"A great celestial globe, measuring 50 metres in diameter and located near the Champ de Mars, was one of the proposed attractions for the 1900 Paris World Fair. A restaurant sat beneath it, and popular science activities inside the globe allowed the visitors to learn about astronomy. Other than the globe's colossal dimensions, the poster also foresees great crowds of people visiting the exhibit.","type":"Poster","holder":"National Library of France","dates":"1900","location":"Paris","translator":"Flaminia Baldwin"},"63c94290-4824-5fcc-88ab-904bca42d8ca":{"name":"Hussein Kamil, Sultan of Egypt (1853–1917)","description":"Portrait of Hussein Kamil, Sultan of Egypt (1853–1917). On 18 December 1914 the British deposed the Khedive Abbas Hilmi II and declared Egypt to be a British Protectorate. They made the son of Ismail Pasha, Hussein Kamil, the Sultan of Egypt. Hussein Kamil died in 1917 and was succeeded by his brother Ahmed Fuad (King Fuad I).","type":"Print","holder":"Austrian National Library","dates":"1914","location":"Vienna","copy_editor":"Daniel de la Vega"},"63e03fb2-ff4b-5263-b342-f74d2b6bdf14":{"name":"Damas - La Grande Gare du Hidjaz (The Grand Railway Station of Hijaz, Damascus)","description":"The Hijaz Railway Station building is one of several major public buildings established during the late Ottoman period under the rule of Sultan Abdülhamid II in Damascus. The construction was carried out under the supervision of Hüseyin Nazım Pasha, the Wali (Governor) of Damascus and chairman of the committee responsible for implementing the Hijaz Railway project. He oversaw the plan to construct the railway between Damascus and Medina from 1900 to 1908, mobilising conscripts and civilian labour to participate in its construction, while also benefiting from the expertise of German engineers and other foreign specialists who came to supervise the railway project.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c.1338 / AD c. 1920","location":"Berlin","dimensions":"Height: 9 cm; width: 13,7 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Al-Ash, Muhammad Bassam, *Damascus between the Past and the Present* , Damascus, 2006.  \n  \nAl-Diqn, Sayyid Muhammad, *The Hamidian Hijaz Railway* , Damascus, 1985.  \n  \nAga Khan Trust for Culture, *Historic Train Stations of the Al-Hijaz Railway Network* , Geneva: Aga Khan Trust for Culture, 2004.","copy_editor":"Danielle Morcom","keywords":["Building","hajj","pilgrimage","station","Syria"],"materials":["coloured printed postcard","Paper"]},"6466b53e-7366-59fb-b2d6-6c90c4bac6cd":{"name":"Italian translation of the decree by the French Civil Affairs Superintendent (intendant civil) of Algeria, Louis-André Pichon, regulating coral fishing along the coasts of Algeria","description":"This decree imposed a heavy tax on foreign ships that fished corals near Algerian shores, while exempting French ships. The decree was translated into Italian in Livorno, an active coral fishing port town that was badly affected by this ruling. Coral fishing was an important economic activity in the Mediterranean. Algeria was the main fishing area for corals, especially after the depletion of Sardinian coral.","type":"Decree (archival document)","holder":"State Archives of Livorno","dates":"3 March 1832","location":"Livorno","author":"Cristina Francioli","copy_editor":"Anne Dowell"},"64c7bc97-7cc3-58be-9d17-18bd4395053c":{"name":"Map of Beirut's water networks","description":"This map shows the water networks around Lebanon, set up by the Ottoman government.","type":"Map","holder":"Khalil Itani's Archive","dates":"1873","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"6542d634-c357-5d32-8439-beffa72dfa02":{"name":"*The French Colonies. Book 26. M. de Brazza's Exploration 1875–79. His treaty with Makoko.*","description":"In September 1880, the explorer Pierre Savorgnan de Brazza signed a treaty with Makoko, the Chief of the Bateke (Anziku Kingdom) laying out the new borders of the Congo. The French government ratified this treaty in 1882. Savorgnan de Brazza was henceforth put forward by Jules Ferry's government as the perfect example of non-violent victory, contrasting him with England's Henry Morton Stanley, his rival in this region. Savorgnan de Brazza's image as a \"civiliser\" became a central theme of colonial propaganda, as we can see from this image.","type":"Print","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin"},"65c00b78-8201-5dbf-834d-9a831343be52":{"name":"The Battle of the Nile fought on 1–2 August 1798 in Aboukir Bay (Egypt), where the British fleet, headed by Admiral Horatio Nelson, defeated the French fleet","alternate_name":"*Carte figurative du combat naval qui s’est donné près d’Aboughor sur les côtes d’Egypte entre l’Escadre Angloise commandée par l’amiral Nelson et l’Escadre Françoise*","description":"The battle of Nile of 1798 between the French and the British fleets entrenched Britain as the dominant naval power in the Mediterranean.","type":"Map","holder":"State Archives of Naples","dates":"Constantinople, 10 Septembre 1798","location":"Naples","author":"Rossana Spadaccini","copy_editor":"Anne Dowell"},"65da28a6-c1fa-5d24-a711-42488c8ec2ea":{"name":"*The Recapture of Buda in 1686*","description":"In 1686, two years after the unsuccessful siege of Buda, a renewed campaign began to enter the Hungarian capital. This time, the Holy League's army was twice as large with over 74,000 men, including German, Hungarian, Croatian, Dutch, English, Spanish, Czech, Italian, French, Burgundian, Danish and Swedish soldiers, along with other Europeans as volunteers, artillerymen, and officers.  \nBy the middle of June 1686, the siege had begun. A Turkish relief army arrived at Buda in the middle of August, but Abdurrahman Abdi Paşa shrank from the large-scale attack against the siege army, and on 2 September 1686 came upon the resisting *Generalsturm* (General's Tower) at the fortress. The commanders in chief were Charles Duke V of Lorraine (1643–1690) and Maximilan II Emanuel Elector of Bavaria (1679–1726).  Prince Eugene of Savoy and his dragoons were not directly involved in entering the city, but secured the rear of their army against the Turkish relief army, which could not prevent the city from being entered after 145 years in Turkish possession.  \nThis engraving by Romeyn de Hooghe represents the great explosion of 22 July 1686, the dramatic and decisive event of the attack, showing a partly fictitious topography of the city. The commanders in chief with their army are represented in the foreground Pest-side, while besides them in Pest and in Buda, are their camps and attacking battle corps, with the city of Buda on fire and in ruins, and Gellért Hill on the far left.  \nThe print was published with German and Dutch inscriptions. The following is from the Dutch inscription seen at the top: “Belegering der sterke stad, Buda of Offen, door de keyserlyke en geallierde machten. 1686.” (The siege of the strong city of Buda – aka Offen – by the allied, imperial forces. 1686.) The print is signed in the middle at the bottom: “R. de Hooge jnv: et fecit. 1686.”","short_description":"This print by Romeyn de Hooghe is the most famous of numerous representations of the recapture of Buda in 1686. It depicts a topographical, partly exact bird’s eye view, with a Baroque battle scene complete with representations of the commanders in chief in the foreground, and the castle and city of Buda on fire, in the background.","type":"Print (engraving/etching)","holder":"Budapest History Museum","dates":"1686","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 50.9 cm; w: 65.3 cm","method_for_datation":"On the basis of the signature","obtention":"Transferred from the Capital’s collection in 1945.","bibliography":"Rózsa, G., *Budapest* *régi látképei, Budapest* (*Old Vedute of Budapest: Budapest, 1963, No. 104*), 1963, cat. 104.  \nRózsa, G., *Romeyn de Hooghe und die Türkenkriege in Ungarn* (Romeyn de Hooghe and the Turkish Wars in Hungary), Oud-Holland, 1962, pp. 102–103, 107.  \nLandwehr, J., *Romeyn de Hooghe the Etcher. Contemporary Portrait of Europe*, Leiden, 1973, p. 129.  \n*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 17.","author":"Terézia Bardi","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Abdurrahman Abdi Paşa","Battle scene","Buda","Charles Duke V of Lorraine","Holy League","inscription","Maximilian II Emanuel Elector of Bavaria","Ottoman","Ottoman army","Prince Eugene of Savoy","Turkish wars","Turks","warfare"],"materials":["Engraving and etching on paper"]},"65fd829c-bfae-5827-bf9b-ed418624bfa6":{"name":"Ferdinand I, King of Romania (1865–1927) / Ferdinand von Hohenzollen-Sigmaringen","description":"Street Scene with King Ferdinand of Romania in Vienna. After the death of King Carol I, Ferdinand (as the nephew of the deceased king) ascended to the throne. In 1916 he joined the *entente* and declared war against Austria and Germany. After World War I, Romania gained Transylvania, Bukowina and the Banat from Austria, and Bessarabia from Russia. Ferdinand died in Romania in 1927.","type":"Photograph","holder":"Austrian National Library","dates":"1914","location":"Vienna","copy_editor":"Daniel de la Vega"},"66663408-45e1-58b4-b0d6-376f5a5a1dbb":{"name":"*The French Colonies: New Caledonia: Death of La Pérouse in Vanikoro*","alternate_name":"Illustrated cover of a school-book","description":"History teaching in 19th century French primary schools focussed on heroic acts that marked historic events. The key dates and figures of colonialism were also taught in this way.","type":"Print","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin"},"66eb3d81-e848-51c4-9925-a840ecb8f574":{"name":"*The Egyptian Magician holding a seance with members of the European community in Cairo*","description":"Although this is the roughest of drawings, a composition sketch, or simply on the spot note-taking, it is important because it actually shows an Egyptian Magician, Shaykh Abd al-Qadir al-Maghrabi, in action, possibly in Lewis’s house. A séance was held there on the 8th December 1841, according to Sir Gardner Wilkinson who was present. The Shayk is clearly visible in the centre, and the huddled form in front of him indicates the young lad kneeling and staring at the drop of ink in his palm, answering difficult questions put to him by the onlookers. Although they are in Eastern dress, they are identified on an old label as prominent members of the European community in Cairo, including Henry Abbott, Joseph Bonomi and Colonel Barnett, British Consul-General in Egypt.","type":"Drawing","holder":"Victoria and Albert Museum","dates":"1846","location":"London","provenance":"Egypt","author":"Victoria and Albert Museum"},"6708efb2-ba21-5a11-8ce4-cff3261576f5":{"name":"*Comic Map of Seat of War with Entirely New Features* (London: Rock Brothers and Payne, 1854)","alternate_name":"A satirical map of Europe during the Crimean war","description":"In the annex to the map, the authors made explicit their view on the international situation and the political message that they intended to promote. They portrayed Russia as “the Great Bear of Europe”: a tyrannical power, epitome of despotism and oppression, which used the whip against her own subjects. “The claws of the Bear, improperly extended to the Black Sea, are undergoing the process of being clipped by our brave fellows”.  \nTurkey, which was participating in the war on the side of Britain, was represented as a turkey. The authors argued that it was no longer the “sick bird of Europe”. With “head erect and again in good feather”, Turkey looked “its defiance to Russia”. England was described as “the old Lion of the World, majestic, strong and patient”.","type":"Map","holder":"State Archives of Palermo","dates":"1854","location":"Palermo","author":"Renata De Simone","copy_editor":"Anne Dowell"},"67cb161d-180b-5b1b-8420-3bf9a2f55271":{"name":"*The Algiers-Oran line*","alternate_name":"Taken from the publication *Algérie Comique et Pittoresque*","description":"This illustration, from around 1860 in a local Oran publication in the west of Algeria, *L’Algérie Comique et Pittoresque*, comments on current affairs with a distinctively Mediterranean style and sense of humour. Salomon Assus, the father of the famous painter from the Algerian school Armand Assus, was one of the newspaper's first cartoonists.","type":"Newspaper","holder":"Musée National des Beaux-Arts","dates":"1884","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"67e5b11f-f92f-508e-b6d5-a9460fac4852":{"name":"Asaf Khan Wearing a Portrait Miniature","short_description":"Asaf Khan (d. 1641) was an important individual at the Mughal court. His father was Jahangir’s *wakil* (prime minister); he was the brother of Jahangir’s favourite wife Nur Jahan; his daughter was Mumtaz Mahal, Shah Jahan’s favourite wife and the woman for whom he built the Taj Mahal; and he served as Shah Jahan’s *wakil*. Jahangir was fond of giving his nobles portrait miniatures of himself which they wore, as does Asaf Khan in this drawing, as a mark of his affection but also as a sign of their loyalty to him. The upper portion of the drawing is more highly finished than the rest of it in order to draw attention to the figure’s head, and for this same reason the white of the eye is the only bit of the drawing that has been coloured.","type":"Single-page drawing","holder":"The Chester Beatty Library","dates":"Hegira c. 1023–24 / AD 1615","location":"Dublin","dimensions":"16.1 x 7.5 cm","provenance":"India","keywords":["Portrait","portraiture"],"materials":["Brush drawing"]},"680c8cb0-7e03-52b8-988d-a7e74dbb89fa":{"name":"*L'Égyptienne*, military operetta in three acts and 11 scenes.","description":"Egypt became the subject of choice across the theatrical arts as a symptom of \"Egyptomania\", a phenomenon which spanned the length of the 19th century. This military operetta, written by de Chivot, Nuitter and Beaumont (with music by Charles Lecocq) is set in Egypt during the arrival of the Napoleonic troops.","type":"Print","holder":"National Library of France","dates":"1890","provenance":"France","translator":"Flaminia Baldwin"},"6810a977-0fac-5c5e-a9a2-56e6c3bc3a3a":{"name":"Italian and Tunisian miners at work","alternate_name":"*Gruppo di minatori*","description":"According to the book where this photo was published, in 1906 the largest number of Italian miners in Tunisia worked in El Kef (2,000) and in Gafsa (1,200). The most important mineral resource in Tunisia were phosphates, but the country also had mines of copper, manganese, iron and lead. One could find Italian miners in all these mines.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"6865c8bb-97f7-50ee-addb-18169728d2a9":{"name":"*View Looking across the Hall of Columns, Karnak*","description":"Roberts' viewpoint across the Great Hypostyle Hall, in the Precinct of Amon-Re, at the Temple Complex at Karnak, captures in great detail the physical features of the monument as it appeared in his day. At the same time, he used exaggerated proportions to convey the structure’s imposing scale, which impressed him deeply. In his diary he writes: ’Karnak is even more astonishing than Luxor. Its magnificence is unimaginable. Trying to describe rationally what I have seen would be ridiculous’. In the 19th century,, the Karnak temple complex became one of the most famous ancient Egyptian sites visted by artists and archaeologists. During his travels up and down the Nile, Roberts captured over 300 monuments and ruins in his unprecedentedly detailed and precise works, many of them before excavation or restoration.  In his work, Roberts also drew on the pioneering scholarship of scholars like Champollion. The final depictions subtlely contributed to the Orientalist discourse on Ancient Egypt, which Europe increasingly saw as their right to appropriate.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"686e2212-e7f1-527b-a985-4e1c54e9ef94":{"name":"*Arab horseman*","alternate_name":"1846 sketch for the porait of Ali Ben Ahmed, the Bey of Constantine, on horseback. Currently held in the Musée de Versailles.","description":"This piece, drawn in 1846, is a study for the portrait of 'Ali bin Ahmed, the Bey of Constantine, on horseback. The portrait is currently held in the Musée de Versailles. The artist has concentrated on his posture rather than his face, which is sparse on details. The artist came to Constantine in May 1846 and said: \"This is the only truly Arab city left in this country\". In 1844 he was summoned by the Bey Ahmed, who he met in France, and was commissioned to paint his portrait on horseback surrounded by his beylical guard. The prints cabinet at the Musée National des Beaux-Arts contains the final sketch for this painting, which was exhibited at the Louvre in 2003.","type":"Drawing","holder":"Musée National des Beaux-Arts","dates":"1846","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"68b5b5d0-76d3-5f73-81cd-d9ccc51a6475":{"name":"Cartoon","description":"Titled \"Une maxime opportuniste\", this cartoon by Alfred le Petit condemns the French invasion of Tunisia and points to business and French capital's blame. The poster shows a man bent over under the weight of a sack, full to the brim with silver, whilst a first quadrant on the right shows soldiers going to war, and another on the left shows a man depositing his money. Beneath, the striking line, \"(Tunisia's) affairs are the money and blood of others\".","type":"Photograph; cartoon","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"6996faf2-9ef0-57f8-8ffd-b45d86af0d67":{"name":"Third-grade pupils of the Italian state-funded Giovanni Meli primary school in Tunis","alternate_name":"*R. scuola elementare 'Giovanni Meli'. Classe III*","description":"In 1831, siblings Pompeo and Ester Sulema, political refugees from Livorno, opened the first Italian school in Tunis. By the end of the 19th century, there were 21 Italian state schools in Tunisia: 13 in Tunis, three in La Goulette, three in Sousse and two in Sfax. Five of them were pre-schools, eleven were primary schools and five were secondary schools.  \nThe Italian State could run schools in Tunisia thanks to the treaty signed by Italy and Tunisia in 1868. In 1881, Tunisia became a French protectorate and in 1896 Italy and France signed a treaty over the status of Italians in Tunisia: the Italian state could continue to run schools in Tunisia but could not open new ones. So, classes became very crowded, as shown in this photo.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"699fbe74-5142-545f-991c-73824a07527f":{"name":"Author Tevfik Fikret and his book of poetry *Rübab-ı Şikeste*","description":"Tevfik Fikret, who published his first book of poetry *Rubab-ı Şikeste* (broken instrument), dealt with love, piety, nature and a worldview that was self-enclosed to the environment. His poems influenced other Turkish poets and he is considered a pioneer of contemporary Turkish poetry. His work also has some seeds of the social opposition of the future.","type":"Photograph; book","holder":"Aşiyan Museum","dates":"1900","location":"Istanbul","copy_editor":"Daniel de la Vega"},"69c68c59-f8ea-58f9-8d04-9f7f7e1327d4":{"name":"In the Sicilian Sulphur Mines","alternate_name":"Children at work in the Sicilian sulphur mines at the end of the 19th century; *Nelle solfare siciliane*","description":"Sicilian sulphur mines at the end of the 19th century employed children as young as seven and eight years old to carry the crude ore up from the mines to the surface.  \nIn Italy, the first piece of law regarding children’s work dates back to 1886. It forbade employing children under the age of nine in factories and mines. It also dictated that children under the age of 12 could not work at night. Such provisions indicated the extremely hard situation of children workers at the time. Particularly appalling were the working conditions of children in the Sicilian sulphur mines. Their plight was highlighted by the Italian writer Giovanni Verga in his short story *Rosso Malpelo*, and by Nobel laureate Luigi Pirandello in his *Ciàula scopre la Luna*.","type":"Journal","holder":"State Library of Modern and Contemporary History","dates":"29 August 1899","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"6acad3a4-63f3-5160-bf8e-60081e141ee0":{"name":"Street map of Beirut","description":"This map of Beirut was drawn in in 1902 under the reign of Sultan 'Abd al-Hamid II. The table on the left contains a numbered list of shops and important landmarks, whereas the table on the right lists the name and location of Beirut's railway and maritime companies.","type":"Map","holder":"Khalil Itani's Archive","dates":"1902","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"6b2642e7-7a75-5343-8798-9e4bf21929a4":{"name":"Luca Petrovich (2nd half of the 19th century – 1900)","description":"Portrait of Luca Petrovic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"c.1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"6b3e84b4-acb3-5d73-a5b0-e7455c527cf6":{"name":"Map of the different types of housing in East Beirut","alternate_name":"*Carte générale de localisation des typologies*","description":"This map indicates the different types of housing found in the East Beirut with a system of coloured dots.","type":"Map","holder":"*Maisons traditionnelles de Beyrouth: Typologie, culture domestique, valeur patrimoniale. Le secteur de Rmeil-Médawwar* (Book)","dates":"1850","location":"Rmeil","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"6b87d037-edfd-580b-a728-429fe7822c7b":{"name":"Map of Beirut","description":"This map dates to 1876 and was drawn by the acting Danish Consul, Julius Loytved for the Sultan 'Abd al-Hamid II. Loytved was a map-maker, an archaeologist, and the director of various Anglo-Syrian schools. This detailed survey map includes 12 districts of Beirut: 1 - The Old City and the *suq*; 2 - Al-Zaytuna; 3 - Ras Beirut; 4 - Msaytbe; 5 - Mazraat al-Arab; 6 - Ras el-Naba'; 7 - Al-Bashura; 8 - Achrafieh; 9 - St. Dimitri; 10 - Mimas; 11 - Rmeil; 12 - Al-Saifi. The roads to Damascus, Saida and Tripoli are all clearly indicated by emphasis on the edge of the map. The map also indicates 47 other points of interest, including 91 consulates, military posts, government buildings, educational and health institutions, public parks, private gardens, cemeteries, archaeological sites, and sand and rock hills.","type":"Map","holder":"American University of Beirut, Jafet Library, Archives and Special Collections Department","dates":"1876","location":"Beirut","author":"Hady El Hajj","copy_editor":"Flaminia Baldwin"},"6b95b4dd-912b-59ba-93e0-00f63bedc323":{"name":"SWP Geological Map","description":"This was the first ever geological map of Palestine, drawn up in the late 1880’s by Edward Hull. It enabled, for the first time, the accurate assessment of the geological resources of the country, and potentially their exploitation to the benefit of the local economy, as well as revealing the history and structure of the landscape.","type":"Map","holder":"The Palestine Exploration Fund (PEF)","dates":"1880’s","location":"London","provenance":"?"},"6bbbfdcd-9af2-5577-92d7-ef4e14938379":{"name":"*Description de l'Egypte*: frontispiece","alternate_name":"Taken from *Description de l'Egypte, ou, Recueil des Observations et des Recherches qui ont été faites en Egypte pendant l'Expédition de l'Armée Française*","description":"During the Egyptian expedition (1798–1801), Napoléon Bonaparte brought with him a group of scholars, engineers and artists, charged with collecting as much scientific information as possible. This was then used in a publication (of exceptional quality and execution) entitled Description de l'Égypte, containing all the observations and enquiries made by the military expedition in Egypt. The collection comprises of 10 volumes of illustrations and 9 volumes of texts published betwen 1809 and 1826.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1821–1830","location":"Paris","translator":"Flaminia Baldwin"},"6c0ec863-e0e7-5b08-9c07-4fe22fc9d7ae":{"name":"*Oriental perfumes*","alternate_name":"*Perfumes Oriente*","description":"This advertisement shows that the influence of Orientalism was telegraphed to the public as a synonym for exotic places, buildings and dresses. This advertisement also could be related to the Russian ballets of Sergéi Diágilev.","type":"Advertesiment","holder":"National Museum of Decorative Arts","dates":"1900–1930","location":"Madrid","provenance":"Madrid?","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"6c58855f-349e-59d4-b95b-645e69fbce46":{"name":"Illustrations from *Voyage en Nubie et en Abyssinie entrepris pour découvrir les sources du Nil*","description":"People had been trying to find the source of the Nile since antiquity. However, interest in this increased significantly in the early 19th century, and lead to various new scientific observations. These observations were published and illustrated with engravings, which allowed Europeans to better understand the African continent.","type":"Engraving","holder":"National Library of France","dates":"1790","location":"Paris","translator":"Flaminia Baldwin"},"6c6f6415-19dd-5136-9ef7-3e7a144c2f66":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega"},"6d1c8ebf-40bc-511a-925c-b1e167d60a3d":{"name":"Memo on the profits of the Suez Canal Company","description":"An important memo on the profits of the Suez Canal. It shows that the increase in average load during the last 25 years is met with an increase in net profits which are estimated to be less than five Francs per ton, although the navigation fees were much more than that amount during the period stipulated in the document. This is due to the increase in company expenses, and the company’s decision to decrease navigation fees.","type":"Document","holder":"Bibliotheca Alexandrina","dates":"1 January 1928","location":"Alexandria","copy_editor":"Daniel de la Vega"},"6dbf6cf4-1732-5bea-bb96-c766474a0193":{"name":"*Clock tower, Beirut*","description":"In the Ottoman provinces, clock towers became part of the urban space in the 19th century. These monuments allowed a certain control of time and symbolized \"modernity\". But they also functioned as imperial monuments. Beirut’s clock tower was for instance built near the Grand Serail to celebrate the anniversary of the Ottoman Sultan Abdülhamid’s [`Abd al-Hamid II]accession to the throne. So clock towers might be the most telling symbol of the presence of a new political order in the wake of the Tanzimat. Designed by Youssef Aftimus, the tower is 25 m tall, which made it the tallest piece of architecture in Beirut at the time of its completion.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1900","location":"Berlin","author":"Stefan Weber"},"6e13aca8-8a19-574f-8378-12aea190e022":{"name":"File 3142/1903 'Hedjaz Railway'","description":"This volume contains copies of correspondence between British officials regarding the construction of the Hedjaz \\[Hijaz\\] Railway. The correspondence discusses a number of different aspects of the railway including its route, the progress of its construction and donations made towards its construction by members of the Muslim community in India.  \n  \nA limited amount of the correspondence in the volume is in French, including a copy of a letter sent by Paul Cambon, the French Ambassador in London, to Sir Edward Grey, the Foreign Secretary (folio 15).  \n  \nThe volume contains a number of reports and related information about the railway. Of particular interest are the following:  \n  \nA report on the Hejaz Railway by Major Francis Richard Maunsell, dated July 1907 (ff 56-69)  \nA memorandum respecting German influence on the Hejaz Railway by George Ambrose Lloyd, 1906 (ff 95-96)  \nA list of the principal stations on the Hejaz Railway with approximate distances between Damascus and each station (f 100)  \nA map of the Hejaz Railway with list of stations (f 106)  \nA report by Mr Teofani Loiso, Vice-Consul at Mersina, based on information provided to him by his son who was employed as an engineer on the railway (ff 105-107)  \nA report by Herr Otto von Kapp Kohlstein, a German engineer who inspected the Haifa-Damascus branch of the route and worked on the construction of the Damascus-Maan branch (ff 107-109).  \nIn addition, the volume contains cuttings (and translations) of press articles related to several aspects of the railway and its construction. Also included are two maps. The Turkish (Ottoman) language material consists of the second of these two maps.  \n  \nThe volume includes a divider which gives the year that the subject file was opened, the subject heading, and a list of correspondence references contained in it arranged by year. This divider is placed at the front of the volume.","type":"Written Document","holder":"Qatar National Library","owner":"QNL","initial_owner":"East India Company, the Board of Control, the India Office, or other British Government Department","dates":"1901-1908","location":"Doha","dimensions":"1 volume (242 folios)","place_of_production":"India","provenance":"British Library: India Office Records and Private Papers.","copyright":"Open Government Licence","catalogue_holding_link":"https://www.qdl.qa/en/archive/81055/vdc_100000000365.0x0003d1","keywords":["documentation","Hijaz","India","Railway construction"],"materials":["Paper"]},"6f001e78-8dfc-56a6-bec2-b6b68344cfd8":{"name":"*Tsar Nikolai II enters Paris, 6 October 1896*","description":"Tsar Nikolai II's visit to France in October 1896 was front page news. The French government, hoping to highlight the importance of this day, marked the occasion by giving students the day off, stopping all special train services, and meticulously preparing the path the imperial couple would take once arriving at Cherbourg Port. The true purpose of the trip was to preserve the precious Franco-Russian alliance signed in 1893 with Aleksandr III. Pictured in this image are the Tsar and his wife, accompanied by the President of the Republic Félix Faure, and greeted by a crowd of almost half a million on the Champs-Élysées. The popular imagery contributed to the success and immortalisation of the event.","type":"Print","holder":"National Library of France","dates":"1896","location":"Paris","translator":"Flaminia Baldwin"},"6f83b69e-bc0a-5955-8a8f-46818fc39f26":{"name":"*Chechia maker*","description":"This copy of a beautiful watercolour from Charles Lallemand's book *Tunis et ses Environs* shows a Tunisian artisan making a chechia. Before the competition of European industry arose in the 19th century, Tunisian artisans had been the main suppliers of the Middle East.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"6faa2e57-f95c-52d9-a61f-402154b53322":{"name":"Organ Made in Tunis by the Italian Firm Cesare Trionfo and Exhibited in Milan","alternate_name":"*Organo costruito a Tunisi dalla Ditta Cesare Trionfo ed esposto a Milano*","description":"Cesare Trionfo was a child when he migrated with his family to Tunisia from Livorno in 1855. He became a trader, and in 1886 he started trading musical instruments. In Tunis, he later also started a shop that made musical instruments such as this organ. Trionfo promoted the construction of the theatre Politeama Roissini, which he co-owned.  \nThis organ was exhibited in Milan for the 1906 international exhibition. The organ is a traditional Italian musical instrument. This one has decorative elements taken from Arab architecture.","type":"Musical instrument","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"6fb5d317-b1c7-55c6-a5a1-452d17f4b70a":{"name":"*10 cents an issue. Le Télégraphe. Morning Newspaper. Special connections with the whole world.*","description":"Claude Chappe's invention of optical telegraphy was a turning point in the development of telecommunications. Built high up (e.g. on a hill or a roof), the mechanism consisted of a pole with movable arms, visible from a distance, which transmitted a code. Telegraphy became a very popular mode of communication during times of war, and was adopted by the National Convention of the First Republic in 1793. Even Napoléon I, who had shut down the French telegraph lines for fear of political troubles, had them reopened and extended to Europe in order to fight the anti-French Coalition. Telegraphy was an increasingly used mode of communication in the 19th century.","type":"Print","holder":"National Library of France","dates":"1886","location":"Paris","translator":"Flaminia Baldwin"},"703206c7-1fe3-5807-91ec-e3c954824bfa":{"name":"*Egypt. Plan of the remains of an existing circus, near Alexandria.*","alternate_name":"Taken from *Description de l'Egypte: Dessins Préparatoires*","description":"During the Egyptian expedition (1798–1801), Napoléon Bonaparte brought with him a group of scholars, engineers and artists, charged with collecting as much scientific information as possible. This was then used in a publication (of exceptional quality and execution) entitled Description de l'Égypte, in which the observations and enquiries made by the military expedition in Egypt were collected. The collection comprises of 10 volumes of illustrations and 9 volumes of texts published between 1809 and 1826.","type":"Drawing","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"70ae613d-6258-52dc-8ef3-3c83dcfa4fb0":{"name":"*Turkish café, Smyrna, 9 November 1837*","alternate_name":"Taken from *Voyage dans la Russie Méridionale et la Crimée* (Traveling in southern Russia and the Crimea)","description":"Denis-Auguste-Marie Raffet (1804–1860), sketcher and painter, travelled to Southern Russia, Crimea and Turkey with the Prince Demidoff in 1837. He brought back with him a few hundred illustrated pages, which were published in *Voyage en Crimée*. This image, depicting a café in Smyrna (Izmir), the \"Little Paris\" of the Ottoman Empire, is an excellent example of Orientalist drawing.","type":"Lithograph","holder":"National Library of France","dates":"1848","location":"Paris","translator":"Flaminia Baldwin"},"70b437a4-41c0-50dd-839c-7f248f97ae34":{"name":"*Theatre of Djemila, ancient Cuicul*","description":"In August 1840 and again in 1848 Delamare visited the ruins of Cuicul, an ancient Roman colony founded by Nerva and Trajan at the end of the first century. He brought a number of sketches back from these visits, with the most important of these currently kept at the Cabinet du Livre in the old library at the Sorbonne. This drawing, kept at the Musée des Beaux-Arts, accurately reproduces of the ruins of the theatre, built in the second century beyond the city walls.","type":"Drawing","holder":"Musée National des Beaux-Arts","dates":"1840","location":"Algiers","author":"Hayet Touaibia","translator":"Flaminia Baldwin"},"70b73c8c-526f-5ae3-901a-f7ef4dbf4ea8":{"name":"Arabs listening to a story in their camp","description":"Horace Vernet (1789–1863), the official painter of both Napoléon III and Louis-Philippe, was tasked with painting the \"discovery\" and conquest of Algeria. Various images of Algeria were published in the illustrated press in order to acquaint the French with Algeria and feed the narrative of a peaceful conquest. This idyllic painting of a group storytelling was very popular in the Salon des Beaux-Arts in 1834, and was reproduced by the engraver Jean-Pierre Marie Jazet in order to ensure its wider diffusion in the national press.","type":"Print","holder":"National Library of France","dates":"1835","location":"Paris","translator":"Flaminia Baldwin"},"70c03f94-1563-5fc4-9b32-84ea00fd8d52":{"name":"A Letter from the State Bank of Morocco","description":"Correspondence between the State Bank and Moroccan central government from the archive of Muhammad al-Muqri, the Grand Vizier of Finance under Sultan Mulay ‘Abd al-Hafiz al-Hasan I.","type":"Document","holder":"Private archives","dates":"1908","location":"Rabat"},"70c34b29-b413-5cf3-ba1c-bd2773093060":{"name":"Clothing, sheets and blankets distributed by the Students’ Benevolent Fund to destitute Italian children in Tunis","description":"The Dante Alighieri Society – created in Italy in 1889 and still in existence ‒ is aimed at promoting Italian language and culture abroad; its Tunisian branch was established in 1893. In Tunisia the Dante Alighieri Society devoted its energies to promoting schooling and supporting school attendance. One should consider, in this regard, that the Italian community at the time was composed of workers, miners, and labourers and included several destitute members. The students’ benevolent fund of the Società Dante Alighieri (Patronato scolastico) was created in 1898 and was aimed at supporting school attendance of destitute children by providing free books and clothes.","type":"Chart from a book","holder":"Italian Geographical Society (SGI)","dates":"c. 1905","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"70df1938-c4b1-5bed-9f24-8054cc85bf48":{"name":"Karl I, Emperor of Austria (1887–1922)","description":"Portrait of Karl I, the last Austrian Emperor. The Austrian and the Ottoman Empires disintegrated after World War I. Karl I had to flee from Austria and died in exile on the island of Madeira.","type":"Print","holder":"Austrian National Library","dates":"c. 1916","location":"Vienna","copy_editor":"Daniel de la Vega"},"712ff58d-128f-55d5-aad2-b4bc62cf22ab":{"name":"*Le Petit Tunisien. Voice for French interests and communities in Tunisia.*","description":"Italian migration to Tunisia in the 19th century was, quantitively speaking, extremely significant. The French government had to bear in mind, however, that there remained significant population who had hoped Tunisia would become an Italian colony. Some French newspapers, such as *Le Petit Tunisien*, responded to this by emphasising their French-Italian links.","type":"Press; newspaper","holder":"National Library of France","dates":"21 July 1889","location":"Paris","translator":"Flaminia Baldwin"},"718961a1-beb1-58c3-8832-5f8a278c1682":{"name":"The young ladies of the telephones: a view of a Parisian telephone exchange","description":"The French telephone network was not automated at the beginning of the 20th century. Young unmarried women were often employed to take paying members' calls, and connect them to their requested number.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1904","location":"Paris","translator":"Flaminia Baldwin"},"71bafc31-de50-5515-8301-3411a7a0be01":{"name":"*A market in Bucharest*","description":"Wallachia and Moldavia's contacts with the Ottoman Empire also influenced the aspect of Romanian cities. For example, marketplaces, as known from 19th century paintings and lithographs, were similar to Turkish bazaars and represented, just like in the Ottoman Empire, the commercial centre of a city. The watercolor is part of an album with reproductions after 15 of Amedeo Preziosi’s paintings that depict scenes from Bucharest. Maltese painter Amedeo Preziosi met Carol of Hohenzollern, ruler of Romania, in Istanbul in 1866. Invited by the prince to come visit his country, Preziosi was in Romania between June-July 1868 and May-July 1869. He is the author of more than 250 works inspired by Romanian landscapes, cities and people.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1869","location":"Bucharest","provenance":"Romania"},"71d240aa-d335-59ff-8b64-aa4539d24c3b":{"name":"*The Grand Mosque in Constanţa*","description":"The Grand Mosque of Constanţa, the biggest in Romania, was built between 1910–1913 for the Muslim community of the city, on the initiative of king Carol I. It was erected on the place of a 19th century mosque, whose minbar (pulpit from where the imam delivers sermons) was preserved. The monument, a mixture of Byzantine-Egyptian and Romanian architectural elements, is the work of architect Victor Ştefănescu, who before designing it travelled to Istanbul to get acquainted with Islamic architecture. The mosque was inaugurated on 31 May 1913 in the presence of Romania’s king and queen and of Romanian and Ottoman officials. The envoy of sultan Abdul Hamid II brought a Persian rug for the mosque and awarded the orders of “Medjidie” and “Osmanieh” to Victor Ştefănescu and the city’s may.","type":"Postcard","holder":"National Museum of Romanian History","dates":"Beginning of the 20th century","location":"Bucharest","provenance":"Romania"},"71d76fc5-c9ad-524d-9391-c2dd24da5ac5":{"name":"Alep -Chemin de fer, Postcard (Aleppo Railway Station)","description":"This composite postcard presents Aleppo’s earlier railway complex, generally identified as Damascus Station, together with a separate building labelled Pavillon militaire. Located in the Jamiliyeh district of Aleppo, the station served the French-operated railway Damas, Hama et Prolongements (D.H.P.), linking Aleppo southward through Hama and Homs with Damascus. The Hama–Aleppo extension entered service in 1906. The upper image shows a restrained two-storey masonry station with a long covered platform, regularly spaced windows and numerous chimneys, reflecting its combined passenger, administrative and possibly staff functions. The lower image records the military pavilion, with a raised entrance, deep tiled roofs and an ornamental timber porch distinguish it from the station building.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1323 / AD c. 1905","location":"Berlin","dimensions":"Height: 13,8 cm; width: 8,5 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Kurd Ali, Muhammad, *Khitat al-Sham*, Vol. 5, Damascus: al-Matbaʿah al-Hashimiyyah, 1925–1928.  \n  \nDigital Historical Documents House, “Aleppo’s Damascus Railway Station in 1902”, *Digital Historical Documents House*, February 4, 2020, Arabic. (The stated 1902 date should be treated cautiously because it conflicts with the documented 1906 opening of the Hama–Aleppo line.)","copy_editor":"Danielle Morcom","keywords":["Aleppo","Communication","Damascus","Syria","Transport"],"materials":["coloured printed postcard","Paper"]},"727ea8ec-c6ff-5c30-91b3-9e087af62768":{"name":"*Interior of a Harem*","description":"Preziosi probably used models to recreate this harem scene which as an infidel Frank he would not normally be allowed to witness. However, there is nothing in this decorous interior which is impossible or unlikely and it may be based on a visit to the house of one of his Turkish friends. The furniture and fittings show western European influence, particularly in the curious rococo wall bracket and the fringed sofa in place of the traditional raised wooden platform covered with carpets. By the middle of the 19th century French style in interior design was fashionable in Turkey, especially a degenerate form of the rococo. A version of this composition, dated 1852, is much less restrained, its details deliberately pandering to the popular western idea of a harem, based on Arabian Nights imagery.","type":"Painting","holder":"Victoria and Albert Museum","dates":"1851","location":"London","provenance":"Turkey","author":"Victoria and Albert Museum"},"7281683b-fda9-593c-917d-2afe6e08c7b6":{"name":"Building a bridge near Haifa","description":"This album of 39 images documents the construction of the Hijaz Railway. It photographs two important stretches of the network: the route between Damascus and Maʿan, and the line connecting Daraʿa with Haifa. Its photographs record the remarkable engineering achievements required to negotiate difficult and varied terrain, while also illustrating the railway’s role in strengthening connections across the empire. Alongside tunnels, bridges and stations, the images capture the engineers, officials and labourers whose work made the project possible.","type":"Photographic print","holder":"The Nasser D. Khalili Collection of Hajj and The Arts of Pilgrimage","dates":"AH 1318-1323/ AD circa 1900-1905","location":"London","dimensions":"Height: 10 cm; width: 14,4 cm","place_of_production":"Turkey","method_for_datation":"The Hijaz Railway was constructed between 1900 and 1908.","author":"Qaisra Khan","keywords":["bridge","Communication","Construction","engineering","labour"],"materials":["Photographic prints bound in an album"]},"72dcc4dd-aa26-5a94-9c71-96445ad78087":{"name":"*The Crisis in Egypt – Panoramic View of Cairo 1882*","description":"This expansive, panoramic engraving focuses of the Citadel of Cairo with the majestic Ottoman-style mosque erected by Muhammad Ali Pasha in memory of his son Tusun at the centre. The view is taken from high up in the Moqattam range, allowing the viewer to appreciate a panorama that takes in the wide expanse of the city of Cairo beyond the fortress, all the way to the river Nile. In composing the image, dated to 1882 CE - the year of the Anglo-Egyptian war, the artist H. W. Brewer most probably drew on contemporary photographs. Little is known about this British illustrator who specialised in depictions of cities viewed from the air.The print was issued as a supplement to The Graphic 1882. The Graphic was a British weekly illustrated newspaper, first published on 4.12.1869 by William Luson Thomas’s company Illustrated Newspapers Limited. By 1882, it had over 1000 employees. The Graphic’s influence on the art word was considerable, its readers including Vincent van Gogh.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1882","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"72e135bf-f1d2-56f9-a08f-ae59b081701d":{"name":"'The War on Trial'","alternate_name":"Anticolonial booklet published by the Italian Socialist Party, against Italian colonial expansion in Libya","description":"This booklet describes an imaginary trial against Giovanni Giolitti, the Italian Prime Minister who directed the colonial conquest of Libya in 1911-12. The judge asks Giolitti:  \n– ‘Why did you get into other people’s home?’  \n– ‘In order to defend our interests.’  \n– ‘Good! And what about the slaughtering of women and children, the massacre of elderly people, and the hanging of men?’  \n– ‘You see, your excellence, we needed to uplift Italian prestige.’  \n– ‘And what about the thefts, the burnings and the planes that bombed huts?’  \n– ‘It was our civilising mission.’ \"","type":"Book","holder":"Gramsci Institute Foundation","dates":"1913","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"7348dd0d-ce53-5539-9f72-098f52664a78":{"name":"*Ali Bey (Domingo Badia y Leblich), Traveller*","alternate_name":"*Ali Bei (Domenico Badia y Leblich) celebre viaggiatore*","description":"Ali Bey, a pseudonym used by Domingo Badia (1767–1818), was a Spanish explorer and spy. He travelled to the Ottoman Empire and North Africa under the identity of a Syrian prince. He published his experiences in different books. His travel descriptions had success in Europe and were translated into several languages. The descriptions reveal his admiration and respect for the Arab world.","type":"Print","holder":"National Museum of Romanticism","dates":"c. 1816","location":"Madrid","provenance":"Italy","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell"},"736d9205-4e1c-5817-bc04-427dac8d02d2":{"name":"*Constantinople et le Bosphore de Thrace*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"737d2ad8-e855-5e34-9a89-714f0aed6dff":{"name":"The Stele of Mesha, Hebrew inscription from 896 BC. 1/16 of original size.","alternate_name":"Original page from the Bible, discovered and described by M. Ch. Clermont-Ganneau","description":"Following the work of Champollion, decoding texts and archaeological discoveries became some of the main interests of popular science journals. Graphic items also begin to feature in the late 19th century, adding to the pedagogical side of these articles.","type":"Drawing","holder":"National Library of France","dates":"1873","provenance":"France","translator":"Flaminia Baldwin"},"742e675b-2783-5254-a6e4-abd2e2dc3cd3":{"name":"*Monument commemorating the installation of the Hijaz-Damascus telegraph connection, Beirut*","alternate_name":"Constructed as the focal point of the new Ottoman urban centre at Merje square","description":"This monument is a well-known benchmark, which remained the symbol of the municipal administration until a few years ago. The bronze column in the middle of the Merje Square was erected in commemoration of the Istanbul-Damascus-Mecca telegraph link. It was the line with the sultan’s Islamist policy, acting as a symbol of the Ottoman claim to leadership over Muslims. The monumental telegraph column is crowned by a model of the Istanbul Hamidiye Mosque, where every week the Sultan ‘Abdülhamid [`Abd al-Hamid II] had his visit to the mosque for Friday prayers celebrated with an imperial march-past- a demonstration of the concentrated political power of the Sultan.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1910","location":"Berlin","author":"Stefan Weber"},"74e93f42-b022-5056-9d51-bed2d2eb0ca5":{"name":"*Map of Algeria's commercial routes to the \"Pays des Noirs\"* \\[Guinea\\]","description":"Having conquered Algeria, France launched several expeditions in order to open up new trade routes from North Africa to Guinea. Europeans had great difficulty in using the internal trade routes, which were controlled by indigenous African kingdoms, so were instead limited to coastal routes.","type":"Map","holder":"National Library of France","dates":"1850","location":"Paris","translator":"Flaminia Baldwin"},"7503191f-13bf-5090-a965-b30a2948d2bd":{"name":"Ibrahim Pasha (1789–1848)","description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"750a06a9-2d0d-5ed4-96b6-1e5b28d3634e":{"name":"Plan of the park Bibescu","description":"In 1898, Nicolae Romanescu, the mayor of Craiova (a city in Wallachia), hired French landscape architect Edouard Redont to lay out two parks in Craiova. One of them, called park Bibescu, was completed in 1903. It was built on a terrain bought by the city hall of Craiova in 1853 from Iancu Bibescu, brother of Wallachian prince Gheorghe Bibescu. The park occupied a surface of 100 ha, among which 4 were represented by water. Some of the attractions of the park included: a luxuriant vegetation, two lakes, a waterfall river, several springs, a replica of a medieval castle, a suspended bridge, a zoo. There also existed restaurants and cafes, a library, an exhibition hall, a ceremony hall, a hippodrome, a velodrome and a pier. In 1900 the plan of park Bibescu was awarded a gold medal at the universal exposition of Paris.","type":"Architectural plan","holder":"National Museum of Romanian History","dates":"1900","location":"Bucharest","provenance":"Romania"},"75891604-fdb8-540e-af25-a6509a9103f7":{"name":"*Cairo: houses and gardens in the French quarter.* Flaubert in the foreground.","description":"The writer Gustave Flaubert lived in Egypt for three years from 1849 to 1851 with his friend Maxime Du Camp. He saw and experienced many new things during this time, travelling to Egypt, Beirut, Jerusalem and Damascus. Although Gustave Flaubert did not like being photographed, Maxime du Camp was able to take this snap of him in Cairo.","type":"Calotype","holder":"National Library of France","dates":"1852","location":"Paris","translator":"Flaminia Baldwin"},"76457a6e-00a0-52e0-a869-4eec84837b92":{"name":"Photograph of the Old Railway Station in Skopje","alternate_name":"Fotografija na starata zeleznichka stanica vo Skopje","description":"The first railroad in Macedonia was the track running from Thessalonica via Skopje to Belgrade. Its construction was financed with foreign investments and began in 1871. The track to Skopje was finished in 1873. The Skopje-Mitrovica railway line was completed in 1878. In 1888, it was connected to Serbian railways at the border crossing Zibevche near Vranje.","type":"Photograph","holder":"Museum of the City of Skopje","dates":"Early 20th century","location":"Skopje","author":"Zoja Bogdanovska, historian, Museum of the City of Skopje","copy_editor":"Daniel de la Vega"},"76c35457-f8ff-5bff-9a85-a95ba8087f82":{"name":"Advertisement from the International Exhibition in Rome 1911","description":"During the International Exhibition of Fine Arts in 1911, in a green area near the Tiber river within Rome’s boundaries, exhibitions of regions and ethnography were staged. This show was meant to celebrate ethnography as a new science and, at the same time, to highlight the habits and customs of the different regions of Italy, especially on the occasion of the 50th anniversary celebrations of the unification of the Italian state. A consequence of the exhibition was an enlargement of the city of Rom and massive urban growth. At the same time, upon the Rassegna Illustrata dell’Esposizione commercial pavilions were destined to later become restaurants, shops and pubs. All of them were clearly inspired by the popularity of orientalism.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"7756c7b9-3b65-5af3-92f0-bce2be93d3c9":{"name":"*Partium Regni Sclavoniae et Croatiae*","alternate_name":"Geographical-historical map of the northwest region of Croatia in 1673","description":"A map depicting the northwest region of Croatia with inscriptions and dates that detail the most important battles against the Ottoman Turks in the 15th, 16th and 17th centuries.  \nThere is a letterpress dedication to Martin Borković, Bishop of Zagreb from 1647 until 1667, and to Count Nikola Erdödy. A signature on the bottom right in a cartouche reads “*per R.P. STEPHANVM GLAVACH” and* “*NOVA hactenus ... SCLAVONIAE et CROATIAE ... Confiniumque Descriptio ... Professorem 1673”.*  \nThe map is an announcement of the Croatian Counter-Reformation and the beginning of the Baroque style. Made by the Jesuit, Stjepan Glavač the first teacher of logic at Zagreb Jesuit Academy and professor of philosophy, exegesis and controversy at Graz University, its production was the incentive of the Bishop of Zagreb Martin Borković, and the Croatian *ban* (viceroy) Nikola Erdödy.  \nThe map shows the “remnants of the remnants” of the former Kingdom of Croatia after Ottoman expansion ended. Drawings, made by Glavač while he travelled throughout Croatia accompanied by soldiers and Krajina officers as consultants, decorate the map. The map presents a rare example of decoration in the spirit of the Society of Jesus, shown particularly in the drawings of Mars in armour and the female figures of *Fidelitate constanti* and *Catholica Fide*.","short_description":"A geographical-historical map of northwest Croatia in 1673, it was drawn by the Jesuit Stjepan Glavač, a teacher at the Zagreb Jesuit Academy and at Graz University. Glavač spent several years travelling through dangerous and inaccessible regions of Croatia accompanied by soldiers and Krajina officers who acted as consultants. The map, showing the “remnants of the remnants” of the former Kingdom of Croatia, and decorated solely with Glavač's drawings, is a rare example of decoration in the spirit of the Society of Jesus.","type":"Print, map","holder":"Metropolitan Library, Valvasor Collection of prints and drawings","owner":"Archdiocese of Zagreb","initial_owner":"Johann Weichard Valvasor","dates":"1673","location":"Zagreb, North-West Croatia","dimensions":"Plate: h: 83.3 cm; w: 84.5 cm","place_of_production":"Croatia","method_for_datation":"The print is dated.","provenance":"From the Johann Weichard Valvasor Collection","obtention":"Purchased in 1690 from Johann Weichard Valvasor by the Archdiocese of Zagreb Baron J. W. Valvasor, a Slovenian polymath and collector, had a museum in his mansion in Bogenšperg. Towards the end of his life, due to financial difficulties, he sold some of his exceptionally valuable holdings. In 1690, the Bishop of Zagreb, Aleksandar Mikulić, purchased Valvasor’s collection of prints and his library.","bibliography":"Marković, M., *Descriptio Croatiae. Hrvatske zemlje na geografskim kartama od najstarijih vremena do pojave prvih topografskih karata* (Croatian lands on Geographical Maps from the Oldest Times to the Appearance of the First Topographical Maps), Zagreb, 1993.  \nPelc, M., *Iconotheca Valvasoriana, VII. svezak*, Janez Vajkard Valvasor Foundation, Zagreb Archdiocese, Ljubljana, 2004.","author":"Mirna Abaffy","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["academy","chart","Christian themes","collection","collector","Jesuit","Map","mithology","north-west Croatia","Ottoman","personification","symbolism","university"],"materials":["copperplate","etching","letterpress","Paper"]},"7799c614-d39a-57bf-8c89-ac0c4d03ec70":{"name":"The Promotional Exhibition of the Alsace and Lorraine Society in the Algerian Section [Paris Exhibition, 1878]","alternate_name":"*La mostra della Società promotrice degli Alsaziani e Lorenesi nella Sezione Algerina*","description":"Paris, International Exhibition, 1878. In one of the streets in the Trocadero Pavilion buildings were constructed based on those built in Algeria after the French-Prussian war (1870–71) by the Society Protecting Alsatian and Lorenese People for refugees coming from France. The interior shows all the territories donated to the Protecting Society and in the lower part the villages of Hanssonvillers and Bacckhalfa.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"779c654a-aa90-53f1-a122-5dbb8e302070":{"name":"*Interior of a school, Cairo*","description":"In this scene depicted by Lewis, the Hoja or teacher is listening to his assistant rhythmically reciting the Quran (while beating time), as some children pay attention and others not. Some commentators have regarded the presence of a young girl as inauthentic, but young girls were able to attend Quran schools, according to the artist Charles de Tournemine, the scholar Edward Lane and the translator Richard Burton. Certainly not all women were illiterate, and some female descendants of the prophet were noted for their ability to read and recite the scriptures.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1865","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"77e11861-c38b-50a8-8fb9-b72467f69e2b":{"name":"Algerian Pavilion in the Trocadéro Park [Paris Exhibition, 1878]","alternate_name":"*Padiglione Algerino, nel Campo del Trocadero*","description":"At the International Exhibition in Paris, 1878, the Algerian Pavilion was designed by the architect M. Wable, who was appointed by General Chanzy. The building represents one of the greatest proofs of French colonisation policy. The front-door, four metres wide, is a copy from the ‘Ubbad Mosque of Sidi Bumadyan in Tlemcen, and is richly decorated with enamelled majolica and arabesque decorations. The decorations of the minaret echo the tower in ruins from the mosque of Mansoura, 1,200 square metres wide. The pavilion was meant to show the productive potential of the colony to the French capitalists.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"78482946-b8d7-5fca-913f-fd0e2dc38b4a":{"name":"Map (*la Barbarie*)","description":"A 19th-century map of the Moroccan Empire and the states of Algiers, Tunis and Tripoli. Its toponyms are written in French. As the original was monochrome, evidently the *Atlas*’s original owner manually embellished the borders between countries and administrative boundaries.","type":"Map","holder":"National Library of the Kingdom of Morocco","dates":"1843","location":"Rabat"},"794483b6-f573-5ea4-9de3-b7a65c779566":{"name":"Coronation of His Majesty King Charles X, in Rheims,  29 May 1825","description":"Charles X was Louis XVI's younger brother. During the revolution, Charles (then the Count of Artois) emigrated in search of support from other European royal courts. He disapproved of Louis XVIII's pragmatism, and following his death advocated a return to the Ancien Régime. He had himself crowned in Reims, like his ancestors, although the cost of this grandiose ceremony was the subject of great controversy.","type":"Print","holder":"National Library of France","dates":"1825","location":"Paris","translator":"Flaminia Baldwin"},"79791fd6-4a63-5950-8b88-e5b802feebd3":{"name":"Research on the location of Carthage (with 15 illustrated pages)","description":"Christian Théodore Falbe, captain of a Danish ship and explorer, was the Tunisian consul before becoming  delegate for the Société pour l'Exploration de Carthage. Fable dedicated himself to developing a new map of Tunis, which required the use of newly developed techniques. He had to use his cunning to be able to draw these plans, as he had aroused the suspicion of the Tunisian population, and ended up doing many of them from the roofs of neighbouring consulates. His pioneering work on Carthage should be seen as part of a greater international movement which had recently taken great interest in this destroyed and long-forgotten city.","holder":"National Library of France","dates":"1833","location":"Paris","translator":"Flaminia Baldwin"},"7a02499c-fb97-5223-b10c-18ecc783aeae":{"name":"*Map to illustrate the Route of David Roberts Esq. R. A. in the Holy Land, Petrea and Syria*","description":"This map shows the areas visited by the Scottish artist David Roberts (1796-1864) during the 11 months he spent travelling between Egypt, the Sinai, Jordan and Palestine in 1838/39. Roberts subsequently became famous for his meticulous lithographs of Egypt, the 'Holy Land' and other Near Eastern regions, hardly touched as yet by British artists at the time. Maps like this one were provided with each complete set of his lithographs later to help trace the locations Roberts visited and sketched.Roberts' depictions were to become extremely important tools in popularising the ‘Holy Land’ in 19th century British imagination, thus encouraging ever more people to visit, map and survey it. His work also helped to underpin the aspirations and objectives of the Palestinian Exploration Fund, founded in 1865.","type":"Coloured steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"7a241c8e-d68e-5a99-8f6d-768433eb938e":{"name":"Map of the Kingdom of Lombardy-Venetia","description":"This map of Lombardy-Venetia from 1827 shows postal routes and information concerning the costs of travelling with the post coaches.","type":"Map","holder":"Austrian State Archives","dates":"1827","location":"Vienna","copy_editor":"Daniel de la Vega"},"7a9b5caa-c0ca-5b9c-a54b-4f65a9d0be8e":{"name":"*Palais de l'Industrie. July to November 1890. International Exhibition of the Industrial Arts and Sciences*","alternate_name":"*Concerts every day, directed by Mayeur of the Opera*","description":"The Palais de l'Industrie et des Beaux-Arts was built in Paris in 1855 with the purpose of hosting the first French Exposition Universelle (world fair). Its great glass and metal structure, the \"galerie des machines\", was a symbol of industrial progress. This building, unlike others of its kind, was used for the same purpose right up until 1896, when it was destroyed to make space for the Grand Palais and the Petit Palais for the Exposition Universelle of 1900. For 40 years it hosted a variety of exhibits, all aimed at promoting recent technological innovations.","type":"Poster","holder":"National Library of France","dates":"1890","location":"Paris","translator":"Flaminia Baldwin"},"7ab5bd97-3948-5e4a-9db2-309afc5b078e":{"name":"A lithographed postcard showing the “Sharif al-Makka al-kabir Aun ar-Raba\"","description":"The figure is Sharif ʿAwn al-Rafiq Pasha, who served as Sharif and Emir of Mecca from 1882 until his death in 1905. Institutional catalogues of his surviving portrait consistently identify him by this name and term of office. The title, “Sharif of Mecca”, referred to the Hasanid descendants of the Prophet Muhammad who governed Mecca. Sharifian government in the city developed from the tenth century and remained one of the most important institutions of western Hijaz politics for centuries. As a member of the Hashemite ʿAwn household, he governed the holy city, exercised authority connected with the Hajj, and negotiated his position with the Ottoman administration, whose recognition remained essential to the sharifate. The Arabic heading was intended to identify him as شريف مكة الكبير عون الرفيق (“ʿAwn al-Rafiq, Grand Sharif of Mecca”), but the name is irregularly and inaccurately written on the card.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1323 / AD c. 1905","location":"Berlin","dimensions":"Height: 12,9 cm; width: 8,8 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Qatar Digital Library, “‘Aun èr-Rafīq, Grossscherif von Mekka’”, Photograph by Christiaan Snouck Hurgronje. Collotype, 1888. *British Library, India Office Records and Private Papers.*  \n  \nSweis, Sami Jiryis, “Hashemite Household Anxieties: The Amirate of Mecca, Arabism, and the Arab Revolt, 1880–1919”, PhD diss., University of Chicago, 2020.","copy_editor":"Danielle Morcom","keywords":["government","Mecca","Portrait","Saudi Arabia","sharifate"],"materials":["coloured postcard","Paper"]},"7ae3021e-1734-5ae1-8790-803fdcd56e67":{"name":"Façade of the Foreign Sections in Palace of the Champ de Mars [Paris Exhibition, 1878]","alternate_name":"*Facciata delle sezioni estere nel Palazzo del Campo di Marte*","description":"Paris, International Exhibition, 1878. The facade of the foreign sections of the palace in Campo Marte is an example of the forced and unnatural union of different styles into an example of architectural \"pastiche\", typical of Universal Exhibitions.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"7b582bf3-4e6a-5626-8f57-513177ccb1d0":{"name":"*St. Andrew*","description":"Figure type and a diagonal X-shaped cross identify the subject of the work as St. Andrew, a fisherman from Galilee and Christ's first disciple. The elongated figure, with an S-shaped body and one foot forward, is sketched in light outline. The artist's attention is dedicated to the modelling of body volumes and the rendering of a system of draperies in an elaborate network of parallel and crossing lines of varying density and intensity.  \nJosef Winterhalder Sr. came from a family of sculptors in Schwarzwald. After studying at the Vienna Academy he settled in Moravia, in Olomouc and Znojmo. At the beginning of the 1740s, shortly after a trip to Dresden, where he studied sculptures by Balthasar Permoser, he obtained a large commission in Náměšt nad Oslavou. Between 1740 and1744 he created a series of 20 larger-than-life statues of saints and angels in shell limestone for the Náměšt Bridge, one of three of the kind surviving in the Czech Republic. Winterhalder invited the sculptor Alexander Jelínek, member of a renowned family of sculptors from Velké Meziříčí, to collaborate with him. Winterhalder produced several drawings associated with the commission, three of which are preserved in the graphic art collection at the Moravian Gallery. The drawings represent St. Joachim, St. Andrew and St. Michael. Brilliant specimens of Baroque drawings for sculpture they demonstrate the essential part the artist Paul Troger played in shaping Winterhalder's drawing style. Similar drawings have also survived for the decoration of the Dominican Church in Brno.  \nThe drawings of Josef Winterhalder Sr. significantly contributed to the further dissemination of Paul Troger's influence among artists active in Moravia. Winterhalder employed his drawings, for example, in the training of his nephew, the future painter Josef Winterhalder Jr. Winterhalder's drawings were also used by other artists, such as Johann Lucas Kracker.","short_description":"The drawing refers to the decoration of the bridge in Náměšť nad Oslavou, one of the few of its kind to survive. Josef Winterhalder came from a family of sculptors in Schwarzwald. After studies at the Vienna Academy he settled in Moravia, first in Olomouc and later in Znojmo.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Josef Winterhalder Jr.(?)","dates":"1740–1744","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 21.5 cm; w: 15.7 cm","place_of_production":"Vienna? / Moravia?","method_for_datation":"The drawing probably comes directly from the estate of Josef Winterhalder Sr. Its style corresponds with the sculptor’s manner of work.","provenance":"Private owner, Brno","obtention":"The drawing, acquired as early as 1863, is part of a series possibly passed directly from the estates of Josef Winterhalder Sr. and his nephew, painter Josef Winterhalder Jr. In all probability, the series later came into the property of the sculptor Andreas Schweigl and later the archivist Jan Petr Cerroni, Moritz Wilhelm Trapp and Emil Kořistka, all of whom were curators at the Brno museum.","bibliography":"Jiří Kroupa, *Rakouská a moravská kresba 18. století,* Brno, 1985, p. 10, cat. 35.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 379, cat. 131.  \nPavel Preiss, *Österreichische Zeichnung des 18. Jahrhunderts. Ausgewählte Werke aus böhmischen und mährischen Sammlungen*, Prague, 1996, p. 71, cat. 32.  \nMonika Dachs, Josef Winterhalder der Ältere und Paul Troger, Definitionsversuch eines Zeichenstils, *Kunstjahrbuch der Stadt Linz* 1996/97, Linz, 1998, pp. 134, 138.   \nLubomír Slavíček, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 252, cat. 94a.   \nMartin Pavlíček, *Josef Winterhalder st. (1702–1796),* Brno, 2005, p. 152.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Christian themes"],"materials":["Pen and Indian ink on paper"]},"7b607aac-e5db-517f-aaf5-04ce4eb5e62c":{"name":"*Project for a Garden or Park*","alternate_name":"*Proyecto para un jardín o parque*","description":"This project for a park with fountain, covered, possibly, with tiles decorated in Neo-Mudéjar style. The development of urban design was an important subject from the mid-19th century onwards. The Neo-Mudéjar style was selected by the architects for important buildings such as theatres or bull rings or urban spaces as the International exhibition of Barcelona 1888. One of the characteristics of this style is use of brick and tile decoration in the buildings’ interiors and façades.","type":"Drawing","holder":"National Museum of Decorative Arts","dates":"End of the 19th century","location":"Madrid","provenance":"Madrid (?), Segovia (?)","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"7b6c2e8c-8a34-50a4-8b04-8c9aeafdbdd9":{"name":"*The Laboratories of the Istituto delle Scienze of Bologna*","alternate_name":"*The Visit of Frederick Christian of Poland to the Istituto delle Scienze of Bologna*","description":"The *Insignia degli Anziani Consoli*, housed in the Archivio di Stato, of Bologna, are documents on parchment commissioned every two months, from 1530 to 1796. These bound 16 volumes celebrate the eight Anziani Consoli and the Gonfaloniere di Giustizia, a group of ruling magistrates. From the end of the sixteenth-century the names of the magistrates were written flanked by their coats of arms and a depiction of a significant event that took place during the bimester of their charge. These manuscripts provide an extraordinary visual chronicle illustrating more than two centuries of the city's history with six pictures a year. This picture, refers to the last bimester of 1739, shows the inside of the Istituto delle Scienze of Bologna during the visit of prince Frederick Christian of Poland. The prince is sitting examining a fortress plan. In the background are visible from the left: the anatomy room, the school of the nude, and the Institute library. On the top is the coat of arms of the eight Anziani Consoli and in the middle, that of the Gonfaloniere di Giustizia.","short_description":"This illumination shows the Istituto delle Scienze of Bologna during the visit of Prince Frederick Christian of Poland. In the middle of the scene, the prince is examining a fortress plan; in the background it is possible to see the rooms of the Istituto.","type":"Illumination","holder":"Archivio di Stato","owner":"Italian State","initial_owner":"Anziani Consoli of the town of Bologna","dates":"November/December 1739","location":"Bologna, Emilia-Romagna","dimensions":"400 x 530 mm","place_of_production":"Bologna","method_for_datation":"The date of the illumination (1739, last bimester), the subject depicted and the patronage (the Anziani Consoli of Bologna) are inscribed in the caption, below the picture.","provenance":"Archive of the Bolognese Senate","obtention":"This illumination, like the whole series, has always been housed in the archive of the Bolognese senate, inside the municipal palace. It was transferred to the Archivio di Stato in 1874, when it was created.","bibliography":"Plessi, G. *Le Insignia degli Anziani del Comune dal 1530 al 1796. Catalogo-Inventario*, Rome, 1954.  \nMatteucci, A. M. “La cultura dell'effimero a Bologna nel XVII secolo”, *Barocco Romano e Barocco Italiano. Il teatro, l'effimero, l'allegoria* (eds. M. Fagiolo and M. L. Madonna), Rome, 1985, pp. 159-173.  \nZanni Rosiello, I. “Le Insignia degli Anziani: un autoritratto celebrativo”, *Società e storia:* 52, 1991, pp. 329-362.  \nCrespi, L. *Vite de' pittori bolognesi*, Rome, 1769.  \nCavazza, M. *Settecento inquieto. Alle origini dell'Istituto delle scienze di Bologna*, Bologna, 1990.","workshop":"Eighteenth-century Bolognese illuminator and engraver","author":"Massimo Giansante","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["anatomy","coat of arms","Frederick Christian of Poland","Gonfaloniere","Heraldic","illumination","Institute of the Sciences","medicine","science","surgery"],"materials":["Illumination on parchment"]},"7bdd779c-2cc5-578c-a095-d2093ad30ce0":{"name":"*Ornements turcs: Recueil de dessins pour l' art et l' industrie*","description":"A large portofolio on the ornament of the Turks as seen by potter Eugène Collinot and the designer Adalbert de Beaumont. The illustrations concern architecural details as well as building interiors, fountains and gates. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1883","location":"Athens","provenance":"Paris","author":"Mina Moraitou"},"7bed9553-212c-5af6-83dd-ee400becb038":{"name":"*Rysul Khyma from the SW and the situation of the Troops at ½ past 2 pm, November 13th, 1809*","description":"In this image, the artist - a soldier with the British forces attacking and devastating Qawasim strongholds in 1809/10, records the wholescale devastation of Ras al Khaimah on the afternoon of November 13th, 1809. Looking at the town from the southwest, he records in graphic detail the inferno British troups visited on both the town and the Qawasim's majestic dhows. Both are seen being consumed by a firewall of flames, the smoke billowing densely above. A large contingent of inactive British troops is seen standing along the perimeters of the town, unconcerned by the devastation behind them. In the foreground on the left, a group of workers is instructed by British officers to remove  things from a burning builiding, which - interestingly - is marked with a large cross on its side wall. Eye witnesses to this event record that the town was cannonaded since the day before, while troops stormed strategic positions. By 4 pm on the 13th, all the Qawasim's vessels were burning, together with their naval stores and houses, most of which were looted by the British forces.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"7c890fcb-159c-520c-b75f-6a2a5003b92c":{"name":"I. Rosellini, *Egyptian and Nubian Monuments*, Pisa, 1832–43: title page","alternate_name":"I. Rosellini, *Monumenti dell'Egitto e della Nubia*, Pisa 1832–1843: frontespizio","description":"Back from the Franco-Tuscan expedition (1828-29), Francois Champollion and Ippolito Rosellini worked on publishing drawings and notes collected during the voyage in Egypt. Unfortunately Champollion died in 1831 (he was only 41 years old) and Rosellini had to carry on the huge project on his own, publishing the texts and also the atlas plates in folio. The original materials for the publication are preserved today at the University Library of Pisa.","type":"Book","holder":"Egyptian Museum","dates":"1842–43","location":"Florence","provenance":"Pisa","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"7d43c91a-0a38-5919-877a-0cdcb651d523":{"name":"Le Esposizioni del 1911: Roma, Torino, Firenze Milan: F.lli Treves Editori, 1911. Book about the Italian international exhibitions","description":"Luigi Bompard (Bologna 1879-Roma 1953) designed the cover for the collection of the magazine dedicated to the International Exhibition of 1911, celebrating the expansion of electric lighting in the city of Turin.","type":"Book","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"7d5e25dc-ec5c-5066-946b-cebbacb4f214":{"name":"Napoléon III stands on a bleeding dragon and Napoléon I, descending from the heavens on the back of an eagle, crowns him as the crowds and the army cheer.","description":"This print was dedicated to Napoléon III's coronation. Louis-Napoléon, Napoléon I's great-nephew, came to power legally in the elections of 1848. He became emperor in 1852, after a coup d’état in 1851. This print was produced as propaganda, and depicts the French people as overjoyed at having the great-nephew of Napoléon I as their emperor.","type":"Print","holder":"National Library of France","dates":"1852","location":"Paris","translator":"Flaminia Baldwin"},"7dae83ae-6b0d-5576-abbb-164119eb3171":{"name":"*Tunis au XIXe Siècle: Aquarelles et Textes de Charles Lallemand*","description":"Book cover. Charles Lallemand's watercolours and drawings of Tunisia in the 19th century remain a vital reference to daily life in 19th century Tunisia to this day.","type":"Book","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"7deda599-b0dc-5a5b-a9a1-e34b87edc4f8":{"name":"*The Battle of Abukir 1799*","alternate_name":"*Batallie d'Aboukir 1799*","description":"During the French occupation of Egypt, in fact three battles centered on the area around Abukir (Abu Qir), a town on the Mediterranean northeast of Alexandria. The first, in 1798, was a naval battle in which the French were defeated devastatingly by the British navy under the command of Rear Admiral Horatio Nelson. The second battle – shown here – marked a decisive confrontation between Ottoman troops under the command of Sayyid Mustapha Pasha, shipped to Egypt by the British navy, and the occupying French forces led by Napoleon Bonaparte. On the 14th of July 1799, the Ottomans stormed Abukir’s harbor and briefly took control of the city, only to be rebuffed and decisively defeated by the French eleven days later. The scene here appears to mark the moment of surrender. Napoleon Bonaparte, seated on a white horse and surrounded by his officers  is supplicated by Ottoman figures, while fighting still goes on and the smoke of battle continues to billow all around. At sea lie the ships of the British navy – unable to intervene.  The last battle fought near Abukir in 1801 between the French and British helped to prepare the ground for France’s final expulsion from Egypt.","type":"Print","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published around 1820","location":"Sharjah","provenance":"Published around 1820 by Carle Vernet in his Album *Campagnes des Francais sous le Consulat et L´Empire*","author":"Ulrike Al-Khamis"},"7e0532db-5a04-5c77-87da-7c475f950138":{"name":"Magnetism I - IV (Photogravure), 2012","short_description":"This limited edition of four etchings by Ahmad Mater was published by EOA Projects in 2012. Using iron filings scattered around two magnets (with only one visible), this installation entitled '*Magnetism*' evokes the attraction pilgrims feel towards the Ka‘ba. Ahmed Mater is a doctor and an artist who lives and works in Saudi Arabia. He is widely considered as one of the most important artists in Saudi Arabia and is notable for his particular interest in the development of Mecca.","type":"Photogravure; print; etching","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"2012","location":"London","dimensions":"42x63cm; sheet size: 62x81cm","method_for_datation":"Signed and dated by the artist.","provenance":"Saudi Arabia","obtention":"Acquired at Auctionata, 4 December 2015, lot 83","bibliography":"Mackintosh-Smith, Tim, *Magnetism*, in Ahmedmater: [https://www.ahmedmater.com/magnetism](https://www.ahmedmater.com/magnetism) (last accessed 08-07-2019)","author":"Qaisra Khan","keywords":["hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["in Solander Box (set of four)","Photogravure etchings on Somerset paper"]},"7ecaa27d-f3a4-5a6b-941d-8b655a5c543d":{"name":"*Ewer in Turkish style*","description":"Illustration from C. Lützow (editor), *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, 1875, p. 219.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Photograph from the World Trade Exhibition 1873 in Vienna","location":"Vienna","copy_editor":"Daniel de la Vega"},"7ef4da57-b989-5c8a-b7bd-e74673870ad0":{"name":"Aqueducts around Jericho No.7","description":"An original plan from the survey of Western Palestine showing the aqueducts bringing water from the wadies Fara, Kelt and Nuwayimeh into the Jericho oasis. These aqueducts date from the Hellenistic era onwards, and were used and added to for centuries well into the Islamic era. Note in particular how they feed into the Umayyad period Khirbet al Mafjar, a huge agricultural estate and palace, and the Mamluk period sugar mill, Tawaheen es Sukkar.","type":"Manuscript map, elevation drawings","holder":"Palestine Exploration Fund (PEF)","owner":"Palestine Exploration Fund","initial_owner":"Palestine Exploration Fund","dates":"AH 1290 / AD 1873","location":"London","place_of_production":"Palestine","method_for_datation":"Recorded dates of the survey","method_for_provenance":"Palestine Exploration Fund project","provenance":"Palestine, Survey of Western Palestine field drawing","obtention":"Created for the PEF during the survey of Western Palestine, 1872–1878","bibliography":"Warren, C., *The Survey of Western Palestine-Jerusalem*, London: Legare Street Press, 2022.","workshop":"Palestine Exploration Fund (PEF)","author":"Felicity Cobbing","copy_editor":"Judy Harter","keywords":["aqueduct","Jericho","Mamluk","photography","sugar mill"],"materials":["Paper","pen and ink","pencil"]},"7f0ad603-e425-5eba-b58f-51c6cd6ff38d":{"name":"*View of Mecca*","description":"View of Mecca by Austrian orientalist, Andreas Magnus Hunglinger.","type":"Print","holder":"The British Museum","dates":"1803","location":"London","provenance":"Germany"},"7f3328c0-a8f7-54b7-800a-d0938adac602":{"name":"Pop-up view of the Masjid al-Haram","short_description":"This pop-up view of Mecca was illustrated by Vojtěch Kubašta and published by Artia in Prague. Vojtěch Kubašta was born in Vienna in 1914 and spent much of his life working as an illustrator, creating children’s books and cards. Having studied architecture but unable to practice during the war, his knowledge of structure is evident particularly in this pop-up view of Mecca. The view made in 1955 illustrates the haram with pilgrims and the Kaˋba at its centre, surrounded by buildings which were removed after the 1960s, for example, the Bani Shayba gate and the building which dispensed Zamzam water. The depiction is very accurate, which suggests that it was likely to have been copied from a photograph. The gateways into the mosque are all labelled and small details such as the roof of the Kaˋba have not been left out. The cover illustrates a man with his hand on the Black Stone and six views on the back include photographs of the main sites of Hajj (e.g. Mina, the Jamarat and Muzdalifa). Artia also published a series of Kubašta’s works in Farsi for the Iranian market.","type":"View; card; memorabilia","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1955","location":"London","dimensions":"Closed: 32.3x23cm; open: 32.3x45.7; height: 14.3cm","method_for_datation":"Vojtěch Kubašta's own privately printed bibliography lists the date of this view as 1955.","provenance":"Europe","bibliography":"Rubin, E., *Pop-Ups, Illustrated Books, and Graphic Designs of Czech Artist and Paper Engineer, Vojtech Kubasta (1914-1992)*, Fort Lauderdale, FL: Bienes Center for the Literary Arts, 2005.","author":"Qaisra Khan","keywords":["Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","photograph","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["Printed paper"]},"80bf7d8a-befa-587f-8452-207110b874a9":{"name":"Map of the Sykes–Picot Agreement and Historical Note","description":"The lines drawn on the map and the lines drawn in the portrait bear the marks of the same authority: both the border and the identity are shaped by the tip of the pen. During the First World War, Britain and France secretly agreed, with Russia’s approval, to divide the Ottoman Middle East. With a few strokes of the pen, new frontiers were drawn across the lands once linked by the Hijaz Railway. These lines silenced local voices, fragmented communities and reshaped territories. Decisions made behind closed doors by imperial powers set the political, social and cultural course of the region for generations to come.","type":"Map","holder":"Bibliothèque nationale de France (BNF)","dates":"1916","location":"Paris","dimensions":"80 x 72 cm"},"81c828fc-8155-513b-b95f-cf8966747f0a":{"name":"*The Romanian pavilion at the world exhibition of 1867*","description":"In 1865, the United Principalities of Wallachia and Moldavia were invited by France to participate in the universal exhibition of 1867, that was to take place in Paris. The Romanian government appointed Alexandru Odobescu to negotiate with the Imperial Commission for the Organization of the Exposition the location of the Romanian pavilion. Although the Principalities were under Ottoman sovereignty, the Commission agreed to offer the Principalities their own pavilion next to that of the Ottoman Empire. Odobescu hired French architect Ambroise Baudry, who had been to Romania in 1864 for an archeological mission, to build the Romanian pavilion, which was a combination of architectural elements characteristic of famous Romanian monuments (e.g.: the Stavropoleos Church in Bucharest, the Curtea de Argeș monastery).","type":"Drawing","holder":"National Museum of Romanian History","dates":"1867","location":"Bucharest"},"81c95e16-5933-5305-af8a-2c4021985089":{"name":"*The so-called Rhodian Pottery*","alternate_name":"*Η Λεγόμενη Ροδιακή Αγγειοπλαστική*","description":"A  book on the Iznik pottery of the Ottoman period by the Greek collector and amateur scholar Chr. Nomiko. It contains a dedication by the author to Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1919","location":"Athens","provenance":"Alexandria","author":"Mina Moraitou"},"81ebd0c7-807d-5447-9cf3-c2bec3c89a89":{"name":"*Matériaux pour un Corpus inscriptionum Arabicum*","alternate_name":"*Mémoires publiés par les membres de la Mission Aarchéologique Francais du Caire, tome XIX*","description":"One of a number of volumes on Arabic epigrapphy by the scholar Max van Berchem (1863-1921) who studied inscriptions from a number of areas in the Middle East.","type":"Book","holder":"Benaki Museum","dates":"1894","location":"Athens","provenance":"Paris","author":"Mina Moraitou"},"823a405a-b8cf-5eeb-af76-1bb8e28081d7":{"name":"First issue of *Al-Ahram*","description":"*Al-Ahram* was founded in Alexandria in 1875 by two Lebanese brothers, Bishara Takla and Salim Takla. It began as a weekly newspaper published every Saturday. Its first issue appeared on 5 August 1876. The paper was relaunched as a daily newspaper in January 1881.  \nIts headquarters was in Alexandria until November 1899 when it was moved to Cairo. The newspaper was distributed in Egypt and the Levant. The religious innovators Muhammad Abduh and Jamal al-Din al-Afghani were early writers of the newspaper. Upon the death of Bishara Takla, Dawud Barakat, a Lebanese journalist, was named editor of the daily in 1901.","type":"Newspaper","holder":"Bibliotheca Alexandrina","dates":"5 August 1876","location":"Alexandria"},"825ea881-372b-5499-bcbe-096246ecd917":{"name":"Import/export activities between Egypt and Venice in 1868 and the first six months of 1869","description":"The items imported from Egypt were cotton, natron (a hydrous native sodium carbonate, used in chemical industry; Egypt had a rich deposit of it in Wadi el-Natrun), coffee, hides, fruit, copper and tamarind roots. The items exported to Egypt included wood and pieces of furniture, fruits and vegetables, butter, bricks and tiles, glass beads, lime, wine, cloth, medicaments, books, and various other products.","type":"Publication","holder":"State Archives of Venice","dates":"1869","location":"Venice","author":"Andrea Pelizza","copy_editor":"Anne Dowell"},"82a512d3-aced-55a2-b8b4-370dfafb5ffc":{"name":"*Théâtre de l'Opéra. \"Aida\". The banks of the Nile (act 3). Set by Jean-Louis Chéret*","description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin"},"82ced29b-1974-5648-8a77-a399212ae4e2":{"name":"The horses presented by the Sultan of Morocco to the King of Italy on the occasion of the official visit to Italy by a Moroccan delegation","alternate_name":"*Nel giardino del Quirinale. I cavalli recati in dono al re dall’ambasciata marocchina (fotografie istantanee del conte Giuseppe Primoli)*","description":"In 1890, the Sultan of Morocco sent Hagi El Maati el Mazamizi as an Ambassador to Italy. The Ambassador landed in Naples on June 7th and arrived by train in Rome on June 13th. At the railway station, he was received by the Mayor or Rome, the Prefect, and other authorities. A military band was playing and military men in high uniform were paraded in the station to greet the Ambassador.  \nOutside the station, three of the King’s gala carriages were waiting for the ambassador and a military unit was paraded in his honour. Some carabinieri in high uniform escorted the ambassador to the hotel.  \nHagi El Maati el Mazamizi presented the King with gifts, including some superb horses that the King immensely appreciated. The King presented the Ambassador with a magnificent small gold and diamond box, and a hunting rifle and gave gold watches to the members of his escort.","type":"Photo published in a journal","holder":"State Library of Modern and Contemporary History","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"82f533fb-66d6-5753-8d34-97a1b983f107":{"name":"Scharf lecture","description":"Lecture by George Scharf at what was to become Queen’s College, London. He made large drawings of important objects for the purpose.","type":"Drawing","holder":"The British Museum","dates":"1852","location":"London","provenance":"United Kingdom"},"83ca2754-e506-5404-be99-4dd9fa3be1e5":{"name":"Information for Passengers: Beirut, Tripoli, Alexandretta","description":"This advertisement for the Nairn Transport Company, founded in the 1920s, promotes its six-wheeled Pullman buses crossing the desert between Damascus and Baghdad. With timetables linking Haifa, Beirut and Iraq, the service carried both mail and passengers. More than transport, it symbolised modern mobility under the Mandate system, replacing older caravan and railway routes while reflecting new borders and colonial influence in the Middle East.","type":"Printed monograph","holder":"Bibliothèque nationale de France (BNF)","dates":"1932","location":"Paris"},"8452667b-dc79-566c-8b23-9d0b6af62bc0":{"name":"An illustrated album of architecture, including views of Mecca and Medina","short_description":"This large-format volume, entiled *Entwurf einer historischen Architectur in Abbildung unterschiedener beruehmten Gebaeude des Alterthums* (Project for a History of Architecture through pictures of various important buildings from antiquity and foreign people), by Johann Bernhard Fischer von Erlach (1656–1723) was published in 1725, a few years after his death. Fischer was an Austrian architect and in 1705 he was appointed imperial court architect for Joseph I.  \nThe book is considered one of the first to attempt an architectural history of the world. It includes nine Islamic buildings amongst its listing of thirteen ‘*foreign*’ buildings. The line drawings of the Iranian and Ottoman buildings are known to have been sourced from illustrated travellers’ accounts, but the addition of the View of Medina and the View of Mecca are remarkable for their originality. Underneath each picture is engraved explanatory text in German and French and they may be the first representations of Mecca and Medina in a European work.  \nThe plan of Mecca contains some of the known buildings in the *haram*, which are identified by a key, but there is still much confusion about what they are, and although the general plan must have been taken from Ottoman images available at the time, there is much which is incorrect perhaps in an attempt to exoticise the drawings. The view of Medina on the other hand is almost entirely inaccurate and may have been compiled from oral accounts.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1727","location":"London","dimensions":"41.2x57.5cm","method_for_datation":"The date and publication details are included within the book.","provenance":"Europe","bibliography":"Grabar, Oleg. “A Preliminary Note on Two Eighteenth Century Representations of Mecca and Medina”, in *Islamic Visual Culture, 1100-1800: Constructing the Study of Islamic Art*, vol. 2, Hampshire: Ashgate Publishing Limited, 2006. (First published in *Jerusalem Studies in Arabic and Islam*, 25 (2001): 268-74).","author":"Qaisra Khan","keywords":["architectural perspective","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Qur'an","Religion","travel","Traveller"],"materials":["leather binding","Paper"]},"84d4fca3-e4d2-596e-bea2-0a5eda7a5ccf":{"name":"Traditional dress for a *shaykh* or *shaykha*","alternate_name":"Costume of the shaykha and of the shaykh of Keserwan","description":"Featured here is the traditional dress for the *shaykh* and *shaykha* of the Keserwan district. The *kubran* is an embroidered jacket (with or without sleeves) made of silk or velvet. The *gumbaz* is a long dress or coat embroidered with gold or silver and sometimes adorned with semi-precious jewels. It consisted of three panels and was split on either side of the body, beginning from the hip area. Other components of this traditional attire were a *mentiene* (blouse), the *shirwal* baggy trousers, a velvet or satin cape with gold or silver embroidery, and a long belt called a *shamle* or *zunnar* made of silk or cashmere depending on the season, and which was wrapped around the waist or hips.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"84d5ec45-7bab-5d25-96f2-a48ed1fe7a85":{"name":"*Entrance to Damascus*","description":"This coloured engraving by W. H. McFarlane shows the entrance to Damascus by the new French-built road through the Merj, or meadow, west of the city. Most probably this is the carriage road that had been established between Beirut and Damascus in 1863, at a time when most other connecting arterties were mere mule paths. French firms also built railways and ports in Syria during the later 19th century. The Ottoman style building in the background on the right is the Tekkiye Mosque Complex, built on the banks of the Barada river at the orders of Suleiman the Magnificent between 1554-1560 and incorporating a mosque, accomodation, a soup kitchen and a hospice.","type":"Wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1881–1884","location":"Sharjah","provenance":"Published in New York","author":"Ulrike Al-Khamis"},"85128cd9-af17-5141-b661-afa4f41e6438":{"name":"*Kusejr Amra*","description":"An early illustrated publication on the Umayyad Qusayr Amra in Jordan by the Austrian Alois Musil and drawings by the artist A.L. Mielich.","type":"Book","holder":"Benaki Museum","dates":"1907","location":"Athens","provenance":"Vienna","author":"Mina Moraitou"},"854b0143-ae03-59b2-a467-18c4378eee8e":{"name":"*Kahveci başı*","description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. Chief of the coffee-makers whose task it was to make coffee for the Sultan.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"8590f3c9-9d8b-54dd-b2b2-fadea483c89c":{"name":"*In the year 2000: The tennis lawn; the eaglet hunters; on the road to London (Pas-de-Calais)*","description":"The many technological advances of the 19th century stimulated the imagination of contemporary artists. Here, the various possibilities the invention of wings would have offered man are imagined, such as games, fighting and simplified travel.","type":"Lithograph","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"863f2655-60dd-5322-acff-d958595ed2e2":{"name":"*Società d'Esplorazione Commerciale in Africa*","alternate_name":"Taken from *Carta economica della Tripolitana e Cirenaica, colle ultime esplorazioni, 1880-81-82 (ed. 1884)*","description":"This map shows Italian commercial expeditions in Africa, particularly in Tripolitania and Cyrenaica, between the years 1881 and 1882. In the search for a colonial empire Italy particularly targeted Libyan territory, for political and economic reasons, as well as for its proximity and the fact it once belonged to the Roman Empire.","type":"Map","holder":"National Library of France","dates":"1884","location":"Paris","translator":"Flaminia Baldwin"},"868c8876-a63c-5812-a3d6-8c1fbf7d0e19":{"name":"*Panoramic view of the Isthmus of the Suez, tracing the canal between the two seas*","description":"Between 1859 and 1869, the Compagnie Universelle du Canal Maritime de Suez built a canal joining the Red Sea to the Mediterranean, thus opening up a strategic trade route towards the Indian subcontinent. This panoramic image was drawn by Louis Maurice Adolphe Linant de Bellefonds (1798–1883), artist and explorer fascinated with Egypt who played a key role, alongside Ferdinand de Lesseps, in the planning and construction of the Suez Canal.","type":"Panoramic view","holder":"National Library of France","dates":"1855","location":"Paris","translator":"Flaminia Baldwin"},"868e1d9c-d782-5ab4-a356-d8e849b96e6c":{"name":"*Description de L'Egypte: Antiquités Planches*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. The *Description de l'Égypte* was a series of publications, appearing first in 1809 and continuing until the final volume in 1829, which offered a comprehensive scientific description of ancient and modern Egypt as well as its natural history. It is the collaborative work of about 160 civilian scholars and scientists, known popularly as the savants, who accompanied Napoleon's expedition to Egypt in 1798 to 1801 as part of the French Revolutionary Wars, as well as about 2000 artists and technicians, including 400 engravers, who would later compile it into a full work.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1809–1829","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"86f5889a-6b8e-56da-8202-c0ca7f73045b":{"name":"Algerian Corkmaker [Paris Exhibition, 1878]","alternate_name":"*Algerino che fabbrica tappi*","description":"At the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion, as part of the reconstruction of a hypothetical typical neighbourhood. The making of cork-taps was moved from Europe to Algeria to take advantage from the numerous Algerian forests. Taps were both made by hand and by machines and were brought to Europe from Trocadero.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"870e10a2-491d-5ec7-881d-703d19098570":{"name":"*The Babylonian Marriage Market*","description":"Print after Edwin Long’s famous painting. Well informed by archaeological discoveries, but based on a story in Herodotus of Mesopotamian life, laced with Orientalist fantasies.","type":"Print","holder":"The British Museum","dates":"1889","location":"London","provenance":"United Kingdom"},"87e70362-8746-56dc-8457-3ebaaa0bc58a":{"name":"Ottoman map of the Romanian countries","description":"This is a map of Moldavia and Wallachia dating from after 1812, when following the Russian-Ottoman war of 1806-1812 Russia annexed the Eastern part of Moldavia, thereafter called Bessarabia (which used to be the name by which southern Moldavia was known). The red line marks the new border that the peace treaty of Bucharest (1812) established between the Ottoman Empire and Russia. The light blue line marks the border between Moldavia and Wallachia, the yellow one that between Austria and the Ottoman Empire and the thick blue line represents the border between Bulgaria and Wallachia. The green line marks the frontiers of the Ottoman Empire.","type":"Map","holder":"National Museum of Romanian History","dates":"Beginning of the 19th century","location":"Bucharest"},"8824c22c-0cd4-502b-8da0-b722a3dd6846":{"name":"*Izzedin Yusuf Effendi (1875–1916)*","description":"Portrait of Izzedin Yusuf Effendi (1875–1916). He was the heir to the throne. In 1916 he committed suicide.","type":"Print","holder":"Austrian National Library","dates":"1916","location":"Vienna","copy_editor":"Daniel de la Vega"},"887bfe33-59d1-51d9-bdbb-0669dffbc312":{"name":"*Nebamun tomb paintings*","description":"'A study in the Egyptian Antiquity department of the British Museum, London, Published December 1st 1861 by Day & Son, Lith [ogrphers] to the Queen - H[enry S[tacey] Marks'.","type":"Print","holder":"The British Museum","dates":"1861","location":"London","provenance":"United Kingdom"},"88e039ef-da59-59a2-bb4a-56259bea2878":{"name":"*French conquest of Tunisia - the battle of Jebel Hadada. 26 avril 1881*","alternate_name":"Popular resistance to the occupation","description":"Published in a colonial newspaper, this image was intended to highlight the strength of the French army in the face of the Tunisian resistance, which seems unable to hold them back. It depicts one of the episodes which preceded the Treaty of Bardo and took place on the Algerian-Tunisian border near the town of Kef. Zouave troops can be seen at the front of the French troops.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1881","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"88f4e317-6501-5591-b5b3-41a03b3515d2":{"name":"*Strike fund*","description":"\"Strike funds\" were established during strikes, collecting money which they received from donations and subscription fees. These funds are able to financially support strikers, who no longer received their salaries and therefore had no means of survival. This drawing emphasises the anxiety on the faces of the workers and their families, who relied wholly on this solidarity for their food and lodgings. It also mocks the role of the Minister of the Interior, who was sending in military troops instead of funds. Indeed, many strikes were interrupted by the arrival of military forces between 1899 and 1901.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1901","location":"Paris","translator":"Flaminia Baldwin"},"890b6eec-1fed-550a-92ce-3942e2797947":{"name":"Calligraphic Panel (*Levha*)","short_description":"From the 16th century, calligraphic panels were highly popular in the Ottoman Empire. This one was written by Hüsni in 1877. The style of writing used is *celi sülüs*, or *thuluth*. This style was widely used for inscriptions on buildings and other objects, and a number of individual sheets and large calligraphic panels were also written using this style. Beautifully illuminated religious quotations, written on large panels, were used to decorate mosques. Some of these panels were intended to be painted on tile and were first drafts before the designs were recreated on the tiles.  \nThe manuscript is inside a golden frame decorated with flowers, which help balance the composition. In Arabic, it reads, \"surrender to the command and desire of God and submit to the fate determined by him.\"","type":"Calligraphy","holder":"MKG Museum for Applied Arts","dates":"Hegira 13th century / AD 19th century","location":"Hamburg","dimensions":"Height: 10.5cm, Length: 39.5cm","method_for_datation":"Signed and dated by Hüsni in 1877.","method_for_provenance":"Purchased from Dr. Friedrich Spuhler, Berlin.","provenance":"Turkey","obtention":"Purchased in 1990.","bibliography":"Deroche, F. and von Gladiss, A., *Buchkunst zur Ehre Allahs: Der Prachtkoran im Museum für Islamische Kunst*, Berlin: Museum für Islamische Kunst, 1999.  \nFarhad, M. and Rettig, S., *The Art of the Qur'an : Treasures from the Museum of Turkish and Islamic Arts*, Washington, D.C.: Arthur M. Sackler Gallery, 2016.  \nKarolewski, J. and Köse, Y., \"Wunder der erschaffenen Dinge: Osmanische Manuskripte in Hamburger Sammlunge,\" *Manuscript Cultures*, 9 (2016): 175-190.","copy_editor":"Caitlin Link","keywords":["calligraphy"],"materials":["Ink","Marbled paper"]},"892929c1-c076-5866-8b6c-b938d759084c":{"name":"La Marche de la Caravane du Grand Caire pour la Mecque","description":"‘The march of the caravan from Cairo to Mecca’ is an illustration (page 130 ) from volume II of Troisième voyage du sieur Paul Lucas, fait en M.DCCXIV, & c. par ordre de Louis XIV dans la Turquie, l’Asie, la Sourie, la Palestine, la Haute et la Basse Egypte, & c., by Paul Lucas. It is the earliest printed European depiction of the mahmal procession.","type":"Illustration","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1719","location":"London","dimensions":"Height:16 cm; Width: 35,7cm","place_of_production":"Printed in Rouen, France","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-la-marche-de-la-caravane-du-grand-caire-la-mecque-arc-pt171/","materials":["Engraved print"]},"898f2296-ee1f-5e48-a6ee-73f0b9a210a9":{"name":"*Head of the Great Sphinx, Pyramids of Geezeh July 17th, 1839*","description":"Roberts depicted the Sphinx some twenty years after Giovanni Battista Caviglia had excavated at Giza in 1817 and had cleared masses of sand away from the monument, which up to that point had been buried right up to its neck. Subsequently, he succeeded in clearing the whole front of the Sphinx. At the point of Roberts’ visit, the sphinx was visible from the top of the head to the floor of the temple between its paws. After its initial discovery, the Sphinx soon became one of the foremost fascinations for early European Egyptologists, including Auguste Mariette, the founder and first director of the Egyptian Museum in Cairo, Gaston Maspero, who conducted a survey  of it in 1886, and the British scholar E. A. Wallis Budge.It also proved fascinating for Orientalist artists and artisans all over Europe. In Roberts' artwork, the stone-cut monument is rendered in great detail, carefully recording also the far-reaching damage to the Sphinx’s face, the cause of which had already given rise to much discussion and speculation at the time. The Pyramids in this view are that of Cheops, or the Great Pyramid, seen on the right, and on the left, that of Cephren, also known as the Second Pyramid.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1846","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"89a137fb-7ff4-50b4-b635-4fb544d4dd2a":{"name":"*Winters in Algeria*","description":"Between 1872 and 1873, the famous American Orientalist painter Frederick Arthur Bridgman went on a long trip around North Africa, travelling from Tangier to Algiers, via Tlemcen, Oran, Constantine and Biskra. This trip was the inspiration for his book *Winters in Algeria*, which contains many of his works depicting Algerians' daily lives in the late 19th century.","type":"Book","holder":"Musée National des Beaux-Arts","location":"Algiers","author":"Leila Zeghmi","translator":"Flaminia Baldwin"},"89f4e566-e82c-56e3-b94a-d8bd68a1f680":{"name":"*Tercüman*","description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. *Tercüman*, the interpreter of a diplomatic mission.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"8a101d28-6d11-5832-8d73-47c11308f989":{"name":"Letter from Father Joseph Yazbek to the Maronite Patriarch Yuhanna el-Hajj","description":"A small but growing Maronite community settled in the Chinatown area of Boston in the 1890s. In 1893, the Archbishop of Boston, John Williams, assigned F. Gabriel Korkemaz as the first Maronite priest. He was succeeded by his cousin, F. Stephan Korkemaz, two years later, and shortly afterwards by F. Joseph Yazbek. At the time, the hundred-or-so families that formed Boston's Maronite community worshiped at the St. James' Church on Harrison Avenue. Father Yazbek later bought a four-storey building on Tyler Street, which he remodelled to include a chapel, social hall, and priest's residence. This letter is a copy of a letter sent by Father Yazbek to the Maronite Patriarch Yuhanna el-Hajj, inviting him to the ceremony dedicating the Syro-Maronite chapel to Our Lady of the Cedars of Lebanon.","type":"Print; letter; correspondence","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"24 December 1898","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"8a229227-3cb6-53ea-978a-a63f9f557d11":{"name":"Patent for the invention of the fountain pen with a replaceable ink cartridge","description":"Pedagogue, engineer and mathematician Petrache Poenaru was the first Romanian inventor to obtain a patent. After 1821 he studied in Germany and then in France. While in Paris, he invented the fountain pen with a replaceable ink cartridge, a pen devised to ensure a constant flow of ink, preventing ink leaks, and to allow the replacement of some of the component parts. On 27 May 1827 the Manufactures Bureau within the French Ministry of Internal Affairs granted him for this invention a patent with a validity of five years. Although his invention did not become known at the time and was not commercially exploited, Poenaru is considered to be the first inventor to receive a patent for a fountain pen.","type":"Document","holder":"National Museum of Romanian History","dates":"25 May 1827","location":"Bucharest"},"8a58f4f9-1644-5ff0-8f2d-9e17a9b86098":{"name":"Bills from the Beirut Tramway and Electricity company","description":"Two bills from the Beirut Tramway Company. The first is for the value of 22 Ottoman pounds, and is dated to 1 February 1896. The second is for the value of 11 Ottoman pounds and is dated to 1 November 1990.","type":"Print; bill; document","holder":"Khalil Itani's Archive","dates":"1896; 1900","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"8a70de1b-8f52-5be5-84b2-f02ae35a3ab5":{"name":"‘Abd-al-Hamid (Abdülhamid) II (1842–1918)","description":"Portrait of 'Abd-al-Hamid (Abdülhamid) II (1842–1918). He was born in 1842 in Istanbul. In 1876 he became Sultan and after the lost war with Russia in 1877, he was forced to agree to the 1878 Congress of Berlin. The signatory powers of the congress allowed Austria to occupy Bosnia-Herzegovina, which belonged to the territory of the Ottoman Empire. In 1888 he had to accept the occupation of Tunisia by France. He tried to modernize the Ottoman Empire with the help of Germany, but in 1908 a revolution of Turkish officers forced him to abdicate. He died in 1918 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"After 1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"8a730c5e-8120-5c99-a9fa-3fffc09ae06e":{"name":"*Théâtre Impérial du Châtelet. Aladdin and the magnificent lamp; the genies of the lamp (ballet).*","description":"The tale of Aladdin became very popular following the rise of Orientalism in the 1820s, and became the subject of multiple adaptations for opera and for theatre. In 1863 Adolphe d'Ennery and Hector Crémieux also transformed it into a \"féerie\" (fairy play). This féerie, a genre which chose great legends as its subject and spanned many different mediums (ballet, on-stage special effects) was extremely popular in 1860s France.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1863","provenance":"France","translator":"Flaminia Baldwin"},"8ab890a6-368e-5ae9-b93d-cadc7d747a78":{"name":"*Rusul Khyma with the attack of the Honorable Company's cruisers on the evening of 11 November 1809*","description":"This image records one of the many battles between the fleet of the Qawasim rulers of the lower Gulf and the British, who were determined to end their economic and political hegemony in much of the region and gain overall control of the Gulf as a vital corridor between India, the Middle and Near East, and ultimately Britain.This composition shows the Qawasim stronghold of Ras al-Khaimah with the Hajjar mountains in the background, as seen from the sea by the artist, a soldier participating in the British attack on the town. A small number of British ships are positioned along the coast, and billowing smoke in the background on the right evokes an atmosphere of menace and impending major conflict. The British sent a squadron of frigates to Ras al Khaimah to attack and rout out the enemy. Troups disembarked in the afternoon, and despite all attempts by the Qasimi forces - their bravery and skillfullness even acknowledged by the British - by 10 o'clock the town was in ashes, the powerful fleet of the Qawasim, comprising more than 50 very large dhows, destroyed.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"8b03882d-24a1-5f9c-9159-8596cb391505":{"name":"*Pulpit on the Platform of the Mosque of Omar*","description":"This image, etched after having been originally drawn by Samuel Prout after a sketch made on the spot by F. Catherwood, shows the ‘Minbar al-Saif’ of the Al-Aqsa mosque precinct, on the southern side of the Dome of the Rock in Jerusalem, right next to the south gateway to its raised platform.  Originally built by Saladin in the 12th century, it was later restored in the 14th century by Burhan al-Din, whose name is also used to refer to the structure.  It forms an important part of the Haram al-Sharif revered by Muslims. The third-most sacred site in Islam, it marks Islam’s first qibla and the spot from which the Prophet undertook his night journey to heaven. The image was first published in 'Landscape Illustrations of the Bible', consisting of Views of the most remarkable places mentioned in the Old and New Testaments. From original sketches taken on the spot and engraved by W. And E. Finden. With descriptiions by the Rev. Rhomas Hartwell Horne, B.D. In 2 Vols, Vol 1, John Murray and Charles Tilt, London 1836.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1835","location":"Sharjah","provenance":"Undetermined","author":"Ulrike Al-Khamis"},"8b529731-afad-5c0e-8816-7664ae89852a":{"name":"Lithographed Qur’an, originally written by Shukr Zadeh (d. AH 1166 / AD 1753)","description":"This Qur'an, originally caligraphed by the famous Ottoman calligrapher Shukr Zadeh is the first Qur'an to be printed in an Islamic country by way of lithograpy. It was produced around 1850 AD.While printing had begun in Europe many centuries ago, the Islamic world continued to favour handwritten books, and most certainly as regards copies of the Holy Qur’an. In 1834, the first edition of Gustav Fluegel’s printed Qur’an was published, while in the Ottoman Empire, the printing of Qur’ans began only in the second half of the 19th century, both in Egypt and in Istanbul. Most were lithographed, as they had the look and feel of manuscripts. Most importantly, all the required recitational signs could be rendered accurately.","type":"Lithographed Manuscript","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira 1266 / AD 1850","location":"Sharjah","provenance":"Ottoman Turkey","author":"Ulrike Al-Khamis"},"8b5d0720-2efe-5520-a78a-fe9b5665efab":{"name":"*The Turkish Court; Recollections of the Great Exhibition, 1851*","description":"Hand-coloured lithograph by Walter Goodall entitled 'The Turkish Court', plate 20 from a set of 24 in 'Recollections of the Great Exhibition'. Published in London, 1851.","type":"Print; lithograph","holder":"Victoria and Albert Museum","dates":"1851","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"8b73574b-b242-5496-8220-49ca7d6386ab":{"name":"*The Arrival of the Holy Crown at Buda*","description":"The history of the Holy Crown goes back a long way and tells a story full of dramatic event. During the reign of Queen Maria Theresia, the Holy Crown was preserved in Vienna. In 1780, when the Holy Roman Emperor Joseph II (1765–1790), son of Maria Theresia, ascended to the Hungarian throne, the Holy Crown was kept in Vienna but Joseph II refused to be crowned with it or take the coronation oath. For this reason he was named *Pál Ányos*, and this is why his nickname “king of Hut” was widespread all over in Hungary. Following his death, the Holy Crown was returned to Buda in a ceremonial procession to the Royal Castle. On the occasion the diet was summoned there, which had last happened in 1530. The engraving represents the ceremonial procession, and is well known as the first and only example of such a festive event in Hungary.","short_description":"An engraved representation of the return of the Holy Crown of Hungary from Vienna to Buda in 1790.","type":"Print (Engraving)","holder":"Budapest History Museum","dates":"1790","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 72 cm; w: 58.7 cm","method_for_datation":"On the basis of the object itself","obtention":"Purchased from an art dealer between the two world wars in Budapest.","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.23.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","Ceremonial procession","engraving","festivity","Holy Crown","Joseph II Habsburg","Maria Theresia","Pál Ányos","Pest"],"materials":["Engraving on paper"]},"8ba03860-993b-5dbf-9a66-b44cd6b52d86":{"name":"Simplon-Orient Express Poster","description":"Roger Broders was a French illustrator and artist best known for his travel posters promoting tourism destinations in France. Broders' illustrations were distinctive for their simple lines and bold, flat areas of colour, combined with noticeable graphical perspective showing the featured mountains and seascapes in the background. Broders' illustrations depicting people show active, elongated figures wearing elegant, contemporary clothes. His posters were simply and boldly lettered identifying the destination, and were supplemented with a brief slogan.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1930","location":"Istanbul","copy_editor":"Daniel de la Vega"},"8bca273e-4101-56b4-9c21-1783781d5f11":{"name":"*The future kingdom*","description":"The Franco-Prussian war (1870–71) led to the production of a great number of cartoons, in an attempt to lift morale and stay strong during the difficult conditions of Paris under siege. This cartoon mocks Bismarck and the Prussian soldiers.","type":"Print","holder":"National Library of France","dates":"1870","location":"Paris","translator":"Flaminia Baldwin"},"8c28d282-9632-5ae4-81b1-ed79c1035940":{"name":"Poem","description":"This poem was written by Antonio Cappelletti in honour of Emperor Franz Joseph's visit to Cairo on 20 November 1869.","type":"Print","holder":"Austrian State Archives","dates":"1869","location":"Vienna","copy_editor":"Daniel de la Vega"},"8c2abbac-16e2-5805-a239-068b6318e25d":{"name":"*Hüdavendigar* Newspaper","description":"After the *Tanzimat* (reforms), newspapers in Arabic, Persian, Bulgarian, Serbian, Albanian, Kurdish, English, French, Italian and German began appearing in the Ottoman Empire. Some of them were bilingual as Turkish-Greek, Turkish-Armenian and Turkish-Arabic. *Hüdavendigar* was a provincial newspaper of Bursa and it was first published on 19 February 1869. The same year, starting with the 80th issue, the back page was printed in Armenian. The paper was published twice (Wednesday and Saturday) and then four times a week. It was 50 x 25cm. Subscription for a year was 100 kuruş, for six months was 50 kuruş and one issue was 20 para (1/2 kuruş). It continued to be published until 1953 under different names.","type":"Newspaper","holder":"Bursa Basın Tarihi Müzesi","dates":"1869","location":"Bursa","provenance":"Bursa","copy_editor":"Daniel de la Vega"},"8c948912-a36b-5142-9ff7-26c982ac3b28":{"name":"*The opening of the exhibition, by Blass. M. Carnot and his entourage, pass under the Eiffel tower*","description":"The Eiffel tower was opened in March 1889 by the President of the Republic, Sadi Carnot, in the presence of several foreign rulers. This inauguration, taking place at a moment of great political tensions, gave rise to many sarcastic comments mocking how the government was using the Exposition Universelle (world fair) for its own gain.","type":"Cartoon","holder":"National Library of France","dates":"1889","location":"Paris","translator":"Flaminia Baldwin"},"8cbe678a-dcda-57dc-87ce-36a2c9a08898":{"name":"*The Tent of the Arabs Sent by the Governor General of Algeria to Guard the Algerian Pavillion at the Trocadero* \\[Paris Exhibition, 1878\\]","alternate_name":"*La tenda degli Arabi mandati dal Governatore generale d'Algeria, per la guardia del Padiglione Algerino al Trocadero*","description":"Paris, International Exhibition, 1878. The text of the magazine describes a big tent built in the garden of the Algerian Pavilion with camel fur, fixed with ropes of the same material and strong bamboo canes. Some Arabian men stayed there, sent by the general Algerian governor, and dressed in the typical light-blue uniform of the \"Turkish people\", or with a red blanket, typical of the region. The Algerian Pavilion was meant to represent the colony through the reproduction of the Campo Marte and Trocadero buildings and also in the garden.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"8ed8ff70-e171-5817-8b08-6644fc9a000d":{"name":"*The Sultan receives the prince Ioan I at his palace in Dolmabahce, Istanbul*","description":"In May 1864, prince Alexandru Ioan Cuza dissolved the Parliament and announced his intention of imposing a new constitution (in fact, a modified version of the 1858 Paris Convention, which granted him greater executive powers). Since the Principalities were under Ottoman sovereignty, it was necessary to obtain the sultan’s approval. Therefore, Cuza travelled to Istanbul, where he had several meetings with sultan Abdul Aziz, who eventually recognized the act. Cuza’s visit to Istanbul and its successful outcome were described in an article published on 30 July in the French journal *L'illustration*. The article, written by P. Paget, the journal’s correspondent in Wallachia, was accompanied by a drawing made by Cuza’s court painter, Carol Popp de Szathmar, who depicted one of Cuza’s meetings with the sultan.","type":"Drawing (after a sketch by Carol Popp de Szathmari)","holder":"National Museum of Romanian History","dates":"1864","location":"Bucharest","provenance":"Paris, France"},"8f457f6a-6cb0-596d-bc20-07d4baa579f5":{"name":"*Commercial map, or chart, of the industries, communication lines and main nautical flags and ports of the states of Europe.*","description":"","type":"Map","holder":"National Library of France","dates":"1843","location":"Paris","translator":"Flaminia Baldwin"},"8f8640bd-04ac-5181-ba28-bef663422bf2":{"name":"*Panoramic View of Makkah - Arabia (West Asia). Panoramic View of Makkah during the Celebration of the Pilgrimage of the Muslims to the Kaaba, where the religious treasure is guarded*","alternate_name":"*Vista Panoramica de la Meca - Arabia (Asia Occidental). Vista Panoramica de la Meca Al Celebrarse una Peregrinacion de los Mahometos á la Kaaba Donde se custodia el tesoro religioso*","description":"This coloured print, perhaps from a late 19th-century, Spanish newspaper or magazine, shows a birds-eye view of the city of Makkah with the Holy Mosque and Ka'bah at the centre. The view was recorded from one of the rugged mountains surrounding the city. Hundreds of pilgrims are seen to approach from afar and converge on the city gates. that lead to the sanctuary. The print shows close compositional similarities to an early 19th century drawing by the English officer and artist Charles Hamilton Smith (1776-1859). Smith, although not known to have visited the Arabian peninsula, produced an album of drawings - possibly in turn taken from older engravings - with views from Syria, Persia and Arabia sometime between 1818 and 1846.","type":"Engraving","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Authority","dates":"Late 19th / early 20th century","location":"Sharjah","provenance":"Spain","author":"Ulrike Al-Khamis"},"90753f8b-1041-579e-af7d-41a335a9669a":{"name":"Black Sea: Sevastopol port","description":"Founded by Yekaterina II (Catherine the Great) in 1783, Sevastopol became a very active military and commercial port following the Russian annexation of the Crimea. The siege of Sevastopol from 1854 to 1855 was the one of the most critical points of the Crimean War.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"90898679-94a2-5a74-9442-dce1eaec5acf":{"name":"*Shepherd with his sheep*","description":"Sheep husbandry has always been a traditional agricultural occupation in the Romanian lands. Shepherds spent summers in mountainous regions, where they found pastures for their flocks, and descended into lower valleys for the winter. Transhumance is still practiced in Romania. During the Ottoman sovereignty, one of Moldavia and Wallachia's economical obligations towards the Porte was to send sheep, but also sheep wool, cheese, meat and tallow in the Ottoman Empire.","type":"Postcard","holder":"National Museum of Romanian History","dates":"First quarter of the 20th century","location":"Bucharest"},"90bb7321-dadf-559d-862c-6d2c919236d2":{"name":"Disembarking captives at La Goulette Port, Tunis.","description":"This document attests to the disembarkment of cargo and captives, abducted in the Mediterranean, at the La Goulette port, Tunis.","type":"Paper","holder":"Archives Nationales","dates":"1800","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"9161faa0-4fe2-54c4-a25b-05a4938ccfd9":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega"},"919aef03-f815-592e-ab38-dd26eb510ac9":{"name":"*Tughra* (imperial monogram).","description":"Written in pen and illuminated in gouache, this is the *tughra* (imperial monogram) of Suleyman the Magnificent (r. AH 926–73 / AD 1520–66). *Tughra*s were used on documents, or firmans (commands) which were issued by the Diwan (Council of State). This example bears the Sultan’s name, Suleyman Shah, and that of his father, Selim, and the phrase ‘the one who is always victorious’. Within the widest loop, formed by the Han (Title), is an intricate illuminated design. Painted in black and gold are fine floral spirals set against a ground of minute cloud-scrolls. The inner loop is filled with split-palmette scrolls and florets. Further floral- and cloud-scrolls fill the space between the ascending parts of the letters. The spiral design is also found on underglaze painted ceramics. The practice of illuminating the *tughra* was established by the ruler Bayazid II (d. AH 917/ AD 1512), under Suleyman they became ever more elaborate. The subject of the document to which this *tughra* was attached is not known.","short_description":"This copy of the *tughra*, or imperial monogram, of Süleyman the Magnificent is written in black pen. Contained within the curves and lines of the letters are delicate illuminated designs of floral spirals in black and gold.","holder":"The British Museum.","initial_owner":"Süleyman the Magnificent.","dates":"About hegira 956 / AD 1550.","location":"London, England","dimensions":"Height 44.5 cm, width 57 cm.","method_for_datation":"This is the *tughra* of Suleyman the Magnificent (r. 926–73 / 1520–66). Due to the type of illumination employed this particular example probably dates to about 956 / 1550.","method_for_provenance":"The *tughra* would have been inscribed and illuminated at the imperial court of Suleyman the Magnificent in Istanbul, Turkey.","provenance":"Istanbul, Turkey.","obtention":"Donated by E. Beghian in 1949.","bibliography":"Porter, V., Mightier than the Sword – Arabic Script: Beauty and Meaning, Malaysia, exhibition catalogue, 2004, pp.190–1, cat. no. 92.  \n  \nRogers, J. M., Islamic Art and Design 1500–1700, London, 1993, pp.45–6, cat. no. 32.","linkcatalogs":"IAM_TR_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["calligraphy"],"materials":["Gouache and ink on paper."]},"91b66b55-0c91-5d46-b3bc-af6121a29639":{"name":"Portrait of Mihai Suţu","description":"Mihai Suţu was the last Greek prince of Moldova. The Sublime Porte imposed Greek rulers in Wallachia and Moldavia (called “Phanariotes” because they came from Fanar, the Greek neighborhood of Istanbul) at the beginning of the 18th century and maintained them until 1821. During this period some modernizing reforms, influenced by the ideology of the Occidental Enlightenment, were introduced in the Romanian countries. The drawing was made by French artist Louis Dupré, who visited Greece, Istanbul, the Balkan Peninsula and the Near East in 1819 –1820. In the summer of 1819 he arrived in Bucharest together with Mihail Şuţu, whom he had met in Istanbul. He painted Şuţu laying on a red divan, wearing Oriental clothes.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1812","location":"Bucharest"},"91c9008b-704b-5717-93d7-868bfaa22521":{"name":"*Asia. Athalide*","alternate_name":"*L´Asie. Athalide*","description":"In this lithography, Asia is represented as a woman dressed in Turkish style. She is Athalide, the lover of Bayaceto, in a 1762 play by Jean Racine. She wears Circassian clothes. Orientalist painting usually represents Circassian women in the seraglios or harems.","type":"Print","holder":"National Museum of Romanticism","dates":"c. 1830","location":"Madrid","provenance":"France, Paris","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell"},"91e561d2-6530-5965-bd21-e1a70b9ef590":{"name":"Air France Brochure","type":"Affiche","holder":"BNF","owner":"BNF","dates":"1939","location":"Paris","dimensions":"Height: 21,4 cm; width: 47,8 cm","catalogue_holding_link":"https://gallica.bnf.fr/ark:/12148/btv1b10116533s/f2.item.r=Compagnie%20Air%20Orient","keywords":["Advertisment","Art Deco","Flight","Holidays","travel"],"materials":["Affiche"]},"9226b1df-56b3-5ffb-a38d-64b0ff5cec56":{"name":"African slaves working the fields","description":"This series of photographs attests to the existence of African slaves working in domestic roles or in agricultural labour.","type":"Paper","holder":"Archives Nationales","dates":"1800","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"92c6732e-264e-56fc-b2bd-43a71e310d3b":{"name":"Traditional dress worn by the Emir of the Chouf district","description":"This was the formal dress of the Emir of the Chouf district. It consists of traditional *shirwal* trousers and a silk jacket with embroidered patterns.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"940d00ac-1015-5d53-8ce3-ab0f77662dcf":{"name":"Ain es Sultan, 50 sq. miles","description":"An original field map from the Survey of Western Palestine showing the water courses feeding into the Jordan Valley and River in the Jericho oasis.","type":"Manuscript map","holder":"Palestine Exploration Fund (PEF)","owner":"Palestine Exploration Fund","initial_owner":"Palestine Exploration Fund","dates":"AH 1290 / AD 1873","location":"London","place_of_production":"Palestine","method_for_datation":"Recorded dates of the survey.","method_for_provenance":"Palestine Exploration Fund project.","provenance":"Palestine, Survey of Western Palestine field map","obtention":"Created for the PEF during the Survey of Western Palestine, AH 1872 - 1282 / AD 1872–1878","bibliography":"Warren, C., *The Survey of Western Palestine-Jerusalem*, London: Legare Street Press, 2022.","workshop":"Palestine Exploration Fund (PEF)","author":"Felicity Cobbing","copy_editor":"Judy Harter","keywords":["aqueduct","Jericho","Mamluk","Map","Survey","Umayyad"],"materials":["pen and ink","pencil","Tracing paper"]},"9438f959-d105-5cd5-890f-56a9cdcc3715":{"name":"*Josef Freiherr Philippovich-Philippsberg (1818–1889)*","description":"Portrait of Josef Freiherr Philippovich-Philippsberg (1818–1889). In 1836 Philippovich-Philippsberg joined the Austrian Army. In 1878 he became commander of the Austrian invading forces for the occupation of Bosnia-Herzegovina. On 17 August 1878, Austrian troops occupied Sarajevo. Philippovich commanded Austrian forces in Bosnia until 1880.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"c. 1878","location":"Vienna","copy_editor":"Daniel de la Vega"},"94535829-1f7a-57f3-91f8-a5b331e4d1a1":{"name":"Stalactites","alternate_name":"*Précis de l'Art Arabe et Matériaux pour servir à la Théorie et à la Technique des Arts de l'Orient Musulman*","description":"The artist and architect Jules Bourgoin travelled to Egypt many times. Between 1880 and 1884 he took part in a French archaeological campaign to Cairo, directed by Gaston Maspéro, from which he brought back a number of drawings of Egyptian monuments and Arab architecture.","type":"Illustrated page","holder":"National Library of France","dates":"1890","location":"Paris","translator":"Flaminia Baldwin"},"949e75ce-78cf-577e-95d9-461cc0734d07":{"name":"*On the omnibus (or inside a tramway passing over a bridge)*","alternate_name":"Taken from Mary Cassat's collection","description":"The question of multi-passenger transport emerged first in capital cities. In the 17th century, Blaise Pascal had the idea of creating transport lines in Paris with scheduled itineraries for horse-drawn carriages seating 8 people. This type of transport saw increasing success in the 19th century as did, on the other hand, the use of cabs with specific destinations. In 1855, all Parisian omnibus companies were merged into the \"Compagnie Générale des Omnibus\" at the request of the Chief Commissioner of the Seine, in a desire to prioritise the movement of tourists visiting the Exposition Universelle (world fair). Steam or fuel-powered tramways were also introduced in the 1870s. This drawing does not accurately reproduce the atmosphere of those overcrowded omnibuses, however, as Mary Cassat chose to foreground a mother who, lost in her thoughts, does not notice the nanny playing affectionately with her daughter.","type":"Estampe","holder":"National Library of France","dates":"1890–1891","location":"Paris","translator":"Flaminia Baldwin"},"94d92226-8356-5023-81bd-a96c6c114974":{"name":"Design for book cover: *Tres morillas me enamoran*","alternate_name":"Diseño para portada del libro *Tres morillas me enamoran*","description":"The influence of the Spanish Muslim art can be seen in this design that references the illuminated books of Alfonso X, King of Castile (1252–1284). The arches, the dresses and the general decoration recall the illuminated pages of the 13th century illuminated books preserved in the Royal Collection and Library.","type":"Design; Print","holder":"National Museum of Decorative Arts","dates":"1910–1936","location":"Madrid","provenance":"Madrid","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"94ef618f-769f-5a52-9aa5-25aac10e2373":{"name":"London-Baghdad in 8 Days by Simplon-Orient-Express & Taurus-Express","description":"Travel poster depicting the Arch of Ctesiphon (Taq Kasra) and advertising the passenger train route connecting London to Baghdad, operated by the \"Compagnie Internationale des Wagons-Lits\" (International Sleeping-Car Company). The journey combined two rail routes: the Simplon Orient Express from London to Istanbul, and the Taurus Express from Istanbul to Aleppo and Baghdad. Until 1935, the Syrian section terminated at Tel Kotchek, from where motor vehicles transferred passengers to Kirkuk; the final leg to Baghdad was by metre-gauge railway. The poster was issued by the French Paris-Lyon-Méditerranée (PLM) railway company and designed by French illustrator Roger Broders (1883–1953), best known for his Art Deco travel posters commissioned by the PLM, characterised by simple lines and bold, flat areas of colour.","type":"Poster","holder":"Qatar National Library","owner":"QNL","dates":"1931","location":"Doha","dimensions":"Height: 99,8 cm; width: 61,8 cm","place_of_production":"Paris, Lucien Serre & Cie.","catalogue_holding_link":"https://elibrary.qnl.qa/iii/encore/record/C__Rb2800112__SHC.GM.P.2019.0092__Orightresult__X3?lang=eng&suite=def","author":"Giulia Martini","keywords":["Railroad companies -- Middle East","Tourism -- Middle East -- 20th Century. Orient Express","Travel posters"],"materials":["Color lithograph on linen"]},"94f28839-f709-5cc7-bf4c-84a06693c6fe":{"name":"Dust jacket; template for the edition of Heinrich Böll: *Ansichten eines Clowns*. Roman. dtv No. 400. Original drawing affixed to a pre-printed cover showing the title and publisher’s device","description":"Celestino Piatti (1922–2007) was one of the best-known graphic artists in Europe in the last third of the twentieth century. From 1961 to 1992, he designed the look of the Deutscher Taschenbuch Verlag (dtv). A whole generation of readers in German-speaking Europe associates works of world literature with the covers he designed for them. Piatti read all the books whose cover he designed, and confidently translated their key scenes into memorable images. The Swiss National Museum was able to acquire from the artist’s estate over 1,000 print templates, trial proofs, and cover designs produced for dtv.","type":"Graphic design","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1967","location":"Zurich","dimensions":"H: 18cm, W: 10,8cm","method_for_datation":"Documents","provenance":"Switzerland, half-canton of Basel-Landschaft, Duggingen","obtention":"Bought in 2014","keywords":["Ansichten eines Clowns","Basel-Landschaft","Celestino Piatti","Duggingen","Dust Jacket","Graphic Design","Heinrich Böll","Print Template"],"materials":["Gouache on cardstock (paper)","letterpress"]},"957ca713-c1c0-5491-8542-164f00239bf4":{"name":"*Aladdin, or The Magnificent Lamp: sketch of the set for act 1 or act 2*","description":"The tale of Aladdin and his lamp was very popular in the theatre and the opera following the rise of Orientalism in the 1820s. Its first performance as an opera in 1822 was so successful that gas was used for the first time ever at the Opéra de Paris, to light up the lamp on stage.","type":"Drawing","holder":"National Library of France","dates":"1822","provenance":"France","translator":"Flaminia Baldwin"},"962e3954-6b7a-5ffb-a881-c31a4aa6530a":{"name":"The Benefits of Hygiene. Hydrotherapy","alternate_name":"Notebook used by a third-grade student in a village school in Central Italy, in 1908–1909; *I benefici dell’igiene. Idroterapia*","description":"In Italy, the first law that introduced compulsory education (the so-called “Coppino law”) dates back to 1877. Only the first three years of elementary school were compulsory. In 1911, the law extended compulsory education up to the age of 12.  \nDuring the 19th century, illiteracy in Italy was very high: in 1867, almost 70 per cent of spouses who could not sign their marriage certificate because were unable to write; in 1901, there were still about 39 per cent of spouses who could not sign their marriage certificate.","type":"Notebook (archival document)","holder":"Archivio unico regionale di deposito – Solomeo di Corciano","dates":"c. 1908","location":"Perugia","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"96fe1797-6dfb-529b-ad9e-f9a5fe80e499":{"name":"Page from an Album made for Jahangir","short_description":"This is a two-sided painting with elaborate bordered illustration on one side (verso) and bordered calligraphy on the other (recto). The verso illustration has brilliantly colored scene delineating six human figures and two birds. The whole composition can be divided into three grounds. All the human figures occupy places in the foreground and a youth (central figure sitting on a raised pedestal) is shown in explanatory posture with left hand pointing upwards. He is wearing an orange top (*Jama*) belted on the waist, blue trousers and long boots. On his right an old man wearing a light yellow *jama* and a blue hat is drawn engaged in an argument with the young man. Three other male figures, including a reclining man bent on a club, are standing on the left side of the youth. The reclining man is draped in a yellow top and is juxtaposed in astonishment. The sixth figure, a female attendant, is shown peeping surreptitiously on this dramatic event. A light blue wine vessel can be seen on the grassy (with some flowers) ground.  \nThe middle ground of the composition is comprised of a brown arched architecture with a rectangular inscription, distant dark trees and mountains. The upper ground holds a bright blue sky and large birds of greenish and bluish hues. The entire composition is surrounded by several borders with the middle golden one being the most prominent. It consists of flowers and creepers which enhance the beauty of the whole composition. The entire verso illustration is then surrounded by an elaborate border consisting of many animals and birds in movement. These figures include leopards, lions, deer, rabbits, eagle etc. The broad border is replete with plants and flowers. These are all drawn in gold with touches of colors.  \nThe recto side of the page shows diagonally inscribed calligraphy in Persian within decorative borders. Broad outer border has a scene of falcon hunt and feast shown in gold with sublime treatment of different hues.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Recto calligraphy: Hegira first half 10th century / AD first half 16th century;  \nVerso image: Hegira c. 998 / AD c. 1590; album: Hegira c. 1017-1028 / AD c. 1608–19","location":"Saint Louis","dimensions":"Image: Length: 21.6cm x Width: 12.2cm; Sheet: Length: 42.2cm x Width: 26.5cm","method_for_datation":"Based on artist's life dates.","method_for_provenance":"This painting was made by the Hindu court artist Kesu Dâs, who worked for the Mughal emperor Akbar (1542–1605).The composition is adapted from a 1544 engraving by the German artist Georg Pencz (c.1500–1550) entitled, \"Joseph Telling His Dream to His Father,\" which Jesuit missionaries disseminated in India during the mid-16th century. The scene is on the back of a sumptuously illustrated page with a poem by Mir Ali, who was famous throughout the Persian-speaking world as a calligrapher. Both painting and calligraphy were collected by Akbar’s son and successor, Jahangir (1569–1627). He ordered the pages to be assembled in a special album and given elaborate borders of scenes from a hunt by an unknown but highly skilled court artist.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","bibliography":"Bailey, Gauvin Alexander, *The Jesuits and the Grand Mogul: Renaissance Art at the Imperial Court of India, 1580 – 1630*, Washington, D.C.: Freer Gallery of Art, Arthur M. Sackler Gallery, Smithsonian Institute, 1998.  \nBrand, Michael and Lowry, Glen D., *Akbar’s India: Art from the Mughal City of Victory*, New York: The Asia Society Galleries, 1985.  \nRenard, John (ed), *Windows on the House of Islam: Muslim Sources on Spirituality and Religious Life*, Berkely: University of California Press, 1998.  \nZiad, Zeenut, *The Magnificent Mughals*, Oxford: Oxford University Press, 2002.","keywords":["Album","Asia","drawing","German","gold","India","ink","Jahangir","Page","Paper","Pencz","watercolor","watercolour"],"materials":["gold on paper","Ink","opaque watercolor"]},"9844c72d-8d2f-50e5-8d5b-86ef15a82164":{"name":"*Egyptian village scene*","description":"Egyptian men and women are seen here in a town or village on the Nile. In the shade of an overhanging tree a market stall displays its wares, including paper lanterns and bread. At the stall behind, sugar cane is for sale. In the background is a mosque with a white minaret, though not distinctive enough to establish the scene's locality. Pilleau had visited Egypt in the winter of 1842-43 with Lieutenant Colonel George Everest (after whom Mount Everest was named) and two other companions, on their way home from India. On his return to England he published a set of twelve coloured lithographs, Sketches in Egypt (1845), which, like the better-known publications of Wilkie, Roberts and Owen Jones in the same decade, fuelled popular interest in Egypt and the Holy Land.","type":"Painting; watercolour","holder":"Victoria and Albert Museum","dates":"1869 (painted)","location":"London","author":"Victoria and Albert Museum"},"9a2d1d61-3abf-5d45-a7c7-9550d4cd751a":{"name":"Gold to the country from the [Italian] colony in Tunisia","alternate_name":"Receipt for the donation of gold to Italy, in support of its war effort during World War I; *Oro alla patria dalla colonia tunisina*","description":"This receipt certified that Leone Moreno (Tunis, 1852-1940) “donated gold to the country” in order to support Italy’s war effort during WWI. Leone was the grandchild of Mosè Moreno, a Jew from Livorno who migrated to Tunis around 1830. In Tunisia, the Morenos became successful in business. Leone’s father and brothers were traders and bankers, while Leone was an agricultural entrepreneur.  \nHe was a nationalist and was one of the Italians who actively resisted the French policy of assimilating the Italians in Tunisia. He employed only Italian workers on his estate and supported the Società Dante Alighieri, a society aimed at promoting Italian language and culture abroad. Leone Moreno also generously supported the Italian hospital Giuseppe Garibaldi and the Italian orphanage “Principe di Piemonte”.","type":"Archival document","holder":"State Archives of Livorno","dates":"Tunis, 1917","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"9b3b7415-4847-52e1-a035-b476f65ee03e":{"name":"Viaduct on the Haifa–Dar‘a line","description":"This postcard depicts a viaduct on the Haifa–Dar'a section of the Hejaz Railway, identified on the image as the ‘Chemin de fer Hamidié du Hidjaz (Caifa–Deraa)’. Published by the Société Lumière of Lyon, it presents the railway’s substantial engineering works within the landscape of Palestine. The postcard was circulated through the Levant, bearing French Levant postage stamps postmarked Beirut, Syria, on 11 October 1905 and Smyrna, Ottoman Turkey, on 17 October 1905.","type":"Photo-Postcard","holder":"The Nasser D. Khalili Collection of Hajj and The Arts of Pilgrimage","dates":"AH 17 Sha'ban 1323 / AD 17 October 1905","location":"London","dimensions":"Height: 8,9 cm; width: 14 cm","place_of_production":"France","method_for_datation":"French levant postage stamps postmarked Beyrouth/ Syrie 11 Oct 05 and Smyrne, Turquie d’Asie 17 Oct 05","author":"Qaisra Khan","keywords":["Engineer","postcard","stamp","Viaduct","water"],"materials":["Paper"]},"9ba9df9d-f2a1-5166-9182-6b24185296d6":{"name":"Map (*Africa magna*)","description":"An 18th-century map of Africa (*Africa magna*), its toponyms are written in Latin.","type":"Map","holder":"General Library and Archives","dates":"Early 18th century","location":"Tetouan"},"9c275ab6-ba7e-5a89-909a-fd6b396dc11b":{"name":"A battle between Algerian ships and ships of the Naples Royal Navy, which chased the Algerian ships and ultimately destroyed them by firing cannon shots on 17 May 1792","alternate_name":"*Espressione di una caccia intrapresa a due Sciabecchi Algerini dalla Fragata di Sua Maestà Napoletana denominata Sirena, a dì 17 maggio 1792, nelle acque comprese fra le isole d’Jeres ed il Capo Tagliato, quale termina per distruggerli e sommergerli a...","description":"In the 18th century the Kingdom of Naples and the Regency of Algiers were among the countries that competed for the control of trading routes in the Mediterranean and that participated in privateering. Only in 1856, by the Declaration of Paris, did Great Britain and most of other major European countries (with the exception of Spain) declare privateering illegal. By the time, Algeria had already become a French colony. The French military occupation of Algeria had in fact started in 1830.","type":"Drawing","holder":"State Archives of Naples","dates":"1792","location":"Naples","author":"Rossana Spadaccini","copy_editor":"Anne Dowell"},"9c9255a5-9a88-5f13-953c-48f2830112c9":{"name":"Ottoman official document containing the *Tughra*","short_description":"The Ottoman Sultan's certificate presents an expressive, secular form of calligraphy. It is crowned by the ornate, triangular seal of the Sultan, the *tughra*. Here, it is the *tughra* of Sultan Mahmud I (1730-1754). The lines are written narrowly in gold, black and, red ink and each one is written in an upward curve to prevent the possibility of forgery. Official, ornamentally decorated documents, such as this one, would hang in offices or private houses and served as status symbols.","type":"Official document","holder":"MKG Museum for Applied Arts","dates":"Hegira 1150 / AD 18th century","location":"Hamburg","dimensions":"Length: 180cm x Width: 68cm","method_for_datation":"Inscription mentions Sultan Mahmud I (1730-1754) and date Hegira 1150 / AD 1737.","method_for_provenance":"Purchased from Ms. Lienert.","provenance":"Turkey","obtention":"Purchased in 2000.","copy_editor":"Caitlin Link","keywords":["calligraphy"],"materials":["Gold","Ink","Paper"]},"9cf0fa7d-8af1-5fb8-bd4a-1b1c8b14129b":{"name":"Newspaper *al-Wataniyya*","description":"This issue of *al-Wataniyya*, only part of which is shown here, dates to 1 February 1901. *Al-Wataniyya* was a bi-monthly newspaper founded by N. A. Mokarzel and written, edited and printed in Philadelphia, USA. It was distributed internationally.","type":"Print; newspaper","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"1 February 1901","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"9dbfd8cd-e3bf-5f5f-bd09-c7f5a2634953":{"name":"The Students’ Benevolent Fund of the Società Dante Alighieri","alternate_name":"*Società Dante Alighieri. Patronato scolastico*","description":"The Dante Alighieri Society – created in Italy in 1889 and still in existence ‒ is aimed at promoting Italian language and culture abroad; its Tunisian branch was established in 1893. In Tunisia the Dante Alighieri Society devoted its energies into promoting schooling and supporting school attendance. One should consider, in this regard, that the Italian community at the time was composed of workers, miners, and labourers and included several destitute members. The students’ benevolent fund of the Società Dante Alighieri (Patronato scolastico) was created in 1898 and was aimed at supporting school attendance of destitute children, by providing free books and clothes.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"9dcd91c6-e5a8-5dd3-b2fb-aa1eefe94502":{"name":"*Plan of the Suez Canal*","alternate_name":"*Carte du Canal de Suez*","description":"This map was printed four years before the opening of the Suez Canal, in a book published in Algiers by the local Chamber of Commerce. It is evidence of the interest that the opening of the Canal aroused in North African countries other than Egypt, because of the business opportunities that it created.","type":"Lithograph from a book","holder":"State Archives of Trieste","dates":"1865","location":"Trieste","author":"Chiara Artico","copy_editor":"Anne Dowell"},"a0dc5e60-a3ed-58a3-8317-2db79e5cbc80":{"name":"Mico Liubibratic (1839–1889)","description":"Portrait of Mico Liubibratic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"a12c9928-1d6f-5b1e-814c-74692d5b8de6":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"a34c17e6-990c-5cb0-95c0-c85297eb94e1":{"name":"*A Mamluk Resting with his Horse*","alternate_name":"*Mameluco descansando con su caballo*","description":"The Mamluks were excellent horsemen and aroused the attention of artists like Carle Vernet and Sebastian of Bourbon, a member of the Spanish Royal family. Artists did not need to have journeyed to the Near East or Arabia to be labelled Orientalists. This is a good example, because the authors did not travel to the Near East.","type":"Print","holder":"National Museum of Romanticism","dates":"1827","location":"Madrid","provenance":"Madrid","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell"},"a3bc9b66-ff10-54b0-b271-4ef2ef26a367":{"name":"*King Solomon’s Mines*","description":"The book is a narrative of an expedition to East Africa, in search of gold - the King Solomon's mines; a pretext for an imaginary trip to a part of the world that at the end of the 19th century attracted travellers, scientific explorers, adventurers and travellers: the delta of the Nile in Africa.","type":"Book","holder":"National Library of Portugal, Digital Library","dates":"1891","location":"Lisbon"},"a3c1cda7-3cd5-5acd-9fe6-bbcc3a97be64":{"name":"Photograph of Bab Idris street","description":"Pictured here is Bab Idris street, leading to Bab Idris, the city's western gate and the entrance to the old town. By the time of Ahmad Bey al-Jazzar's reign (1777–1804), the city had four main gates: Bab al-Dirka to the south, Bab al-Santiya to the west, Bab al-Dabbagha to the north, and Bab al-Saraya to the east. Jazzar Pasha built fortifications between these four main gates, which was not a fortified gate. Other city gates included Bab Yaqub, also in the east, Bab Abu Nasr at Burj square, and Bab Idris. These non-military gates are reflections of the city's rapid expansion, particularly due to an increase in trade.","type":"Photograph","holder":"Beirut Municipality","dates":"1919","location":"Beirut","author":"Hady El Hajj","copy_editor":"Flaminia Baldwin"},"a3cbcd9b-cf11-5b68-9f33-19a8c46c9df8":{"name":"Map of the Ottoman province (vilayet) of Damascus marking the Hijaz Railway line in red.","description":"The map is part of the Pocket Atlas of the Ottoman Lands: The Geographical and Statistical Conditions of the Ottoman State. It depicts the territories extending from the Hama region in the north through Damascus, the Hauran, and Jordan to the northern Hijaz. A red line begins at Hama and continues southward, representing the Hijaz Railway. A western branch extends toward the Mediterranean coast, corresponding to the railway connection between the main line and Haifa. The principal heading reads سوريه ولايتى, Vilayet of Syria. The vilayet was the principal provincial administrative unit established under the Ottoman provincial reforms of the nineteenth century. Vilayets were divided into sanjaks, and beneath the title the map identifies the four sanjaks of Damascus, Hama, Hauran, and Karak.","type":"Map, pocket atlas","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH 1324 / AD 1905","location":"Berlin","dimensions":"Height: 14,2 cm; width: 9,3 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Masters, Bruce, *The Arabs of the Ottoman Empire, 1516–1918: A Social and Cultural History*, Cambridge: Cambridge University Press, 2013.","copy_editor":"Danielle Morcom","keywords":["Hijaz","Map","Syria","trainline","Türkiye"],"materials":["Paper","printed coloured pocket atlas"]},"a3cd6343-e399-52fc-beca-9b8315cf4639":{"name":"*Panorama of the Compagnie Transatlantique* (French Line). *The \"La Ville de Rome\" steamer leaving the port of Algiers via Montenard*","alternate_name":"Taken from the Exposition Universelle of 1889","description":"The emergence of steam boats in the 19th century allowed important maritime trade relationships to develop. In 1855, the Pereire brothers adopted this new method of transport and founded the Compagnie Générale Transatlantique (The French Line). The first line built served New York. In the 1880s the company then established an important line from Marseille to North Africa, which consisted of a 12-steamer strong fleet, the \"sister ships\" of the \"Ville de Rome\", which was first put into use in 1881. In March 1889, the \"Ville de Rome\" was run aground and washed up on the shores of Menorca. The passengers were evacuated in time, but the storm caused the wreck of the ship to break in two.","type":"Photograph","holder":"National Library of France","dates":"1889","location":"Paris","translator":"Flaminia Baldwin"},"a434b4ec-9d28-510b-baac-35beab8f46ee":{"name":"A map of the area around the 'Turkish graveyard' in the town of Livorno (Tuscany). The graveyard is represented as a small green rectangle","description":"In 1762, Muslims living in Livorno were granted a plot of land outside the city walls, near the beach, to build a graveyard (highlighted in green in the map). The graveyard remained in use until the second half of the 19th century. A Muslim graveyard existed in Livorno even before the 18th century. A significant Muslim community lived in the town. Its first members were captives taken to Italy as slaves. Muslim traders settled in town as well. In 1856, the graveyard was enlarged and surrounded by walls. In 1872 it was demolished to build a road and some of the graves were moved to the city graveyard.","type":"Map","holder":"State Archives of Livorno","dates":"1852","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"a4ee987f-15bb-56a1-b262-8f402df53ad9":{"name":"*Inside a Jewish household*","description":"This copy of a beautiful watercolour by Charles Lallemand shows the inside of a bourgeois Jewish household. This snapshot of daily life reveals a great deal of similarity between Jewish and Muslim traditional dress and interiors.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"a508bec6-1ea4-51c9-b5d8-a70ddc2a7baf":{"name":"*Dans le harem: Divertissement Arabe.* For piano.","description":"Musical composers' fascination with the \"Orient\" manifested itself in their music and their titles. The sphinx, for example, was a recurring symbol of \"Egyptomania\".","type":"Sheet music","holder":"National Library of France","dates":"1894","provenance":"France","translator":"Flaminia Baldwin"},"a532878c-9737-5402-a686-e8febd96a222":{"name":"*Klemens Wenzel Lother of Metternich-Winneburg (1773–1859)*","description":"Klemens Wenzel Lothar of Metternich was the leading diplomat at the Congress of Vienna (1815) who organized the balance of power between the European states. The core of Metternich's policy was supporting Austrian hegemony in Italy and preventing Russian hegemony in Germany. In the German Confederation, there existed an equilibrium between Austria and Prussian influences. Metternich's so-called \"balance of power\" politics ensured peace in Central Europe for a generation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"a541b832-d774-57c4-adb6-f83fd670fffc":{"name":"Museo Nazionale Preistorico Etnografico “L. Pigorini” (National Museum of Prehistory and Ethnography), Exhibition Room","alternate_name":"Museo Nazionale Preistorico Etnografico 'L. Pigorini', Sala Espositiva","description":"The origins, in terms of scientific activity and conservation, of the Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the “Regio Museo Nazionale Preistorico Etnografico di Roma\" (Royal National Museum of Prehistory and Ethnography). Initially the museum was located in a wing of the Palazzo del Collegio Romano built in the late 16th century by the Society of Jesus. This rare image represents the old arrangement of one of the rooms of the Roman College, where the collection of antiquities and curiosities gathered together by Father Athanasius Kircher was kept after the foundation of the museum. According to the intentions of its founder, Luigi Pigorini, the purpose of this new institution was not only to gather together the remains of Italian prehistoric culture and the \"primitive\" cultures of other European and non-European peoples in a central museum located in the new capital of the Kingdom, but above all to support, promote and participate in research by palethnologists in Italy.","type":"Photo from Magazine","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"Post 1912","location":"Rome","author":"Mario Mineo","copy_editor":"Anne Dowell"},"a553f0d5-43fe-535b-9d07-0aff49e30b7f":{"name":"*Portrait of Father António Vieira*","alternate_name":"*Vera effigies celeberrimi P. Antonii Vieyra*","description":"In this engraving Arnold van Westerhout represents the humanist, António Vieira, as a man of knowledge and a father of the Society of Jesus. His gaze extends beyond the horizon: whether towards Brazil where he grew up or to Lisbon, the home he always defended with the staunchness he employed to preach the Christian faith. The Flemish artist concentrates on António Vieira's facial expression to heighten his altruistic character which is shown in constant reflection about the human condition and his own experience of it.  \nThis painting celebrates António Vieira's exemplary life dedicated to the defence of human rights, whether to those of Brazil's indigenous peoples or the Jews persecuted by the Inquisition.  \nBorn in Lisbon in 1608, António Vieira departed to S. Salvador da Bahia with his parents at the age of six. He entered the Society of Jesus in 1623 and become a priest 12 years later. He played a fundamental role in the relationship between Jesuits, coloniser and the indigenous peoples of Brazil, exhibiting in his sermons an anxiety about the socio-political conditions that would characterise his missionary activity. With knowledge of the languages and costumes of the Brazilian Indians he was a missionary and a preacher with a humanistic vision.  \nFollowing independence from Spanish domination, Vieira returned to Lisbon where he became an important figure in the court of King João IV. He rapidly became a key player in state decisions and helped re-establish the Portuguese Empire's economic, political, diplomatic and religious profile in Lisbon and in the most important colony at the time, Brazil. In the latter, and at Vieira's advice, the Commercial Company of Brazil was instituted with two intentions: to resist Dutch invasion and to foment the recovery of local sugar production with the objective of export to Europe.  \nIn Lisbon he proposed economic reforms that would force a change in the doctrine of the Inquisition. He terminated the distinction between 'new-Christians' and 'old Christians' in order to attract the investments of Jews who had fled the Kingdom. The idea generated a conflict with the Society of Jesus and the Dominicans, which resulted in António Vieira being persecuted by the Inquisition.  \nLater in his life he was one again accused of heresy. This was as a result of a letter he sent to the Bishop of Japan in which he outlined his *Theory of the Fifth Empire*. Here he predicted that Portugal was predestined to be the next grand empire following the Assyrian, Greek, Persian and Roman.","short_description":"An engraving by Arnold van Westerhout of António Vieira, a Portuguese Jesuit Priest, writer and preacher. As a senior diplomat as well as a missionary in Brazil, he became both an influential figure in Portuguese culture and in the defence of human rights of indigenous peoples.","type":"Engraving","holder":"National Library of Portugal","owner":"Biblioteca Nacional de Portugal","dates":"c.1700–1721","location":"Lisbon, Lisbon","dimensions":"H: 17.5 cm; w:12.4 cm","place_of_production":"Italy, Rome (?)","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Italy, Rome (?)","obtention":"Acquisition","bibliography":"Frota, G. de Andréa, *Padre António Vieira: ensaio bibliográfico relativo ao Brasil*, Lisbon, 1966.  \nCidade, H., *Pe. António Vieira: a obra e o homem*, 2nd edition, Lisbon, 1979.  \nSilva, M. M. da, *Padre António Vieira \\[Texto policopiado\\]: génese do discurso oratorio*, Tese doutoramento em Literatura Portuguesa, Universidade de Lisboa, 1987.  \nBorges, P. A. E, *A plenificação da história em Padre António Vieira \\[Texto policopiado\\]: estudo sobre a ideia de \"Quinto Império\" na \"defesa perante o Tribunal do Santo Oficio\"*, Lisbon, 1988.","author":"Rui Oliveira Lopes","translator":"Filipe Canas da Silva","translation_copy_editor":"Mandi Gomez","keywords":["Brazil","engraving","sermon"],"materials":["Aqua-fortis and burin (“cold chisel”)"]},"a5573b67-ec0a-5821-8939-6d5d975f2b8a":{"name":"London–Cairo in 7 Days by Train. Simplon-Orient-Express","description":"Travel poster showing the silhouette of a woman carrying a pot on her head among palm trees by the Nile, with the pyramids in the distance, advertising the London–Cairo route via the Simplon Orient Express and its connecting services. Operated by the \"Compagnie Internationale des Wagons-Lits\" (International Sleeping-Car Company), the journey combined the Simplon Orient Express from London to Istanbul with onward rail, road and sea connections through Anatolia, the Levant and Palestine, reaching Cairo in approximately seven days. Designed by French illustrator Jacques Touchet (1887–1949), known for his work in magazine and book illustration, the poster dates to 1930.","type":"Poster","holder":"Qatar National Library","dates":"1928","location":"Doha, Qatar","dimensions":"Height: 99,6 cm; width: 61,5cm","place_of_production":"Paris, Lucien Serre & Cie.","catalogue_holding_link":"https://elibrary.qnl.qa/iii/encore/record/C__Rb2800306__SHC.GM.P.2019.0106__Orightresult__U__X3?lang=eng&suite=def","author":"Giulia Martini","keywords":["20th Century","Middle East","Orient Express","railway companies","Tourism","Travel posters"],"materials":["Color lithograph on linen"]},"a565ef0e-9407-5de9-8ab2-05297761a4c9":{"name":"*Amphitheatre at El Jem*","description":"This drawing is by Sir Grenville Temple. The Amphitheatre of El Jem is seen as a symbol Roman Tunisia. Sometimes called the Colosseum of Ancient Thysdrus (El Jem), this amphiteatre is the only in the world, other than the colosseum of Rome, to have preserved all three of its tiers. Considered the most beautiful monument of ancient Africa, the Amphitheatre of El Jem was listed as a World Heritage Site by UNESCO on 26 October 1979.","type":"Engraving/Etching","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"a5ace29e-e1bf-5a09-9df7-66c7741b63b4":{"name":"*Odalisque*","description":"Sepia drawing representing odalisque, based on an epoch engraving. Painted by Joaquim José de Oliveira, Victor Rousseau’s disciple and master of painting and drawing of the Vista Alegre Factory, between 1869 and 1881.","type":"Drawing","holder":"Vista Alegre Museum","dates":"After 1869","location":"Vista Alegre, Ílhavo"},"a63d4087-1cd4-5ec4-b4ee-b445f990556b":{"name":"*Chargeurs réunis. French steam-travel company (with destinations in South America)*","description":"At the end of the 19th century, France tried to catch up with its counterparts in the arms trade, as it had begun to fall behind England, Germany and others in recent decades. Commercial interests also played a part. In 1872, the Compagnie des Chargeurs Réunis established a maritime relationship between France and South America for the movement of passengers and merchandise. As this poster shows, they put great emphasis on the different services passengers were provided aboard these steamers.","type":"Poster","holder":"National Library of France","dates":"1887","location":"Paris","translator":"Flaminia Baldwin"},"a7135e6b-1b7e-5ddf-9568-b2daa5ac8d45":{"name":"Louis Pasteur's work on silkworm illnesses. *Healthy Worms*","description":"Silkworm farming developed in both France and Italy from the 15th century. Over-intensive farming caused the spread of various silkworm-based illnesses in the mid-19th century. Louis Pasteur, the famous scientist known for his work on the rabies vaccine amongst other things, was called on to find a cure. In 1870 he published *Une Étude sur la Maladie des Vers à Soie*, in which he proposed the use of various preventive methods, which proved effective. Pictured here is an illustration of silkworms immune to illness.","type":"Drawing","holder":"National Library of France","dates":"1870","location":"Paris","translator":"Flaminia Baldwin"},"a73e56c5-c169-5488-aff8-8af1170f4be3":{"name":"“The conqueror of Europe”","alternate_name":"A cartoon on the influenza pandemic of 1918, known as the “Spanish flu”; *Il conquistatore dell’Europa*","description":"In Italy, the pandemic of influenza of 1918, known as “Spanish flu,” caused about 600,000 deaths out of a population of about 40 million. Around the world, it caused around 20 million deaths.  \nThe name derived from the fact that Spain – which did not participate in WWI – unlike other Western countries did not have press censorship, and so the news regarding the epidemic made headlines on newspapers. However, the epidemic did not start in Spain, but in China, then spread to the USA and arrived in Europe involuntarily carried by the US soldiers dispatched overseas.  \nIt hit particularly hard because the population was weakened by the hardships caused by the war and many medical doctors had been drafted, leaving civilians with insufficient medical assistance.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"13 October 1918","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"a7580d59-2cc3-599d-bd19-8d4d84fa37af":{"name":"Compagnie Air Union Lignes d'Orient : [affiche]","type":"Affiche","holder":"BNF","owner":"BNF","dates":"1929","location":"Paris","dimensions":"Height: 60 cm; width: 39,5 cm","catalogue_holding_link":"https://gallica.bnf.fr/ark:/12148/btv1b10116533s/f2.item.r=Compagnie%20Air%20Orient","keywords":["Advertisement","Airline","Art Deco","Holidays","travel"],"materials":["Affiche"]},"a7c8b211-e332-5686-9c0a-beed901d97e7":{"name":"Austria's display, Rome Exhibition, 1911","alternate_name":"La mostra dell'Austria","description":"On the occasion of the International Exhibition of Rome in 1911, the complex of the \"Baths of Diocletian” was restored under the direction of the archeologist and topographer Rodolfo Lanciani. The site housed the Archaeological Exhibition dedicated to the Roman culture in the Imperial Era with a particular interest for its positive influence on the \"ex provinces”. Every single nation participated through original reproductions of archaeological materials, often lost. The photo shows archaeological materials and casts displayed in the room dedicated to Austria.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"a7ce0231-54e8-5757-928a-48c3c0b66585":{"name":"Süleymaniye waterway map.","description":"The Süleymaniye waterway map is handmade on unfinished paper. The waterway was designed to supply water to the entire complex of the mosque, including its *imaret* (soup-kitchen), *maristan* (hospital), *maktab* (school) and public fountains. Fed by the Aypah (Kirazlı) and çınar springs, the highest-capacity branches of the Halkalı water supply system, this waterway supplied the Süleymaniye Complex as well as 80 other points in Istanbul. The map shows the waterway in detail from its source all the way to its end, including the places where it is joined by other waterways, the points where it enters the city through the walls, and especially the water-distribution centres and aqueducts.  \n  \nThe map was prepared without a scale and has a schematic style. Therefore, many structures and neighbourhoods cannot be precisely placed. At the far end of the map there is the drawing of the Süleymaniye Complex.  \n  \nSuch waterway maps tell the story of water from springs being conveyed via pipes, crossing valleys in aqueducts, its pressure adjusted at certain points, being sent off in various directions at distribution centres and reaching public fountains. These maps also provide information about the urban structure; how people lived, and the infrastructure and buildings in a given quarter. For example, the Roman Aqueduct of Valens (AD 375), known as Bozdoğan Aqueduct in Turkish is introduced as 'the big aqueduct in the Horse Market'. The names of the people and the structures receiving water from this aqueduct are also given. The water of the Halkalı network could be distributed to private estates only on the written permission of the sultan. For instance, we find the house of Süleyman the Magnificent's dentist, Moshe Hamon, (AH 899–962 / AD 1490–1554) listed as 'House of Hamudoğlu'.  \n  \nFrom the Süleymaniye Complex waterway map, we learn not only how the water was brought to the city but also about the quarters where the courtiers and dignitaries resided. Therefore, the waterway maps are important for describing the social topography of the city.","short_description":"Istanbul has always suffered from water shortage due to a lack of sufficient springs nearby and its demand was met by conveying water via aqueducts from afar. Waterway maps provide information about the routes from the springs to the city, monuments on the way and the social structure of the city.","type":"Paper, ink","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira second half of the 12th century / AD 18th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 2572 cm, width 30 cm.","method_for_datation":"Although the map does not have a date it is clear from the names of people and structures therein that this is an 18th-century document. For example, it is known that water was supplied to Taygun Palace in 1161 / 1748, a building shown on this map; therefore, this map must have been prepared after 1161 / 1748.","method_for_provenance":"The map does not bear any date. However, that our copy is an 18th copy is clear from the names of people and structures given therein. For example, it is known that water was supplied to Taygun Palace in 1161 / 1748, a building shown on our map; therefore, this map must have been prepared after 1161 / 1748. Public services such as the water supply were under the supervision of the state and due to this fact the waterway would have been designed and constructed by the official architects of the Topkapı Palace.","provenance":"Istanbul, Turkey.","obtention":"The map was transferred to the museum in 1923 from the Directorate of Supplies for Pious Foundations.","bibliography":"Aksoy, Ş., “İstanbul'un Suyolları (Waterways of Istanbul)”, *P Dergisi (P Magazine)*, 22 (Summer 2001), pp.17–29.  \n  \nçeçen, K., *Süleymaniye Suyolları (Süleymaniye Waterways)*, Istanbul, 1986.  \n  \nçeçen, K., *Halkalı Suları (Halkalı Water Supply System)*, Istanbul, 1991.  \n  \nYerasimos, S., *Soliman le Magnifique*, Paris, 1999, cat. no. 323.","linkcatalogs":"IAM_TR_EN_001","author":"Şule Aksoy","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["water"],"materials":["coloured paints.","Ink","Paper"]},"a9007630-d81f-5724-87ad-6fc202c954e3":{"name":"Gufas (Quffas) on the Tigris at Baghdad","description":"This stereoview by the Keystone company (a reprint from an older negative) was part of a popular box-set of images about Mesopotamia. They were sold across Europe. The text on the reverse contains description of the geography, architecture (explanation of minarets, lament at the absence of fine buildings through devastation of the city by fire, habit of wealthy to live in unpretentious houses to avoid the attention of the Turkish taxman) and history, plus brief caption in half a dozen languages.","type":"Engraving","holder":"Private Collection","dates":"Before 1914","location":"London","provenance":"United Kingdom"},"a91be56f-fdaa-598c-a438-db2d0512a2e7":{"name":"*Athenian Bride*","description":"Louis Dupré (1789–1837) visited Greece in 1819. He exhibited Greek subjects at the Salons of 1827, 1831, 1833 and 1855. In 1825 he published a set of colored lithographs of views and studies of costumes from Greece, entitled *Voyages à Athènes et Constantinople*. Dupré recorded his experiences of travel in the Levant in 1819 mainly through portraits of the people he met. In addition to the lithographs in this book, Dupré also produced loose broadsheet lithographed plates. Many of these are in the possession of the Cabinet des Estampes of the Bibliothèque Nationale. Much has been written on Dupré. *Athenian Bride* depicts the preparations of an Athenian wedding. The bride patiently waits as the groom is ritually shaved.","type":"Lithograph","holder":"Benaki Museum","dates":"1825","location":"Athens","author":"Tsigakou, The Rediscovery of Greece, p.191"},"a9495bdc-29e8-5ac4-be85-88883d1f30cd":{"name":"*Madame Josephine the Landlady of the Hotel Constantinople in a Turkish Dress*","description":"From Sir David Wilkie's *Sketches in Turkey, Syria & Egypt*, 1840 & 1841. Shows what would have been a familiar to face to many travellers.","type":"Print","holder":"The British Museum","dates":"1840","location":"London","provenance":"Turkey"},"a98c40f6-a4df-55c5-b720-2e843d2d4af6":{"name":"General view of the excavations in the crypt of the Saint-Geneviève monastery, in 1807.","description":"Although only the library remains today, in the 18th century there used to be a great monasterial complex - the Abbey of Sainte-Geneviève - next to the Church of Saint-Etienne du Mont in Paris. The monastery was destroyed to make space for the construction of the Panthéon and Rue Clovis. The architect Bourla, who was tasked with its demolition, made a great number of sketches and organized many excavations in the crypt, where a number of sarcophagi were discovered. His son Alexandre, who had helped out on the site as a child, worked on the drawings that illustrated the archaeological reports.","type":"Drawing","holder":"National Library of France","dates":"1850","location":"Paris","translator":"Flaminia Baldwin"},"ab544580-373f-5233-aec7-0fcf8aeb0acf":{"name":"*Milovan Bohekowich (-1900)*","description":"Portrait of Milovan Bohekowich. Bohekovich was the commander of Montenegrin forces fighting the Turks.","type":"Print","holder":"Austrian National Library","dates":"Before 1900","location":"Vienna","copy_editor":"Daniel de la Vega"},"aba67976-e763-523c-b6b8-d3d8d4b775b6":{"name":"Spread from lithographic-printed publication","description":"Despite Arabic lithographic printing arriving late to Morocco, the government did its best to catch up and printed a considerable number of books in all disciplines.","type":"Manuscript; book","holder":"Library of Qarawiyyin University","dates":"1909","location":"Fez"},"abac828d-5728-5fdb-8767-366c5beb8fa5":{"name":"Café du Marabout in the Souk Ettrouk","description":"This copy of a beautiful watercolour from Charles Lallemand's book Tunis et ses Environs shows the Café el-Mourabit in the Turkish souk, also known as the tailors' souk, in the Tunis medina near the Zaytuna Mosque. The café was especially known for its Andalusian architecture. The customers sit on mats sipping coffee, leaning on archways and pillars.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"ac179872-390d-5c7a-ab3a-2c5e56a1e7df":{"name":"Showcasing architecture","description":"This collecting card commemorates the 1889 Exhibition in Paris. Visitors were able to satisfy their relentless curiosity about other cultures through exploring recreations of houses from foreign and past cultures.","type":"Chromo","holder":"Private collection","dates":"1889","location":"n/a","provenance":"France"},"ac5b0f5f-98d9-556f-869d-b17cc4a654a2":{"name":"*The Gate of the Roman*","description":"Since King Otto (1833–1863) made efforts to transform immediately ruinous Athens into a European capital worthy of its erstwhile glory, around the mid-nineteenth century spectacular changes were made in the urban planning structure and morphology of the city. A reliable image of Athens at this time is given by Du Moncel in his book *Vues pittoresques des monuments d’Athenes*. This particular representation of Athens is the Roman Agora (Forum Romanum), natural continuation of the ancient Agora, was built c.10BC, the Gate of Athena Archegetis, which is depicted here. In Ottoman times this Roman gate was known as the Pazaroporta (Bazaar Gate), because it was used as the entrance to the bazaar, the commercial centre of Athens, which occupied the area between the Roman Agora and the Library of Hadrian.","type":"Lithograph","holder":"Benaki Museum","dates":"1845","location":"Athens","author":"Athens 1985, no 205 (F-M Tsigakou)"},"ac642d3b-bbff-52e1-97f4-243c52c3dde5":{"name":"'You are not worthy to sit among your classmates!'","alternate_name":"A teacher disciplining a student (from an Italian textbook for second grade children); *'Tu non sei degno di stare fra i tuoi compagni!'*","description":"When Italy became a nation state in 1861, the illiteracy rate in the country was 78 per cent. Illiteracy was particularly high in the countryside. In 1877, the “Coppino Law”, made three years of elementary school mandatory and free of charge.","type":"Drawing from a book","holder":"Archivio unico regionale di deposito – Solomeo di Corciano","dates":"1908","location":"Perugia","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"acce08e9-8aba-5eba-b44c-f4bb89218e20":{"name":"*The Grammar of Ornament*","description":"A monumental work by Owen Jones on design with 20 chapters dedicated to the traditions of different historical periods ranging from the savage tribes, the arts of the ancient world, the arts of the Middle East and the Far East to European art. The last chapter is devoted to naturalistic ornament.","type":"Book","holder":"Benaki Museum","dates":"1910","location":"Athens","provenance":"London","author":"Mina Moraitou"},"acfa76a9-edd6-5f50-bcf6-fef161aa398e":{"name":"*Catholic mission to Brazzaville: freeing enchained slaves at Saint-Louis d'Oubangui*","alternate_name":"[116 postcards of the French Congo, 1907]","description":"Despite the abolition of the slave trade in 1848, slavery continued to exist in 19th century Congo in other forms. Missionaries went to Congo with the aim of freeing these slaves, partly for ethical reasons but partly also in the hope of converting them, and often by buying them first with their own special funds.","type":"Photograph","holder":"National Library of France","dates":"1907","location":"Paris","translator":"Flaminia Baldwin"},"ad19e46b-73be-59de-b600-34195f9350aa":{"name":"*Crystal Palace in Oporto*","description":"The Crystal Palace was built a decade after its counterpart in London, by Thomas Dillen Jones, to house the Oporto’s International Exhibition that congregated about 3 thousand stands from all over the world. By promoting such exhibition, Portugal sought not only to keep pace with progress but also to promote its own colonial empire.","type":"Painting","holder":"Soares dos Reis National Museum","dates":"1863","location":"Porto","author":"DGPC"},"ad3c4a56-381f-553f-b5a5-133f25218054":{"name":"A telegram from the Khedive of Egypt to the Ottoman sultan","description":"A telegram from the Khedive of Egypt to the Ottoman Sultan expressing his loyalty and best wishes on 15 December 1897.","type":"Telegram; historical document","holder":"Bibliotheca Alexandrina","dates":"15 December 1897","location":"Alexandria","copy_editor":"Daniel de la Vega"},"ae99c07a-63eb-5689-9082-49c9d484164e":{"name":"*Suq al-Hamidiyya, Damascus*","alternate_name":"Covered market constructed in the shape of an arcade turning it to the worldwide longest arcade of the fin de siecle","description":"The Suq al-Hamidiyya, built in 1886 and 1894, is by far the biggest and most famous suq in Damascus. This bazaar street also links the two most important historic buildings, the Umayyad Mosque and the Citadel. It was built along its western section by incorporating earlier structures, whereas the eastern part of the street was a completely new construction cutting through the existing buildings. The commercial thoroughfare is 450 metres long and 8.70 to 9.90 metres wide, its enormous size and the high standard of its execution accentuate new design principles. So in various respects, this suq is a very interesting example of structural change in a traditional commercial centre.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1910","location":"Berlin","author":"Stefan Weber"},"af6de1c1-aac3-5b48-9d6c-1e99228574c4":{"name":"Military personnel records","description":"The information sheets are part of the medical examination prior to the training of the new recruits. The newly enrolled were destined for the Protectorate which, due to the pressure of public opinion, refused the presence of Spaniards in that area.  \nThe records, along with a pair of photographs, gathered information on individuals’ social and professional backgrounds, as well as descriptive data and anthropometric values. Those values were used by the Medical Corps to determine the minimum size permitted to enter in the Army, but they were also important according to the existing racial theories in Spain.  \nThe sheets refer to these soldiers as “Moors” in a generic way, a colloquial and sometimes pejorative term of Latin etymology, which alludes to the population of the Maghreb with no regard to their origin, ethnicity or beliefs.","type":"Photograph","holder":"National Museum of Anthropology","dates":"19 August 1913","location":"Madrid","copy_editor":"Anne Dowell"},"b0efd48f-c5dd-580f-97dd-0300a02b3fc2":{"name":"*La Tunisie martyre*","description":"*La Tunisie Martyre: Ses Revendications* (better known by its abbreviated title, *La Tunisie Martyre*) is a Tunisian book written in French and published in Paris in January 1920, attributed to Abdelaziz Thâalbi (Abdelaziz al-Thalibi). Having arrived in Paris on 10 July 1919, Thâalbi started writing a book by the title *Tounes al-Shahida* (Tunisia the Martyr). Although the published book does not bear his name, Thâalbi admitted to having written it in Arabic, as can be seen from the reports sent from Tunis by the future leaders of the Destour party. As he was not able to write in French, he asked his friend Ahmed Sakka, a lawyer living in Paris, to translate the book into French. A few months after the publication of *La Tunisie Martyre*, an arrest warrant was issued for Abdelaziz Thâalbi. He was arrested on 28 July 1920 in Paris, and transferred, by escort, to Tunis, where he was taken to the military prison and charged with jeopardizing national security.","type":"Book","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"b111e780-75c2-51e3-bb5c-dda0ea9e3015":{"name":"Execution of the nationalists","description":"Pictured here are three Tunisian men sentenced to death and a photograph of a public execution using a guillotine brought over especially from Algeria. These two young men, barely 20 years old, were implicated in the events of the 7 November 1911, known as the Jellaz Affair. The memory of this execution is still alive today in Tunisia.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1861","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"b29cbfc5-92ab-5924-883e-7d561e5c7761":{"name":"*Temple and fountain of Zaghwan*","description":"This drawing of the temples and fountains of Zaghwan was drawn by Sir Grenville Temple in the mid-19th century. The triumphal arc and the nymphaeum are carved with two important tales from the city's ancient history. This water temple, located at the feet of Mount Zaghwan, contains a 30 metre long semicircle nymphaeum, bordered on the inside by arched galleries fitted with various niches. At its feet lies a pool, flowing with water which is then carried all the way to Carthage.","type":"Gravure","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"b3ad190f-fed9-546e-924a-e3b7f2699f23":{"name":"*The Ka'ba in Mecca*","description":"Émile Prisse d'Avennes (1807–1879) drew this plan of the Ka'aba in Mecca, a detailed view of the place of pilgrimage which had so fascinated Europeans.","type":"Drawing","holder":"National Library of France","dates":"1858–1859","location":"Paris","translator":"Flaminia Baldwin"},"b424ad60-28d9-5e2b-8050-b9eeeaa8a7c0":{"name":"*Book bindings*","description":"This illustration shows book bindings made by Wunder und Kölbl (Vienna), in leather-mosaic and hand gilding. The illustration was included in the *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, edited by Carl Lützow, 1875, p. 188.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1875","location":"Vienna","copy_editor":"Daniel de la Vega"},"b4f64de8-89f2-5608-a2d6-f642d0ce7827":{"name":"*Cairo, from the Gate of Citizenib, looking towards the Desert of Suez*","description":"Although entitled 'Cairo from the Gate of Citizenib, looking towards the Desert of Suez', this view actually shows Cairo as seen from Tel Zaynum, situated to the south of the city. The monuments depicted include the tombs of Fatimah Khatun and Sultan Khalil on the left and the mosque of Sayidah Nafisah on the right. In the background, one can discern both the Cairo citadel on the right and the Madrasah of Sultan Hassan on the left. Notwithstanding the incorrect identification of this area of Cairo, the scenes gives a good impression of one of its quarters with its traditional urban architecture and historical monuments before major urban development projects were undertaken under the Khedive Ismail (1863-1879), who was determined to turn Cairo into a modern, international city  on a par with European capitals.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"b5036b5d-8c8a-54bc-9e98-cd2351f8ef63":{"name":"*Djouni. The residence of Lady Hester Stanhope*","description":"William Henry Bartlett was a prolific topographical artist who travelled extensively in search of new and interesting subjects for his drawings. He visited North Africa and the Middle East seven times and made several other trips in Britain and Europe, as well as North America. Popular demand for travel books was high during the 1830s and 1840s and Bartlett contributed illustrations to several of them including about a dozen written by himself. His aim as he described it was 'to give lively impressions of actual sights'. Bartlett visited the celebrated Lady Hester Stanhope, a British adventurer and traveller, at her residence in Joun in the Lebanon in June or July of 1834 and produced this watercolour during his visit.","type":"Painting; watercolour; drawing","holder":"Victoria and Albert Museum","dates":"c. 1835","location":"London","author":"Victoria and Albert Museum"},"b5237ac5-6bde-593f-8bf3-56257cd8a060":{"name":"Tunisian Coffee Shop at the Trocadero [Paris Exhibition, 1878]","alternate_name":"*Il caffè tunisino sul Trocadero*","description":"A half circular hall arranged as an Oriental coffee shop with a Tunisian orchestra of four musicians playing typical instruments. The instruments played are a lute, a type of violin used in the Middle Ages, a little drum decorated like a cymbal and a derbuka, which is a terracotta drum shaped like a particular vase.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"b532b295-4380-5ea9-951e-1e3a7150eff2":{"name":"The Central Asian railway. Proposal for a direct line from Europe to India.","description":"Charles Cotard was an engineer and graduate of the famous École Polytechnique who dedicated his life to developing new transports. As the engineer-in-chief during the digging of the Suez Canal, he offered Ferdinand de Lesseps a partnership, with the goal of creating a railway line from Europe to India. The biggest obstacle to his plan was the number of hilly or mountainous regions which needed to be crossed. However, Charles Cotard saw many diplomatic and economic opportunities (such as closer relations between England and Russia) in this venture. The map's caption shows the new route's predicted cost and time for passengers compared to the current available routes.","type":"Map","holder":"National Library of France","dates":"1875","location":"Paris","translator":"Flaminia Baldwin"},"b5762c66-bf5b-5b77-bfe4-6c9e135ce487":{"name":"*Entrance to a Private Mansion, Cairo*","description":"The Scottish artist David Roberts spent six weeks in Cairo. In his times, Arab architecture was much less known in Europe than that of ancient pharaonic temples, and Roberts' images of ancient and modern Islamic architecture in Cairo were the first window into this ‘exotic’ world for many Europeans. This image shows the monumental, two tiered, marble entrance portal to a Cairo mansio.Although the entire building is not shown, the composition evokes some of its most characteristic aspects: the walls are high and windowless, protecting the inhabitants' privacy. At the same time, a delicately carved, openwork alcove or mashrabiya projects above the entrance portal to allow air and light into the room behind and to provide those within the chance to observe life outside without being seen themselves. With the arrival of major urban development in Cairo from the mid 13th/ 19th century onwards, many traditional buildings were either erased or modified to reflect the new European-style tastes of the urban elite. In the process, the traditional courtyard-style layout of Cairene houses was was often replaced by European-style designs, and traditional architectural elements like mashrabiyas made way for the latest in European technology, including glass pane windows.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"b5f42e1e-ecb3-55b6-8189-981be88d8626":{"name":"National loan 1920. *Banque National d'Escompte de Paris… National loan, 1920, 6%... Sign up for a loan and save in the future…*","description":"As the First World War was proving longer and more costly than predicted, the French government took out two loans in 1915 and in 1918 to fund weaponry and other wartime expenses. After the war, more loans were taken out to rebuild the country. Posters with simple messages were used to persuade the population that these loans were beneficial to the country, and would have huge returns. We can see on this poster, for example, a French cockerel standing on a horn, a symbol of abundance, from which money is overflowing.","type":"Poster","holder":"National Library of France","dates":"1920","location":"Paris","translator":"Flaminia Baldwin"},"b64a1bbb-e3ff-5209-9c78-7304ea9b3d7d":{"name":"Water Well","description":"This powerful and emotional drawing reflects everyday life, community and endurance. The artist uses a limited colour palette of dark, soft tones to create a haunting atmosphere. At the centre, a group of women stand close together around a dark well, while a solitary figure stands apart, carrying heavy containers. The scene is both quiet and heavy, conveying the physical and emotional weight of their daily labour.  \nThe well itself becomes more than just a source of water; it also symbolises life, connection and memory. The women's bent figures and joined forms suggest unity and cooperation, as if they rely on one another for strength and survival. Their faces are not clearly visible, giving the image a universal quality and turning the women into symbols of resilience and shared struggle rather than individuals.  \nThe artist’s use of shading and blurred lines gives the drawing a dreamlike and timeless quality, as if the moment exists in both the past and the present. The open space and faint background add to the sense of isolation and endurance in a harsh environment.  \nOverall, *Water Well* powerfully and poetically captures the intersection of women’s labour, community and survival. The simple composition and muted tones draw attention to the emotional depth of the scene, reflecting not only daily life in rural Jordan, but also providing a broader commentary on strength and perseverance.","type":"Drawing / Painting","holder":"Jordan National Gallery of Fine Arts","dates":"AH 1396 / AD 1976","location":"Amman","catalogue_holding_link":"https://nationalgallery.org/artist/mohammed-abu-zreiq/#artwork-16","keywords":["art","water","watercolor","Well"],"materials":["watercolour"]},"b7235782-b04a-58a3-83e1-28d83ed8c19d":{"name":"*Plan for the House of the Invalids in Pest*","description":"The engraving and etching was made after the original drawing by the imperial architect, Anton Erhard Martinelli (1684–1747), for the largest Baroque building, the House of the Invalids in Pest. The building, which was never finished following Martinelli's original plans, is today the City Hall of Budapest.  \nThe building, which was originally used as a military hospital, has three gates, the central one leading to the former chapel where there are allegorical figures of *War* and *Peace* with a statue of *Atlas* above. The façade is decorated with reliefs commemorating Emperor Charles III and Eugene of Savoy. The foundation stone was laid in 1716, and the main façade was finished in 1731. With the death of the architect, Martinelli, construction of the building stopped in 1741. During the reign of King Joseph II it became a casern named after the founder, Charles III. It became the City Hall in 1894 and was transformed for the purposes of the central office by the architect Ármin Hegedűs.","short_description":"A printed *veduta* using a mixed technique showing the plan of the largest Baroque building in Budapest – the House of the Invalids in Pest – designed by Anton Erhard Martinelli (1684–1747). The building, which was never finished following Martinelli's original plans, was rebuilt at the end of the 19th century as the City Hall of Budapest, for which use it is still inhabited today.","type":"Engraving, etching (*veduta*)","holder":"Budapest History Museum","dates":"1739","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 42 cm; w: 57.5 cm","method_for_datation":"On the basis of the signature","obtention":"Transferred from the Capital’s collection in 1945","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 23.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Budapest","engraving","Habsburgs","hospital","Joseph II Habsburg","medicine","print","science","surgery","warfare"],"materials":["Engraving and etching on paper"]},"b7682ec7-12af-5614-9211-58be3ac85cee":{"name":"*On sale everywhere. The 1900 Paris Exposition Universelle, an illustrated publication with around 2000 engravings…*","description":"The 1900 Exposition Universelle (world fair) saw the publication of many related articles, guides and other works. This poster is advertising a booklet, featuring illustrations by various famous artists. These booklets were later collected and bound together to make an Encylopaedia.","type":"Poster","holder":"National Library of France","dates":"1900","location":"Paris","translator":"Flaminia Baldwin"},"b776a817-c7d7-51b1-8767-4441833fd7a5":{"name":"*The Progress of Steam: A View in White Chapel Road, 1830*","alternate_name":"Taken from Salomon's collection, *Transport, Cycles, Automobiles*","description":"Steam engines carried a great variety of goods in the 1830s. This English cartoon imagines the chaos the widespread use of collective and individual carbon-fuelled transport systems would bring (pollution, noise, cumbersome, etc.) to one of London's great arteries, Whitechapel Road. These vehicles provided fashionable services such as on-board coffee.","type":"Print","holder":"National Library of France","dates":"1830","location":"Paris","translator":"Flaminia Baldwin"},"b7e5dd09-cf9b-5310-9343-8db43d0c9114":{"name":"*The Emperor of Austria ascending the Great Pyramid*","description":"William Simpson wrote in his autobiography: \"I went out one day and saw the Emperor of Austria lugged to the top of the Great Pyramid by two Arabs as if he had been only an overland passenger\". Many visitors were unceremoniously hauled to the top of the monument by local inhabitants, helping unfit and often overweight tourists to clamber up the huge blocks. Emperor Franz Joseph was one of many European dignitaries in Egypt in November 1869 for the opening of the Suez Canal. Simpson was employed by the Illustrated London News as their \"Special Artist\". Photography would soon replace such drawings.","type":"Watercolour","holder":"The British Museum","dates":"1869","location":"London","provenance":"Egypt"},"b84ae82c-3c44-5a73-ae00-06a543d2035b":{"name":"Dr Béchir Denguezli, doctoral thesis in medicine","description":"Pictured here is the cover of a doctoral thesis in medicine, written by Béchir Denguezli at l’Université de Bordeaux in 1897. Dr Béchir Denguezli was the first Tunisian doctor to study at a French university, and his thesis was on the subject of smallpox.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"b8bb387e-75d0-55d8-89ae-9322c204928c":{"name":"Simplon-Orient Express Poster","description":"The Orient Express, owned by the Wagon-Lits Company, connected Paris and Istanbul between 1883 and 1977. French, German, Austrian and Ottoman diplomats and civil servants were on board for its first journey. In the early years, the travellers stayed in different hotels in Istanbul but starting from 1895, passengers stayed exclusively in Pera Palace, which was bought by the Wagon-Lits Company. The Orient Express did not run during World War I, from 1914 to 1918.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1930","location":"Istanbul","copy_editor":"Daniel de la Vega"},"b8eb5b08-b02d-5e85-84ad-fa6eec012b1c":{"name":"The Route of the Overland mail to India; Aden","description":"Lithograph, tinted with one or two tint stones, in a portfolio stamped in blind and gold. Some plates signed. Each plate lettered with title, except for title page.","type":"Print","holder":"Victoria and Albert Museum","dates":"c. 1850-1852","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"b8fd5a61-6e87-5479-8b87-53c6a66033f2":{"name":"A drawing showing wooden gratings from various mosques","alternate_name":"*Grate di legno da varie moschee*","description":"Alfredo Melani, teacher and then director at the school of applied arts in Milan, was one of the main exponents of oriental decorative motifs in Italy. During the 1880s he published a series of works and texts discussing eastern art, often in the form of handbooks and essays. Subsequently, toward the end of the century Camillo Boito pioneered courses in the history of styles at the Accademia of Brera. Dell’ornamento nell’architettura written by Melani, includes a whole chapter about Muslim decorations, from which the drawing showing wooden grills from mosques is taken.","type":"Photo from book","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"b902f002-452f-5bec-8587-b983db9d1182":{"name":"*Schoolboy*","description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. A Turkish boy going to school.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey"},"b97bcb71-a957-5608-9199-9926745d01bd":{"name":"Egyptian Pavilion of Chocolate and Cocoa Factories – Michele Talmone – Turin (interior)","alternate_name":"Padiglione Egiziano delle Fabbriche di Cioccolato e Cacao – Michele Talmone – Torino (interno)","description":"On the occasion of the International Exhibition in Turin in 1911 the Talmone Company built an Egyptian Pavilion resembling an Egyptian temple. The inside of the Pavilion shows details inspired by Egyptian motifs and related to the company’s name. Items highlight the taste of the age for Egyptian and oriental objects. The stained glass design in the Pavilion was taken from a postcard design. This picture, showing a stunning view of a caravan travelling across the desert and already used for the Exhibition in Turin in 1898, is now employed to promote the logo \"Chocolate of the Pyramids\".","type":"Postcard","holder":"The House of Antique Tin Boxes","dates":"1911","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"b9afa85f-9c6f-5c35-ad19-8ad72d2903a7":{"name":"Moorish City at the Trocadéro, View from the Pavilion of the Insects [Paris Exhibition, 1878]","alternate_name":"La città moresca al Trocadero, veduta presa dal padiglione degli insetti","description":"Singular mix of \"Moorish\" Pavilion and \"Occidental\" architecture from the Universal Exhibition in Paris, 1878. The publication offers images providing a rich documentation about the exhibition and includes frivolous and caustic comments. The magazine presents sharp and close observations about habits and trends common in Paris and in the western world at the time of the International Exhibitions.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"ba4a9d77-759d-50a9-9165-61cb49c132a4":{"name":"*Caravan in a covered street in Algiers*","description":"This lithograph by Théodore Frère shows the \"Jennée\" alley, beneath the Dey of Algiers' former residence, the \"Janina\". Both the palace and the alley were destroyed in 1853.","type":"Lithograph","holder":"Bibliothèque Nationale d’Algérie (Fonds Estampes)","dates":"Unknown","location":"Algiers","translator":"Flaminia Baldwin"},"bab7404e-f6da-51e5-bfe3-7f236f4ef2b2":{"name":"*Wadi el-Tuffah*","description":"In this image, a Palestinian lady uses a traditional spinning wheel for cotton. 19th-century Palestine became an increasingly viable, agricultural producer of cotton, whose importance on the world market was steadily increasing. Mainly supplying European countries  Palestine's cotton became a key commodity. 6% of its cultivated land was given up for its production. Throughout the 1860s, concerted efforts were made to meet the ever growing demand, but as early as the 1870s, the industry, which was merely based on expanded cultivation rather than industrialisation, declined again.This print originally appeared on page 192 in Charles William Wilson's  'Pituresque Palestine, Sinai and Egypt, published between 1881 and 1884. The caption reads: ''Wady et Tuffah, commonly called the vale of Eshcol. The peasants grouped in the foreground are under the southern branches of Abraham's oak. In the distance the minaret of the great mosque of Sheikh Ali Bakka, Hebron, may be distinguished'.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1881–1884","location":"Sharjah","provenance":"Published in New York","author":"Ulrike Al-Khamis"},"baca824e-062d-5426-b385-13a5074e8755":{"name":"View of Livorno from the Lighthouse. On the right, one can see the so-called 'Turkish graveyard' highlighted in green","alternate_name":"*Panorama della città e contorni di Livorno disegnata dal Fanale*","description":"In 1762, Muslims living in Livorno were granted a plot of land outside the city walls, near the beach, to build a graveyard (highlighted in green in the lithography). The graveyard remained in use until the second half of the 19th century. A Muslim graveyard existed in Livorno even before the 18th century. A significant Muslim community lived in town. Its first members were captives taken to Italy as slaves. Muslim traders settled in town as well. In 1856, the graveyard was enlarged and surrounded by walls. In 1872 it was demolished to build a road and some of the graves were moved to the city graveyard.","type":"Litography","holder":"Labronica Library, City of Livorno","dates":"c. 1850","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"bae5f080-ad41-5249-82bc-b0f3de4d1129":{"name":"*Médailles d'honneur d'or et de 1er mérite* \\[…\\] Biberon-Robert, flexible, patented \\[…\\] Only the very best doesn't let your child go thirsty","description":"As infant mortality was still commonplace in the 19th century, the need to instil young parents with an understanding of hygiene in order to counter child illness quickly became clear. This poster advertises a new child's feeding bottle, showcasing its high quality and foregrounding an image of a healthy baby.","type":"Poster","holder":"National Library of France","dates":"1882","location":"Paris","translator":"Flaminia Baldwin"},"bb75e12c-a4e6-5ac9-952c-ce0d0a5fbea2":{"name":"*Constantinople et le Bosphore de Thrace*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"bb8237ee-e92e-5329-9529-6fd346236dd0":{"name":"*Jaffa from the Camp of Ibrahim Pasha*","alternate_name":"*Jafa. Vista del Campamento de Ibrahin Baja*","description":"This print shows the Ibrahim Pasha camp at Jaffa during the Egyptian – Ottoman War (1830–1833). Muhammad Ali Pasha demanded control of Greater Syria for the Ottoman Empire. Ali sent his army into Syria under the command of his son Ibrahim Pasha. The Egyptian navy landed at Jaffa.","type":"Print","holder":"National Museum of Romanticism","dates":"c. 1830–1833","location":"Madrid","provenance":"France, Paris","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell"},"bc06907f-aa68-5c8f-a06c-e1664310cd2a":{"name":"Newspaper *al-Hawi*","description":"This issue of *al-Hawi* dates t 13 April 1914. *Al-Hawi* was a weekly literary, political and comic periodical founded in August 1912 by José M. Shaia and written, edited and printed in Buenos Aires, Argentina.","type":"Print; newspaper","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"30 April 1914","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"bcebbe38-8019-5c28-b4b7-8f04a8b1d7be":{"name":"Ibrahim Pasha (1789–1848)","description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1841","location":"Vienna","copy_editor":"Daniel de la Vega"},"bd196d3c-3ad7-5a3c-a7bf-f9e67e2fa612":{"name":"*The Library of Hadrian*","description":"This representation is entitled *Painted Stoa*, referring to the colonnade (stoa) with monumental columns depicted on the right side of the picture. Nineteenth-century visitors to Athens referred to this monument by various names, such as Painted Stoa of Hadrian or Gymnasium, for its true identity was not discovered until after 1884, when systematic excavations commenced in the area of the Roman Agora (Forum Romanum). Recent archaeological investigation shows that this imposing colonnade is part of the propylon of the Library of Hadrian. Depicted at the edge of the propylon-incorporated in two columns- is a small Byzantine church. This is Hagioi Asomatoi sta Skalia (Incorporeal Saints at the Steps) of the eleventh century, and was demolished before the end of the nineteenth century, falling victim to the antiquarian extremism of ‘purifying archaeological sites’. The works of the artist-travellers who flooded into Greece during the nineteenth century are tangible testimonies not only to the illustrious past, but also to the landscape.","type":"Lithograph","holder":"Benaki Museum","dates":"1845","location":"Athens","author":"Tsigkakou 1981, 200-201"},"bd591c95-bb06-5105-b1bd-b95187ad7a88":{"name":"Villa Maria, in Tunis, the mansion of Luigi Rey, the son of a migrant from Piedmont (Italy)","alternate_name":"*Villa Maria del cav. Luigi Rey, imprenditore*","description":"Luigi Rey was the son of Italian immigrants Giuseppe Rey (1808-1897), of Piedmont and Adelaide Baldacci, of Tuscany. In 1836, Giuseppe Rey was dispatched to Tunis by his employer, a construction company from Genoa, to work in the Bardo Palace (the official residence of the Bey of Tunis). After completing the contract Giuseppe decided to stay in Tunisia, where he continued to work at the service of the Bey. Together with his three children (Luigi, Antonio and Pio), Giuseppe Rey set up a construction company that continued after his death. Predominantly with his brothers but at times on his own, Luigi Rey built a variety of private and public edifices, including the Tunisia Palace Hotel (designed by architect Resplandy).","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"Photograph: first years of the 20th century; building: late 19th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"bd95565d-ce05-5cc5-ad92-00c2e0054f8d":{"name":"Accounting book","description":"This accounting book belonged to the Anatolian Railway. On it can be seen Abdülhamid II's monogram in gilding, and the words \"*Devlet-i Aliye-i Osmaniye’nin Varidat ve Mesarifat-ı Umumiyesinin Muhasebesidir*\" (this book belongs to the income and expenses of the state).","type":"Goods","holder":"Istanbul Railway Museum","dates":"1907","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"be90f64f-96f3-5dda-8345-68adf8244431":{"name":"*Commercial port. Marseille*","description":"Frédéric Alexianu (aka F. Hugo d'Alesi) was a painter who quickly became specialised in advertisement posters for different kinds of transports, and in educational maps. This poster, aimed at primary school children, uses the example of Marseille to illustrate a trading port. The artist draws attention to the different commercial activities undertaken here, in addition to the transport of passengers on an ocean liner. The port of Marseille was the most important Mediterranean port in France, as it facilitated a great number of commercial exchanges with the French colonies in North Africa.","type":"Poster","holder":"National Library of France","dates":"1901","provenance":"France","translator":"Flaminia Baldwin"},"bee6cdea-7a07-512a-8073-61c3a5461987":{"name":"*La Sahrienne: Arab dance for piano*","description":"The rise of \"turkeries\" in the 18th century is a good example of the influence of the widespread fascination with the \"Orient\" on music. In the 19th century, this Orientalism also influenced others art forms, such as painting and photography. Musical motifs started using \"oriental\" motifs once again in the early 20th century.","type":"Sheet music","holder":"National Library of France","dates":"1911","location":"Paris","translator":"Flaminia Baldwin"},"bf285df3-f538-57bf-9807-cad97e61acd5":{"name":"*Political and commercial map of Europe, with all maritime communications* \\[…\\] *indicating* \\[…\\] *the modifications to the Middle Eastern states, according to the Congress of Berlin.*","description":"This political and commercial map, drawn after the Congress of Berlin (1878), shows maritime and railway routes, as well as the travel time they require.","type":"Map","holder":"National Library of France","dates":"1881","location":"Paris","translator":"Flaminia Baldwin"},"bf8ccf55-0b9f-51ab-833d-046d658d52ad":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"c05efb28-37e3-563c-be40-ec598ca0daf7":{"name":"Popular resistance to the occupation","description":"Following the signing of the Treaty of Bardo many Tunisian towns declared their opposition to the act and set up a fierce resistance. This was the case in the town of Sfax, which withstood a six-month siege by sealing up, in the dead of night, the holes French bombings had created in the town walls. This image shows the end of the siege as the French forces invaded the town.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1881","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"c0647b9c-1ac0-53b5-a15b-d5505d2f8137":{"name":"An Italian booklet printed in Tunis in 1898 by Socialist and Anarchist Typography on the trial against the Italian anarchist leader Enrico Malatesta","description":"Enrico Malatesta (1853-1932) was one of the most important Italian anarchist leaders and theorists. He spent a good part of his life in exile in different countries (including Argentina, Egypt, France, Lebanon, Siria, England and the United States). In 1882, he went to Egypt to support the revolt of Ahmad Urabi and was arrested by British authorities. In 1897, he was living in Ancona, in Central Italy, when he was arrested and put on trial. After serving seven months in prison, he was placed in internal exile on the island of Lampedusa (south of Sicily) from where, in 1899, he fled to Tunisia, then to Malta, then on to England.  \nItalians in Tunisia set up a number of associations, political groups, newspapers, and cultural institutions of different political persuasions.","type":"Booklet","holder":"State Library of Modern and Contemporary History","dates":"1898","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"c0d68bf3-fc29-5afb-9f0b-b36ef1a39350":{"name":"\"Workers' pensions\"","description":"In 1910, a new law on \"workers and farmers' pensions\" introduced a compulsory insurance scheme. Before this, however, life was very different and many workers lived a very difficult old age, without financial support. The question of workers and farmers' pensions was one of the key electoral questions of the time therefore, as it concerned the majority of the population and those in power feared the social unrest it could trigger. This comical drawing mocks Alexandre Millerand (1859–1943), a socialist politician who forgot all his promises as soon as the elections were over.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1906","location":"Paris","translator":"Flaminia Baldwin"},"c17a9d7b-cb1a-5e3b-a30d-5c5dfc42e18d":{"name":"*Valtice/Feldsberg, Liechtenstein Chateau, Frontage*","description":"The design presents the original state of the frontage (right) and its redecoration by Antonio Beduzzi, an imperial theatre engineer and designer. Beduzzi based his design on the existing state, supplementing the frontage area with layered planimetric ornamentation. A pivotal role was played by sculpted decoration and military emblems associated with the military career of the count.  \nDetailed decorative drawings are part of an important phase in the history of the Valtice/Feldsberg, Liechtenstein Chateau. The chateau, residence of one of the most prominent court families in the Habsburg monarchy, Valtice, was constructed on the border of Lower Austria and Moravia in the first half of the 17th century, with finishing touches added towards the end of the century. Its construction was associated with a number of leading architects active in Vienna (Giovanni Battista Carlone, Giovanni Giacomo Tencalla, Giovanni Tencalla, Giovanni Pietro Tencalla, Domenico Martinelli, Pietro Giulietti and others). Yet the final phase of the construction, during which the building acquired its present appearance, only came about during the period of the counts Anton Florián and Josef Jan.  \nAnton Josef Ospel, the architect of the first part of the final phase between 1713 and1722, produced a bold design merging the newly modified older sections with new outbuildings and administration tracts. In the following building phase, a new count put a halt to the further spread of the construction and concentrated on decoration of the interior and frontages of the main *corps de logis*, for which he hired Antonio Beduzzi. Beduzzi created a series of high quality drawings for the count that served as template *modellos* for the final building modifications.","short_description":"The residence of a prominent Habsburg court family saw a major reconstruction in the 18th century under a new architect, the imperial theatre engineer and designer Antonio Beduzzi. He created a series of drawings that served as templates for the final building modifications.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"1724–1729","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 9.97 cm; w: 14.36 cm","place_of_production":"Vienna","provenance":"František Antonín Grimm Collection, Brno","obtention":"The drawing comes from a large collection of designs owned by the Brno architect František Antonín Grimm. Until 1945 it was located in the Rájec nad Svitavou Chateau, from whence it was transferred to the Museum of Applied Arts, Brno. In 1961, when the Moravian Gallery was established, the drawing became part of the gallery’s collection of historical drawings and graphic art.","bibliography":"Wolfgang Georg Rizzi, Antonio Beduzzi und Johann Lucas von Hildebrandt, *Alte und Moderne Kunst* XXIV, 1979, Heft 166–167, p. 36–45.  \nJiří Kroupa, *František Antonín Grimm* –­ *architekt 18. století,* Brno–Kroměříž, 1982, cat. 14, 1.  \nZdeněk Kudělka, in Ivo Krsek –­­ Zdeněk Kudělka (ed) –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, pp. 229–231.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 134, cat. 27.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["coat of arms","design","Emblems","engraving","modello","palatial architecture"],"materials":["paper adjusted on canvas","Pen and Indian ink drawing with blue wash"]},"c218ec86-d3bb-5c64-b802-3b31940b3669":{"name":"*The Relic: On the Harsh Nakedness of Truth – the Diaphanous Mantle of Fantasy*","description":"The book’s first edition was published in Porto; Literature work criticising the social environment of the middle bourgeoisie of Lisbon and the religious ambience of the Catholic Churches in the city centre. The narrative focuses on the holy city of Jerusalem, the place of purchase of supposedly true religious relics.","type":"Book","holder":"National Library of Portugal, Digital Library","dates":"1887","location":"Lisbon","author":"BNP"},"c25b97af-3b31-51d4-8c86-07d5d3f06ecd":{"name":"Egyptian House in the Trocadero Park [Paris Exhibition, 1878]","alternate_name":"*La casa egiziana nel parco del Trocadero*","description":"The structure of an Egyptian home was considered particularly interesting and was rebuilt inside the Trocadero Park. The idea and the execution of the house were supported by the famous French Egyptologist Mariette-Bey, who was responsible for numerous excavations along the Valley of Nile and was the founder of the Cairo Museum. This work differs from the one presented by Mariette at the Exhibition in 1867 and was meant to represent a common living building. One room was dedicated to the opening of the Suez Canal and numerous photos and albums provided documentary evidence of Egyptian fashion, oases and travel memories.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"c2b61064-ccd9-5fe4-8725-750d1cb45ef7":{"name":"Architectural drawing of Mar Mikhael train station","description":"This architectural drawing shows the plan of the Mar Mikhael (Saint Michael) train station that was built in 1891. The station served as a terminal for visitors to the city, and was in use until 1976.","type":"Architectural drawing","holder":"Khalil Itani's Archive","dates":"1891","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"c369fdd9-b766-5049-9f4f-a257d2df3d50":{"name":"Rome Exhibition 1911 (Piazza d'Armi) – Sicilian Pavilion","alternate_name":"*Espos. Roma 1911 (Piazza d'Armi) – Padiglione Siciliano*","description":"Within the International Exhibition of Rome in 1911 and related to the celebrations for the 50th anniversary of the Unification of Italy, a \"Forum of Regions\" was arranged in the Piazza d’Armi. The architect Ernesto Basile (1857–1932), author of the project for the Sicilian Pavilion, took inspiration from the Arab-Norman architecture in Sicily, in particular from Zisa Palace, the church of Saint John of the Hermits and the Cathedral of Monreale. On the outside, the building looked like a cube with plain walls decorated with blind pointed arches and battlements on top. Doors and windows show pointed arch as well. At the sides of the facades two small towers topped by a small small dome give to the palace a striking oriental look. On the inside, there was an open space with columns topped by capitals, walls decorated with mosaics and majolicas, and fountains.","type":"Postcard","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"c3e7eb63-5667-5bab-9f33-9ffa073e393f":{"name":"*The Worship of Pallas Athene*","description":"The scene shows a statue of Pallas Athene, goddess of wisdom, on an altar. A group of *putti* are garlanding the statue, while their companions pour incense into an offering vessel. The drawing was inspired by Paul Troger's time in Italy, a period of several years. Together with Martin van Meytens among others, he “studied ancient monuments in the vicinity of Rome with such unceasing diligence that very often we only made do, for days, with bread and water in order to continue with our study without disturbance”. The artist modelled the central motif on a statue of Pallas Athene from the famous collection of ancient art assembled by Marquis Vincenzo Giustiniani (now in the Vatican Museum, Rome). The statue was also known from a print of 1631 and from pictorial publications on ancient sculpture. Paul Troger employed a subject similar to the Brno drawing in an etching from 1724, the origin of which is provably associated with the artist's stay in Rome. Troger's etching and the Brno drawing resemble the engraving technique of Venetian *peintre-graveur*, using a fine grid for the modelling and to capture transitions in light. Typical examples may be found in the work of Giovanni Battista Tiepolo (1696–1770), a major exponent of Italian *Settecento* painting. The subject of adoration of the goddess of wisdom reflects the growing emphasis placed on education at the time. Troger's unfinished drawing probably served as a template for a print celebrating Wisdom. The principal motif is worked up in detail, while the accompanying figures of *putti* and the landscape in the background are sketched in pencil. Continuous wavy lines give evidence of a swift and expressive drawing manner. The artist was an influential professor of the Vienna Academy and was a leading Central European painter of the 18th century.","short_description":"The drawing of a statue of Pallas Athene was inspired by Paul Troger's long stay in Italy. Its execution resembles Venetian *peintre-graveur*. The unfinished drawing was probably to serve as a template for a print celebrating Wisdom.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Josef Winterhalder Sr.","dates":"1723","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 30.7 cm; w: 21.6 cm","place_of_production":"Vienna?","method_for_datation":"The determination of the artist is based on a confirmed provenance. Troger's authorship is proven, in particular, by the distinctive faces of the *putti* and the brisk drawing manner.","provenance":"Private collection, Brno","obtention":"The drawing probably comes from the estate of the sculptor Josef Winterhalder Sr., a friend of Troger. It was donated to the gallery by Mrs Trapp before 1963, and was previously found in the collections of the archivist and historian Jan Petr Cerroni and Mořic Wilhelm Trapp, a curator of the Francis Museum in Brno.","bibliography":"Wanda Aschenbrenner – Gregor Schweighofer, *Paul Troger, Leben und Werk*, Salzburg, 1965, p. 130, cat. 14, p. 154.  \nLubomír Slavíček, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 249, cat. 93.  \nJiří Kroupa, in Eduard Hindelang – Lubomír Slavíček, *Franz Anton Maulbertsch und Mitteleuropa, Festschrift zum 30jährigen Bestehen des Museums Langenargen*, Langenargen–Brno, 2007, pp. 27–28.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Antiquity","drawing","education","engraving","mitology","Settecento"],"materials":["Pen and brown ink on paper"]},"c4820c19-d64c-55fb-9619-702217573744":{"name":"*Les amis de l’art* society, by the Greek cartonist Kem","description":"The cartoon shows the art collectors of Alexandria: on the left is Antonis Benakis holding a paintbrush; K. Synadinos washes the floor, Chr. Nomikos hangs a ceramic dish on the wall and Baron de Menasque paints the ceiling standing on a ladder.","type":"Drawing","holder":"Benaki Museum","dates":"1920s","location":"Athens","provenance":"Alexandria","author":"Mina Moraitou"},"c4f3ee34-3e55-5cf6-ab02-eee9f50cdc11":{"name":"*Danilo I, Prince of Montenegro (1871–1939)*","description":"Danilo I, Prince of Montenegro (1871–1939) as a child. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Print","holder":"Austrian National Library","dates":"1880","location":"Vienna","copy_editor":"Daniel de la Vega"},"c56ed58e-bfd0-5b9d-a1c7-577d067afe32":{"name":"Bill from Beirut Water Company","description":"A bill from the Beirut Water company for the value of 22 Ottoman pounds, dated to 2 June 1909.","type":"Print; document","holder":"Khalil Itani's Archive","dates":"1909","location":"Beirut","provenance":"Lebanon, Beirut Water Company","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"c5af0628-6524-5b0d-a3ae-ef6099a54a96":{"name":"*Encampment of the Awlad Said Mount Sinai 1839*","description":"The Awlad Said are a large clan of the Sawalha tribe, traditionally based on Southern Sinai. It was escorts from this tribe that accompanied Roberts during his traversing of the Sinai. This depiction gives a detailed impression of their traditional encampments and tent construction. Situated in a valley sheltered by high, rugged mountain ranges, the encampment consists of severalrows of low, rectangular tent structures with flat roofs. Separating walls and screens within are created by striped, woven textile units. Inhabitants of the camp are seen seated in small groups, engaged in conversation or standing in groups, lances in hand. The men are dressed in headscarfs, gowns and cloaks of varying colour, while the few female figures that appear are cloaked in black abayas, all-enveloping black cloaks. From a ravine in the far background, a long caravan of men and camels approaches the camp.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"c5b30d17-788f-5526-9443-d7a3c584472b":{"name":"Italian peasants in Tunisia","alternate_name":"*Contadini italiani*","description":"According to official statistics, in 1921 there were around 4,000 Italian peasants in Tunisia; together with their families they amounted to 15,400 people, or roughly 60 per cent of the Europeans employed in agriculture.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","copy_editor":"Anne Dowell"},"c5d1c4ee-c5dd-5526-a357-f968533cd6be":{"name":"*Semiramis*","description":"Staging of *Semiramis* in France, played in a set based on ancient sculptures. There is a mix of Egyptian and Assyrian costume, plus some fantasy.","type":"Postcard","holder":"Private collection","dates":"1905","location":"n/a","provenance":"France"},"c60364d0-48c1-5f1e-9f18-2ee410152391":{"name":"Drawing","description":"In 1826, Victor Rousseau, French artist living in political exile in London, was hired by Augusto Ferreira Pinto Basto, son of the Vista Alegre Factory’s founder. Regarding the artistic aspect, his hiring allowed for the introduction of new models and decorations, into the eclectic and romantic spirit of those times, and was essential in providing Vista Alegre’s portfolio with a new aesthetic and formal wealth and exuberance. Along with his pedagogical and artistic contribution in the Factory, Victor Rousseau also left as a legacy an interesting drawing album. The drawing, with scenes from the Factory representing the Aveiro Estuary and river Bôco, calls our attention to the specificities needed for the implementation of an industry in the 19th century. The proximity of the estuary represented not only abundance of water, but also offered easy routes for transporting raw materials and other commodities.","type":"Drawing; document","holder":"Vista Alegre Museum","dates":"1835","location":"Vista Alegre, Ílhavo"},"c671443a-8a37-5c35-975f-840074e8db8a":{"name":"*Woman Playing a String Instrument*","description":"In this painting there is an Ottoman woman in her daily attire with her hair covered by an embroidered and printed kerchief. She plays a string instrument. Music was one of the most popular kinds of amusement in Turkish harems. The lute in particular, and similar string instruments, have always occupied an important place in the lives of women. This picture was used on the cover of a special issue of *Le Figaro Illustré* dedicated to Zonara and published in 1908, and also appeared in *Der'i Se'adet*, a book written by Adolphe Thalasso and illustrated by Zonaro.","type":"Painting","holder":"Pera Museum","dates":"Early 20th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"c6c98aa8-0cf8-5f68-9a72-93ac7214dab2":{"name":"*Map of the Royal Cities of Buda and Pest*","description":"The *Map of the Royal Cities of Buda and Pest* depicts all the settlements that bordered Buda: the Roman settlement of *Aquincum;* the border with Budafok and a detail of Óbuda (Old Buda). The city of Pest is also identifiable, together with the two suburbs of Terézváros and Erzsébetváros. During the period, as the map shows, the hills of Buda were not forested because, following Ottoman rule, the inhabitants cultivated vineyards instead. The Royal Castle is identifiable, together with the Viziváros (Watertown) and Tabán. Residents were settled mainly within the city walls up until 1700, after which time the suburbs began to be built. At the end of the 18th century, Buda-Pest became increasingly important as the main commercial and agricultural centre and although the diet was held in Pozsony (Bratislava), the two cities of Buda and Pest were the centre for various political movements, Enlightenment thought, the arts and literature, and as a consequence the population increased to 50,000.","short_description":"A map of the two cities of Buda and Pest with a more detailed representation of the different parts of the former and a less detailed display of the two suburbs of Pest.","type":"Drawing","holder":"Budapest History Museum","dates":"Around 1770","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 71.5 cm; w: 100 cm","method_for_datation":"By the object itself","obtention":"Purchased from an art dealer in Budapest between the two world wars.","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 21.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","Buda-Pest","Budafok","diet","Erzsébetváros","Map","Óbuda","Old Buda","Ottoman","parliament","Pest","Tabán","Terézváros","Turks","Viziváros","Watertown"],"materials":["Pen and ink drawing on paper"]},"c74178c2-ab9f-5408-9cbb-cf1f4eff394d":{"name":"Press release about Raml Tramway","description":"A press release in the Al-Ahram newspaper regarding the Raml Tramway and related views of the Prime Minister at that time. The tramway of Alexandria was the first method of mass transportation in Egypt and in Africa, and the most common. The tramway began operating in 1860, and is thus considered the oldest tramway in Africa – and among the oldest in the world.","type":"Press release","holder":"Bibliotheca Alexandrina","dates":"3 July 1928","location":"Alexandria","copy_editor":"Daniel de la Vega"},"c780b87c-b9b5-50fb-bec8-edf64670ba49":{"name":"Lebanon Tramway and Electiricty Company bill","description":"A bill from the Lebanon Tramway and Electricity Company for the value of 100 Francs dated to 14 June 1906.","type":"Print; document","holder":"Khalil Itani's Archive","dates":"14 June 1906","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"c82a2a26-f746-5771-93c4-6bcceedcab50":{"name":"*Mount Gilboa from Sulem, a woman spinning cotton*","description":"19th-century Palestine was an increasingly viable, agricultural producer of cotton, whose importance on the world market was steadily increasing. Mainly supplying European countries, cotton became a key commodity. 6% of the cultivated land of Palestine was given up. Throughout the 1860s, concerted efforts were made to meet demand, but as early as the 1870s, the industry, which was merely based on expanded cultivation rather than industrialisation, declined again. This print originally appeared in Vol.1, page 269 of Charles William Wilson's 'Pituresque Palestine, Sinai and Egypt, published between 1881 and 1884. The caption reads: 'Mount Gilboa from Sulem (Shunem). The northern extremity of the range of Jebel Fuku'a (Gilboa) is shown; the highest point is crowned by the sanctuary of Neby Mezar. In the foreground a woman is spinning cotton.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1881–1884","location":"Sharjah","provenance":"New York","author":"Ulrike Al-Khamis"},"c8dcb99a-4981-58af-a357-22664ca7f472":{"name":"Trade agreement between the Sublime Porte and the Grand Duke of Tuscany. Annexed to the treaty, a booklet with the duties that the merchants from the Grand Duke of Tuscany had to pay in Turkey","alternate_name":"'Trattato di Commercio concluso tra la Sublime Porta e la Corte di Toscana' (Costantinopoli, 7 giugno 1841) and *Tariffa dei diritti da pagarsi dai negozianti granducali alle dogane in Turchia per le merci che asportano o v’importano stata fissata in C...","description":"With this treaty, the Grand Duke of Tuscany Leopold II and the Ottoman Sultan Abdul Megid Han intended to encourage economic exchanges between the countries. Tuscan citizens and ships were accorded the same privileges that those from other countries had received. The treaty also provided for some tax reduction in favour of Tuscan merchants.","type":"Treaty (archival document)","holder":"State Archives of Florence","dates":"Constantinople, 7 June 1841","location":"Florence","author":"Loredana Maccabruni","copy_editor":"Anne Dowell"},"c99f4a2d-2d4c-538b-b57e-e1ba93984854":{"name":"*Votes for Women*","description":"This Suffragette poster was created in response to the Liberal Prime Minister Herbert Asquith's suppression of the 1910 Conciliation Bill, which proposed extending the vote in Britain and Ireland to around one million wealthy, property-owning women. It shows King George V painting the text 'We Bow to the Will of the People' onto a poster, whilst a man paints on the King's back, and a Suffragette paints onto the man’s. The cartoon aimed to show how Asquith had gone against the will of Parliament, the elected representatives of the people. The Suffragettes urged male voters to register their protest by voting against Liberal candidates in the next election.  \n  \nThis poster was published by the Woman's Press, who oversaw the publishing and propaganda for the Suffragettes. It was designed by Alfred Pearse, under the pseudonym ‘A. Patriot', Pearse was a dedicated Suffragette supporter and designed many of their posters.","type":"Poster; colour lithograph","holder":"Victoria and Albert Museum","dates":"1910 (designed and printed)","location":"London","provenance":"United Kingdom, London","author":"Victoria and Albert Museum"},"ca4bf20e-94a9-50b1-bca9-38b4f7855c35":{"name":"*Salt Watercolours*","description":"A watercolour scene showing the king before various gods from the tomb of Seti I in the Valley of the Kings, Thebes, drawn by Henry Salt shortly after the discovery of the tomb by the explorer Giovanni Belzoni in 1817. The freshness of the colours amazed the early travellers.","type":"Watercolour","holder":"The British Museum","dates":"1817","location":"London","provenance":"Egypt"},"ca6bd475-805d-5b06-a1e3-16bb93242b3b":{"name":"*The interior of the Queen's carriage: meeting between Louis-Philippe and Queen Victoria*","description":"Keen on keeping up good relations with the United Kingdom, King Louis-Philippe of France accepted Queen Victoria's invitation in 1844. Accompanied by Guizot and his youngest son, the Duke of Montpensier, he was received lavishly by the English royal family. In 1842, Queen Victoria became the first sovereign to take the train between London and Windsor. Since then, British rail companies had begun setting up carriages especially reserved for the Royal Family. One of the key experiences offered to Louis-Philippe was the opportunity to travel by train in one of these spectacular carriages.","type":"Lithograph","holder":"National Library of France","dates":"1844","location":"Paris","translator":"Flaminia Baldwin"},"cab1d1b6-5bd0-5d68-aaf4-36e8d7c863e4":{"name":"*View of Smyrna*","description":"Both this print and the *View of Constantinople* are based on earlier Western ones, which have been assimilated into the distinctive Athonite topographical style. They are exceptions to the corpus of Athonite prints, since they are of secular subjects. The printmaker was, indeed, active outside Athos, where he executed nonreligious commissions. The subjects relate to the tradition of topographical murals depicting important commercial and cultural centers of the day that decorated the mansions of wealthy merchants by the mid-eighteenth century. Kaldis aimed to supply a wider public with inexpensive works of a decorative nature. The activity of merchants from Lesbos at Smyrna, Constantinople, and the Black Sea on the one hand justified the choice of subject and, on the other, provided the appropriate network in which the multiple printed works could circulate. In order to attract the largest possible clientele, the view is coloured.","type":"Engraving","holder":"Benaki Museum","dates":"1845","location":"Athens","author":"Papastratos 1990, vol. 2, 578-79, figs. 617-18; Delivorrias, Fotopoulos 1997, 508-9, figs. 900-901"},"cb836758-5e12-5a3f-adea-db7c9212b700":{"name":"*Bisotun, geometric drawing of a bas-relief*","alternate_name":"Taken from Eugène Flandin and Pascal Coste's *Voyage en Perse*, which took place from 1840 to 1841.","description":"In 1840, the painter Eugène Flandin (1809–1876) and the architect and painter Pascal Coste (1787–1879) were sent on mission to Persia by l'Institut de France in order to write up an inventory of the country's past and contemporary riches, and to renew the political and economic ties between France and Persia. The mission was directed by Édouard de Sercey, who soon returned to France. However, despite the trying conditions, Flandin and Coste were able to stay for two more years and collected an impressive archive documenting the sites they explored. This is a print of one of the bas-reliefs in Mount Behistun (Iran), which  Darius had carved during the 6th century BC.","type":"Print","holder":"National Library of France","dates":"c. 1851","location":"Paris","translator":"Flaminia Baldwin"},"cc9708c7-7639-577d-908b-b4db3b0e057e":{"name":"Shéhérazade, a ballet by Michel Fokine. Stage sketch.","description":"The Russian choreographer Michel Fokine created the ballet *Shéhérazade* for Rimski-Korsakov's music in Paris in 1910. The tale of Shahrazad was taken from the *One Thousand and One Nights*, which saw constant success in Europe throughout the 19th century.","type":"Drawing","holder":"National Library of France","dates":"1913","provenance":"France","translator":"Flaminia Baldwin"},"ccd55fea-ff71-54b1-802d-9b86aa9adc8d":{"name":"Records of the tests and of the delivery of the yacht Makook III built by the Fratelli Orlando Company (Livorno, Italy) for the Egyptian Khedive Abbas Hilmi","description":"In 1910, the Khédivé of Egypt contracted the construction of a yacht to the shipyards Cantieri Gallinari of Livorno, Italy. This company went bankrupt and its business was absorbed by the Fratelli Orlando shipyards, also from Livorno. After improving the project, the Fratelli Orlando started building the yacht in 1913 and delivered it to the Khédivé Hilmì Abbas in May 1914. In recognition of the high quality of work on the yacht engineer Giuseppe Orlando was granted the Ottoman decoration of the Order of Osmanieh.","type":"Archival document","holder":"State Archives of Livorno","dates":"31 March 1914","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"cce9ed43-6802-51d5-8553-802e6dafb35e":{"name":"*Siever's patent pedestrian carriage for Ladies and Gentlemen*","description":"Many different two-wheeled cycles, such as dandy horses and velocipedes, were invented in the early 19th century. Their underlying principle was the parallel use of feet and wheels to propel the vehicle forward. They quickly become very fashionable amongst the European upper classes, who saw them as a source of entertainment, as we can see from this English print. However, it was not until the 20th century, after many alterations (pedals, etc.) that the \"bicycle\" became a widespread mode of transport.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"cd3e225d-f115-5201-8ad7-a576c444c566":{"name":"*Souvenirs d’Egypte; Femme Fellah*","description":"Lithograph, tinted with one tint stone, with additional colouring by hand, depicting a female agricultural worker in Egypt. Half bound in red morocco, in a modern portfolio. Each plate (apart from title page) lettered with title in French, Arabic and English, artists' names, and variously, 'Egypte. Imp. Lemercier, Paris', R'.Colas, Bibliographie Générale du Costume et de la Mode, 2 vols, Paris, 1933', and dated c. 1850.","type":"Print","holder":"Victoria and Albert Museum","dates":"1851 (published)","location":"London","provenance":"Egypt (possibly, drawn); France (published)","author":"Victoria and Albert Museum"},"cd434504-b9e2-5269-bef4-01b99c2c34ca":{"name":"*‘The Younger Memnon’*","description":"Belzoni used ingenious means to transport the colossal bust of Ramesses II.","type":"Print","holder":"The British Museum","dates":"1817?","location":"London","provenance":"?"},"cda0ca19-8310-53b6-88d9-6a4e2fb00a6f":{"name":"*Medjmouaï teçavir* (Collection de costumes)","description":"Postcard from Turkey showing the costume worn by various people, according to occupation, activity, etc. Intended for a relatively popular western market. Illustrates the social structures and costumes of the last days of the Ottoman empire. An inspector of the roads. Incidental details of coffee drinking, smoking and French influenced design.","type":"Postcard","holder":"The British Museum","dates":"c. 1900","location":"London","provenance":"Turkey"},"cdb325fe-1956-58e5-9130-f95c81512902":{"name":"*Vizovice Chateau, Chapel*","description":"The chapel in the south wing of the Vizovice Chateau in the Wallachia region is built into a central layout with three apses and crowned with a cupola. The drawing represents the chapel on a single level. On the left is a pulpit decorated with a relief of the Baptism of Christ, and the high altar with the Assumption of the Virgin Mary with a sarcophagus-shaped tabernacle, figures of Mary's parents, St. Joachim and St. Anne, and a Marian picture carried by angels, the top of which features a monogram of the name “Mary”. The second altar, decorated with consecration crosses, provides a framework for a picture of St. John of Nepomuk. The third field is a design for an oratory with illusionary drapery. In the place of the door is the last of the vaulting joints decorated with tetramorphs of the evangelists with angels carrying the gospels, from the left: Matthew, John (eagle), Mark (lion) and Luke (bull).  \nSchweigl's design, with fine ornamentation in Louis XVI style, was executed with only minor changes (the latest of which was in 1777), in accordance with the requirements of the chateau's sponsor Heřman Hannibal of Blümegen (c. 1774), who also endowed the chapel with precious chasubles and liturgical objects that have survived to this day. A relief of the birth of Christ was created for the pulpit, replacing the original design. The decoration of the oratory is much more austere, without the theatre-like curtain.  \nThe Rococo interior with its relief decoration stands in contrast to the low-key classicist architecture of František Antonín Grimm who trained in Rome, in the studio of Nicolo di Salvi, in France and in Germany. The design bears witness to the versatility of the learned Brno sculptor, Andreas Schweigl. Schweigl did not underestimate the role of the decorator, something that gained in significance towards the end of the century.","short_description":"The design shows the versatility of the learned Brno sculptor Andreas Schweigl, who did not underestimate the decorator’s role. The chapel interior, with fine Louis XVI ornamentation, contrasts with the low-key classicist architecture of František Antonín Grimm, who trained in Rome, France and Germany.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"before 1774","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 35.4 cm; w: 57.5 cm","place_of_production":"Brno","method_for_datation":"The drawing is marked bottom left: And. Schveigl in. del.; bottom right: wird approbiert H. Blümegen; bottom centre, in pencil: dieses gielt in Wissowitz.","provenance":"Private collection, Brno","obtention":"The drawing comes from the collection of Jan Petr Cerroni, Brno archivist and historian. Date of acquisition is not given.","bibliography":"Jiří Kroupa, *Rakouská a moravská kresba 18. století*, Brno, 1985, p. 5, cat. 85.  \nVlasta Kratinová, *Barock in Mähren*, Wien, 1988, p. 89, cat. 51.  \nMiloš Stehlík, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 332–333, cat. 156.  \nMiloš Stehlík, *Barok v soše*, Brno, 2006, p. 157.","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["evangelists","Louis XVI style","Rococo","sculpture","tabernacle"],"materials":["Pen and wash on paper"]},"cdff686c-f455-5731-801b-6705c10286b5":{"name":"*Tunisian room*","description":"Illustration from the book edited by C. Lützow: *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, 1875, S 101.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1875","location":"Vienna","copy_editor":"Daniel de la Vega"},"ce785e40-77c2-5e37-a375-478e1a61faa0":{"name":"*Interior of a Moorish Palace, Algiers*","description":"This engraving is an example of an illustration travel book in the 19th century. These books offered readers a view of exotic and distant lands through richly detailed illustrations. Thomas Allom (1804–1873), the painter of this engraving, was a topographical illustrator who travelled to East Mediterranean, North Africa and China. Allom was also architect, hence the description of the architectural details in “The interior of a Moorish palace in Alger”.","type":"Print","holder":"National Museum of Romanticism","dates":"1844","location":"Madrid","provenance":"England, London","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell"},"cf106c3f-4539-5afa-9774-85924fe852cf":{"name":"Book of patterns","short_description":"Most of the folios are divided into square or rectangular compartments filled with drawings of a wide variety of repeating patterns, often with figural motifs but most with stylised floral elements. There are also rubbings, woodblock prints and a few drawings, mostly of objects and sprays of flowers, some coloured and some occupying a full page. Many patterns were drawn directly on the pages but others were pasted in.  \nThe designs based on human figures – including dancers, acrobats and mounted riders – are among the most creative. But of greater complexity are some with animals; fish, cobras, birds, elephants, squirrels, lions, tigers, camels and deer are represented. Some of the patterns are inspired by traditional Mughal decorative motifs, while others are European in taste.  \nThe pattern book had the potential to be of great use to jewellers and enamellers as well craftsmen working in textiles, manuscript illumination, bidri-ware and other metalwork, ceramic paving and marquetry work.","type":"Manuscript; pattern book; pattern; drawings; rubbings","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"19th century","location":"London","dimensions":"Folios: 24.5 x 15.2cm; drawn area: 20.2 x 11.2cm; 108 folios","method_for_datation":"Date and provenance are based on stylistic grounds.","provenance":"North India, possibly Lucknow","obtention":"Sotheby’s, London, sale of 30 April 2003, lot 22.","bibliography":"Moura Carvalho, P., *Gems and Jewels of Mughal India*, London: The Nasser D. Khalili Collection of Islamic Art, volume 18, 2010: cat.169, pp.290–97.","keywords":["bird","camel","dance","Elephant","India","lion","manuscript","manuscript ornamentation","Mughal"],"materials":["Black ink and wash and/or pasted with drawings","now removed","or wood-block prints","original brown morocco covers","patterns","rubbings","some coloured"]},"cf1febcd-3ef8-57e3-ad0c-a21a1977147f":{"name":"Trips to Morocco. Oujda via Lalla Marnia. Hôtel Figari […] car service every day […] links to the Tlemcen stagecoach and trains to Western Algeria.","alternate_name":"*Trips to the Oujda olive groves, the battleground of the Battle of Isly* \\[…\\] *Horses and mules for day trips and walks.*","description":"The foreground of this poster, advertising trips to Morocco to tourists, is occupied by a group of Moroccan women watching a fantasia from their home. Its inaccuracies bring to light the dominant stereotypes of the time, particularly regarding the depiction of women and their place in Muslim society.","type":"Poster","holder":"National Library of France","dates":"1895","location":"Paris","translator":"Flaminia Baldwin"},"cf466251-56ab-52b7-a4c0-a209a97dcdb0":{"name":"*Ethics by example. From education, great nations are born*","alternate_name":"Prize-giving poster: n°6. The good student - Liberté, Egalité, Fraternité","description":"In the 19th and 20th centuries, ethics dominated French primary school teaching. The school day began with a lesson in ethics, aimed at training the children to be good parents and good national citizens.","type":"Poster","holder":"National Library of France","dates":"1901","location":"Paris","translator":"Flaminia Baldwin"},"cf6fd523-ce44-5925-8fcb-a5eba1bea0a5":{"name":"General Giuseppe Garibaldi, hero of the Italian national unification, arriving in Tunis in 1834","description":"In 1833, Giuseppe Garibaldi (1807-1882) joined Mazzini’s organization, Giovane Italia, a republican group that supported the unification of Italy, and in 1834 he participated in an attempted insurrection. He was sentenced to death by the Kingdom of Sardinia and fled abroad. He spent time in Tunis in the first half of 1835.  \nLater, Garibaldi went to South America (1835-1848) where he fought for the independence of different countries. When he came back to Italy he fought to defend the Roman Republic (1849), and in 1860 led a successful expedition of one thousand volunteers in Southern Italy to defeat the Kingdom of Two Sicilies and unify it with Central and Northern Italy.  \nDuring the Italian Risorgimento, several other liberals and supporters of Italian unification were forced to go into exile. Several went to North Africa.","holder":"State Library of Modern and Contemporary History","dates":"1861","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"cf731a2d-eeba-5936-b7db-3a4740cb21ee":{"name":"Print","description":"The English architect Owen Jones designed this menu card for a farewell banquet coinciding with the Paris International Exhibition – or Exposition Universelle – of 1867. International exhibitions played an important role in introducing imported styles of ornament. The design of this card echoes illuminated Persian manuscripts, which Jones included in his book Grammar of Ornament.  \nApart from working as an architect, Jones also designed interiors, wallpapers and textiles. He created the interior for the Crystal Palace in Hyde Park, which housed the Great Exhibition of 1851.","type":"Print; menu card","holder":"Victoria and Albert Museum","dates":"1867 (printed)","location":"London","provenance":"France","author":"Victoria and Albert Museum"},"d0201dc5-b133-5197-929c-a269917b72e1":{"name":"*L'art arabe d'après les monuments du Kaire depuis le VIIè siècle jusqu'à la fin du XVIIIè*","description":"A publication in three volumes *L'art arabe d'après les monuments du Kaire depuis le VIIè siècle jusqu'à la fin du XVIIIè* is a monumental work by archaeologist and architect Prisse d'Avennes. It was published in parts by V.A. Morel et Cie. from 1869 to 1877. In 200 plates he reproduced illustration on the art and architecture of Islamic Cairo.","type":"Book","holder":"Benaki Museum","dates":"1877","location":"Athens","provenance":"Paris","author":"Mina Moraitou"},"d04ab320-9a12-53d1-93fd-cefc444af612":{"name":"Italian postcard of colonial propaganda: 'The Turco-Italian War. The Italian governor taking possession of Tripoli'","alternate_name":"Italian postcard of colonial propaganda","description":"In this postcard we see the first Italian public ceremony during the colonial conquest of Libya.  \nAs Terence Ranger pointed out in his essay “The invention of tradition in colonial Africa” in E. Hobsbawn and T Ranger, *The Invention of Tradition* (Cambridge University Press 1983), public ceremonies were a tool that was much used by colonial powers. Their goal was to grant a public image of legitimacy to colonial domination. In other words, colonial pomp and circumstance were intended to convey to colonial subject a notion of might and “prestige” of the colonisers.","type":"Postcard","holder":"State Library of Modern and Contemporary History","dates":"1911–12","location":"Rome","author":"Maria Pia Critelli","copy_editor":"Anne Dowell"},"d07a016a-4cbb-5e3f-8479-fd71b40996a8":{"name":"Exposition in Algiers - façade of the Pavillon des Beaux-Arts, in the Place du Gouvernement","description":"In 1800, the first \"Algerian\" exposition was held in Algiers, in a building built especially for this purpose at the Place du Gouvernement (now Place des Martyrs). However, this was in reality an opportunity for France to advertise the \"benefits\" of colonialism - pacified and economically improved, Algeria was apparently now able to take interest in the arts. The review magazine therefore decided to prioritise paintings with an Algerian theme, irrespective of whether they had been created there or abroad.","type":"Drawings","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin"},"d40510a8-3d84-5ac4-9290-1028f6789eac":{"name":"Portrait of Sultan Abdülaziz (1830–1876)","description":"Portrait of the Sultan Abdülaziz. In 1867 the sultan made a trip to Europe. He was invited by Napoleon III to visit the World's Fair Exhibition in Paris. He also visited London and met Emperor Franz Joseph in Vienna.","type":"Drawing","holder":"Austrian National Library","dates":"1867","location":"Vienna","copy_editor":"Daniel de la Vega"},"d4cc9861-c987-5734-82f8-76dad8666bc2":{"name":"Postcard","description":"Postcard; printed; colour photograph showing third circle and Shmeisane tunnel, with several cars and city view in the background, Amman, Jordan.","type":"Postcard","holder":"The British Museum","dates":"1984 (circa)","location":"London, United Kingdom","dimensions":"Height: 10,2 cm; width: 14,7 cm","place_of_production":"Amman, Jordan","obtention":"Purchased from Bella Bennett in 2015","copyright":"This is an 'orphan work' in The British Museum’s collections. If you are the copyright holder and were not contacted, please reach out to Museum With No Frontiers at editing@museumwnf.net so that proper credit may be given on this website.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-7038","keywords":["Jordan","monument","postcard","Streetview","tunnel"],"materials":["Paper"]},"d5146f7c-a989-5ed0-8084-92511311bc67":{"name":"An insurance policy by the company Compagnia Affricana (based in Trieste), for the merchandise transported by the Tuscan brigantine *Otello*, from Alexandria (Egypt) to Livorno (Italy)","description":"This insurance policy testifies to the intricate economic relations across the Mediterranean. The insurance company “Compagnia Affricana”, whose headquarter was in Trieste (at the time, under the Austrian Empire), specialised in transports to and from North Africa. The brigantine *Otello* was transporting incense and oxen horns.","type":"Archival document","holder":"State Archives of Livorno","dates":"Alexandria, 11 March 1835","location":"Livorno","author":"Cristina Francioli","copy_editor":"Anne Dowell"},"d698b39b-7d12-5410-a70f-c142ce18b236":{"name":"*Servet-i Fünun* Journal","description":"This is a magazine published by the authors from the *Servet-ı Fünun* (*Edebiyat-ı Cedide*) movement. It was first published as a scientific magazine by Ahmet İhsan Tokgöz, a pupil of Recaizade Mahmud Ekrem, in 1891. Recaizade Mahmud Ekrem agreed with his pupil to turn this magazine into one of literature, so he arranged that Tevfik Fikret, another student of his from Galatasaray High school, would become head of the literature department. This movement came to an end when the magazine was closed after if published an article entitled “Literature and Justice,” translated by Hüseyin Cahit Yalçın, which was taken as hostile to the governance of Abdülhamid II. Members of the *Edebiyat-ı Cedide* movement remained adherent to Diwan literature due to the political situation of the period as well as political suppression. They were not as open to novelties as the first generation of Tanzimat Era and they adopted art for sake of art.","type":"Journal; newspaper","holder":"National Library of Turkey","dates":"1891-1901","location":"Ankara","copy_editor":"Daniel de la Vega"},"d6cffdd2-cbd5-5bf7-bd67-0a2b5084a2cc":{"name":"In Tunis, the families of the Italian men drafted for the war waiting to get their daily allowance from the Italian government","alternate_name":"*Sussidi governativi. Il pagamento del soccorso giornaliero alle famiglie dei richiamati*","description":"According to a booklet published in 1917 by the Tunisian branch of the Dante Alighieri Society and quoted by historian Adriano Salmieri (see his contribution to the volume *Mestieri e professioni degli italiani di Tunisia* – *Métiers et professions des Italiens de Tunisie, a cura di S. Finzi, Tunisi: Finzi*, 2003), by the end of April 1917 11,146 Italians in Tunisia had been drafted for the war, and 700 had died. According to the same source, in 1917 in Tunisia the Italian government was paying daily allowances to almost 5,000 destitute families of drafted soldiers.","type":"Photo from a book","holder":"State Archives of Livorno","dates":"1915–18","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"d6d5f11a-71c5-5934-871d-7aa7c6836d79":{"name":"Henry Salt’s 1817 excavations at the Pyramids and Sphinx","description":"On his arrival in Egypt, Salt sponsored and recorded the excavations of Captain Giovanni Battista Caviglia at the Giza pyramids and Sphinx. Caviglia discovered new chambers in the Great Pyramid and a lost chapel beneath the head of the Sphinx.","type":"Drawing","holder":"The British Museum","dates":"1817","location":"London","provenance":"?"},"d6e29c37-877d-59fc-ba89-0136adddb6e7":{"name":"Wedding portrait of King Aleksandar and Queen Draga of Serbia","description":"At the end of the 19th and during the first decade of the 20th century Pirot kilims served as unavoidable decor in public buildings and in important public manifestations. An official wedding photo of King Alexander Obrenović of Serbia and Queen Draga, shows a royal couple standing on the Pirot kilims, used as floor coverings in this solemn occasion as distinguished national products. The official photograph, taken on 4 August 1900 by the court photographer Milan Jovanović, was issued on a poster by the bookstore of Sreten J. Djordjević and printed by the State Printing House of the Kingdom of Serbia.","type":"Poster","holder":"Museum of Applied Art","dates":"1900","location":"Belgrade","dimensions":"H: 28.2cm, W: 22.6cm","method_for_datation":"Through historical research","provenance":"Belgrade","obtention":"Donated by Rajko Sikimić from Belgrade in 1996","bibliography":"Bujić, M. *et al.*, “Obrenovići u kolekcijama Muzeja primenjene umetnosti”, in A. Marušić and A. Bolović (eds), *Obrenovići u muzejskim I drugim zbirkama Srbije II*, Gornji Milanovac: Muzej rudničko-takovskog kraja, 2014: 181–206.","author":"Draginja Maskareli","keywords":["Kilim","Obrenović dynasty","Pirot","poster","Şarköy"],"materials":["Print"]},"d70e9882-8463-5f48-be2a-a1278275395f":{"name":"*The Art of the Saracens in Egypt*","description":"A publication on the history of the arts in Egypt by Stanley Lane-Poole (1854-1931). Each chapter is dedicated to one aspect of the arts: architecture, stone and plaster, mosaic, woodwork, ivory, metalwork, glass, heraldry, ceramics, textiles and illuminated manuscripts.","type":"Book","holder":"Benaki Museum","dates":"1886","location":"Athens","provenance":"London","author":"Mina Moraitou"},"d7bf9369-064f-5991-9f23-3b988f805ff6":{"name":"The Emir Abdelkader, Bey of Mascara in 1807","description":"The Treaty of Tafna was finally signed on 30 May 1837 between General Bugeaud and Emir Abdelkader, a fierce supporter of the armed fight against the French expeditionary corps and of the political and territorial unity of Algeria. This followed a ferocious resistance campaign in the mid-west of the country, marked most notably by the victory at Mazagran. The victories at Mazagran and Sidi-Brahim near Ghazouet in 1745, which resulted in the death of many officers from the French expeditionary, have rarely been depicted by European lithographers, who preferred to focus on Algerian defeats.","type":"Print","holder":"Musée National des Beaux-Arts","dates":"Second half of the 19th century","location":"Algiers","author":"Dalila Orfali","translator":"Flaminia Baldwin"},"d7c8788d-6f4d-5251-abb7-406fabefb7b2":{"name":"*Napoleon returning from the Island of Elba*","description":"Following his abdication in April 1814 due to his defeat at the hands of the coalition between Austria, Prussia and Russia, Napoléon was exiled to Elba, a French territory at the time. He then unexpectedly disembarked at Antibes (France) on 1 March 1815, accompanied by a small army, and went on to take control of Grenoble, Lyon, and finally Paris. King Louis XVIII fled, and Napoléon temporarily regained the throne (the \"Hundred Days\"), until his defeat at Waterloo marked his final abdication. This image contributed to the myth of Napoléon, illustrating the emperor's determination during his journey from Elba to Paris, also known as the \"Vol de l'Aigle\" (flight of the eagle).","type":"Print","holder":"National Library of France","dates":"uncertain","location":"Paris","translator":"Flaminia Baldwin"},"d815fe5d-36cb-5efe-b0e0-241a5e5e2941":{"name":"Stamp sketch","description":"The Ottoman Empire held a contest to determine the stamp that would be printed in London between 1919 and 1921. Stamp sketches drawn by famous calligraphers are exhibited in the museum. This stamp sketch belonged to the Eminönü Post Office.","type":"Stamp","holder":"Istanbul Postal Museum","dates":"1919–1921","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"d8173314-6d92-53ea-81e3-578a39f31c80":{"name":"*Greek Ladies of Smyrna*","description":"*Greek Ladies of Smyrna* (*Dames Grecques de Smyrne*) is a plate by Jacques Grasset de Saint-Sauveur (1757–1810) from the *Voyages pittoresques dans les quatre parties du monde*, which was published in parts. The plate contains three figures, within rules, with the name of the engraver Mixelle jeune and the heading ‘Europe. L’An 1801’.","type":"Engraving","holder":"Benaki Museum","dates":"1757–1810","location":"Athens","author":"Tsigakou 114"},"d903044a-9099-5fe4-8bcc-00c31c453207":{"name":"Archaeological survey","description":"Architectural elevation of the ruins of the Roman aqueducts of Caesaria Maritima in Palestine by C.R. Conder, R.E., dated 6 April, 1873. In addition to the geographical features of the land, the olive groves and other agricultural features and the villages, the SWP recorded all of the visible archaeological remains of the country.","type":"Archaeological survey","holder":"The Palestine Exploration Fund (PEF)","dates":"1873","location":"London","provenance":"Levant"},"d92eefc6-b8cb-57be-9e74-3bd00aa19302":{"name":"*Théâtre de l'Opéra. \"Aida\". Avenue of the sphinxes at the gates of Thebes (act 2 scene 2)*","description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin"},"d93594f6-fd1a-541a-8d63-dff85801637a":{"name":"Postcard","description":"Postcard; printed; colour photograph showing ten views of Syria. The centre panel is an illustration of a map of Syria and reads \"Syrie\" underneath.","type":"Postcard","holder":"The British Museum","dates":"1974 (circa)","location":"London, United Kingdom","dimensions":"Height: 14,5 cm, width: 10,2 cm","place_of_production":"Damascus, Syria","obtention":"Purchased from Bella Bennett in 2015","copyright":"This is an 'orphan work' in The British Museum’s collections. If you are the copyright holder and were not contacted, please reach out to Museum With No Frontiers at editing@museumwnf.net so that proper credit may be given on this website.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-5622","keywords":["landscape","Map","postcard","Syria"],"materials":["Paper"]},"d993a25c-fe0f-55cb-b4fb-77d8dd825454":{"name":"*A Room in the Egyptian Museum*","alternate_name":"*Una Sala del Museo Egizio*","description":"The drawing shows the arrangement of Drovetti's collection inside the right wing of the building of the Academy of Sciences in 1852. The wall decoration mimics a wall of green stone tiles. The organisation of this room remained roughly unchanged until 2006. The institution of the Egyptian Museum in Turin marked an essential stage in the rediscovery of Egypt and followed the interpretation of hieroglyphics by Champollion. In 1824 King Carlo Felice of Savoy bought the collection of Egyptian antiquities gathered together by Bernardino Drovetti, general consul of France in Egypt from 1803 to 1830, in order to give to the Piedmontese capital an archaeological museum able to compete with all the other museums around Europe. The Drovetti’s collection was donated to the University Museum together with other Egyptian monuments already part of Savoy's collection. This collection already included more than five thousand pieces including statues (one of them is the famous statue of Rameses II), steles, offering tables, wood and bronze objects, mummies, furniture, jewellery, other materials and a significant number of papyri. A catalogue of the collection was made by Champollion around the 1820s.","type":"Photo from book","holder":"Soprintendenza Archeologia del Piemonte: Authority for the Archaeological Heritage of Piedmont","dates":"1852 (Original engraving)","location":"Turin","copyright":"Copyright image: Museo Egizio di Torino - Archivi Soprintendenza Archeologia del Piemonte.","author":"Marcella Trapani","copy_editor":"Anne Dowell"},"d9b9133d-3db3-50b8-9527-532bd887cb5c":{"name":"*The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia*, Volume 3, title page: *Temple of El Khasne*","description":"This image represents the vignette on the title page of Volume 3 to 'The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia' from drawings made on the spot by David Roberts, lithographed by Louis Haghe and published in six volumes by F.G. Moon in London between 1842-1845. It is entitled 'Temple of El Khasne, Petra' and shows the spectacular treasury of Petra as seen by travellers approaching the ancient city through the famous, steep and narrow ravine. Petra had remained forgotten until rediscovered by the Swiss explorer Johann Ludwig Burckhardt in 1812. Subsequently, it became one of the romantic fascinations of European Orientalist artists and writers.Roberts visited Petra in early March 1839, and he wrote that it was 'probably one of the greatest challenges on earth to a painter'.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"d9f215eb-4992-5ee7-b7b8-cde7536471d9":{"name":"*Guisot* (sic): *Sir, do we have to agree to the reforms? Philippe: No! No! No my friend, not even the slightest reform* \\[etc.\\]","description":"Pictured in this cartoon are the King Louis-Philippe and the Head of Government François Guizot. The latter, who in 1848 did not foresee the importance of reform, advised the King to maintain a conservative approach. Since 1847, the opposition to the regime had been getting around the ban on political gatherings by organising banquets. The suppression of one of these banquets triggered the 1848 revolution.","type":"Print","holder":"National Library of France","dates":"1848","location":"Paris","translator":"Flaminia Baldwin"},"da83b646-c418-524e-8eff-75e69c1f77d9":{"name":"Danilo I, Prince of Montenegro (1871–1939) and Princess Jutta of Mecklenburg-Strelitz","description":"Danilo I, Prince of Montenegro (1871–1939) with his wife, Princess Jutta von Mecklenburg-Strelitz. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Photograph","holder":"Austrian National Library","dates":"1899","location":"Vienna","copy_editor":"Daniel de la Vega"},"db907e57-774c-5cda-a1a5-d1356aa44b85":{"name":"A plan showing the seats assigned to guests at the gala dinner offered by the Italian King in honour of the Ambassador from Morocco, who visited Italy in June 1890","description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with extremely rich gifts.  \nThe Ambassador was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered a gala dinner for him.  \nThis chart shows that at the gala dinner the Italian King was sitting in front of the Queen. At her right was sitting the Crown Prince and at her left was Ambassador Hagi El Maati el Mazamizi. The Italian Prime Minister and other members of the government participated in the dinner, together with the members of the Ambassador’s escort.","type":"Archival document","holder":"Central State Archives of Italy","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"dbeedf3f-9b7e-5868-aa07-16d65ca3dfc9":{"name":"Cairo in Milan. Exhibition 1906","alternate_name":"*Il Cairo a Milano. Esposizione 1906*","description":"This series of postcards shows the reconstruction of a representative area of the city of Cairo in Milan for the Universal Exhibition of 1906. The Exposition was organised on the occasion of the opening of the Simplon Tunnel in 1906 and covered a space of over a million of square meters. One-third of the area was filled with pavilions designed by famous Italian architects. The exhibition cost was over twelve million lire. The event drew the attention of over five million spectators and the participation of 35 thousand exhibitors.","type":"Postcard","holder":"Central Institute for Cataloguing and Documentation (ICCD)","dates":"1906","location":"Rome","copyright":"Copyright image: Roma, Istituto Centrale per il Catalogo e la Documentazione, ICCD, Fototeca, fondo Ferro Candilera.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"dc034fc0-8090-5b06-897f-5bcc698817b2":{"name":"Emperor Akbar Receiving a Book","short_description":"The emperor is seated with pillow at his back upon an octagonal-shaped and portable throne, under a canopy and at the foot of a tree in an open field. A poet or *mullah* (Muslim priest) presents him with a book. The throne rests upon a floral- patterned Mughal carpet spread over a platform. The emperor is attended by two of his courtiers, two musicians, one with *sitar* (stringed instrument) and one with tambourine; by his falconer who holds a large falcon in his right hand; by an attendant to right of falconer and one to the left, the latter holding a staff; and near him is another mullah. The last four are only partially seen at the base of the platform. The emperor is fanned by a figure behind him. To the immediate left of the emperor stands a servant with a fly-whisk and another holding an unidentified object. All the personages on the carpet except the *mullah* and the two servants are seated. Just above the step to the platform is a dish with a bottle possibly for water with leaf sprays issuing from the mouth, a cup nearby, and at the left corner, a covered cup.  \nIn the landscape, which extends back to the horizon line, there are two trees and a flowering bush. In the larger tree behind the emperor are two birds. On the horizon line, which is hilly, there is an open wood in the midst of which is a castle.  \nThe painting is glued down on a thick matboard. The borders (frames) are on a separate piece of paper.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Hegira c. 1002-1008 / AD c. 1594–1600","location":"Saint Louis","dimensions":"Image: Length: 22.5cm x Width: 13cm; Sheet: Length: 34.6cm x Height: 23.2cm; Mount (backing board): Length: 41cm x Width: 28.3cm; Mat size: Length: 55.9cm x Width: 40.6cm","method_for_datation":"The \"Akbar-nama\" was commissioned in 1590 for Akbar’s minister Abu’l Fazl (died 1602). The manuscript was illustrated with paintings in two separate projects in the later 1590s and in 1604. This painting is likely from the first project. The fine ink and gold border is from the Persian lexicon \"Farhang-i-Jahangiri,\" dated 1608, and was added in the 19th or early 20th century.","method_for_provenance":"The enthroned figure in this miniature painting is likely the emperor Akbar. He is receiving a copy of the \"Akbar-nama\" (History of Akbar), an illustrated history of Akbar’s distinguished Mongol ancestry and accomplishments during his long reign. The simple turban, almond-shaped eyes, drooping moustache, sideburns, and distinctive oval-shaped ear all conform to known images of Akbar.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","keywords":["Akbar","Asia","book","drawing","emperor","gold","India","Indian","ink","Paper","watercolor","watercolour"],"materials":["gold on paper","Ink","opaque watercolor"]},"dc22fbbb-3a0b-58bb-82f9-7523c4e9d4d5":{"name":"Official Hijaz Railway postcards","short_description":"In 1900 the Ottoman Sultan Abdülhamid II (r.1876–1909) began the construction of a railway line connecting Damascus to the holy cities of Medina and Mecca. Built by public subscription and with an appeal to Muslims of the world for financial support, the railway line began from Damascus and reached Medina in 1908, never reaching Mecca. The financing for the Hijaz Railway was initially meant to come entirely from charitable donations and in May 1900 Sultan Abdülhamid II began the process with a sizeable donation from his personal funds. Despite national and foreign generosity towards the donations campaign, it soon became clear that this alone was insufficient to raise the funds needed for the construction. Therefore, the government sought to raise funds in many other ways, including the commission of postcards amongst other German-made products, in order to generate further yield. With the title ‘*Vue du chemin-de-fer Hamidié de Hedjaz*’ and with labels in French and Turkish, the postcards depict the construction of the Railway as well as general views and inauguration celebrations. These were available for purchase at local post offices.","type":"Postcard; photograph","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1900-1908","location":"London","dimensions":"ARC.pc 459: 8.8x14.1cm, ARC.pc 460: 9x14.2cm, ARC.pc 461: 9x14.1cm","method_for_datation":"The Hijaz Railway was constructed between 1900 and 1908.","provenance":"Turkey","bibliography":"Nicholson, J., *The Hejaz railway*, London: Stacey International, 2005.  \nOchsenwald, William L., “The Financing of the Hijaz Railroad”, *Die Welt des Islams*, New Series, 14, 1/4 (1973): 129-149.  \nOzyuksel, M., *The Hejaz Railway and the Ottoman Empire: Modernity, Industrialisation and Ottoman Decline*, London: I.B.Tauris, 2014.","author":"Qaisra Khan","keywords":["engineering","hajj","Hijaz","Hijaz Railway","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","Pilgrimage route","prayer","Prophet Muhammad","Religion","travel"],"materials":["Card"]},"dca7d094-186e-5acf-a40e-75ebb16678f3":{"name":"Bill from the Beirut Gas Company","description":"A bill from the Beirut Gas Company for the value of 2,200,000 francs, divided into 4,400 shares of 500 francs each, dated to 1 July 1908.","type":"Print","holder":"Khalil Itani's Archive","dates":"1908","location":"Beirut","provenance":"Lebanon, Anonym society of Gas of Beirut","author":"Jeff El-Msanne","copy_editor":"Flaminia Baldwin"},"ddc859b5-2660-59d5-a43e-bea3692d92db":{"name":"Italian stonecutters in Tunisia","alternate_name":"*Gruppo di scalpellini italiani*","description":"At the turn of the twentieth century, the Italian community in Tunisia included large numbers of masons, stonecutters, diggers and other manual workers. In this period, most of Italian migrants preferred to seek their fortunes in the Americas and in other European countries. Those who migrated to North Africa were only a small percentage, nonetheless they amounted to dozens of thousands.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","copy_editor":"Anne Dowell"},"de20118a-909a-5e03-9c66-a28af38708f8":{"name":"The trademark for camel-hair straps made by an Italian company based in Turin","alternate_name":"Invicta, cinghie di pelo di cammello, Societa' Manifatture Martiny,Torino","description":"The Invicta company was founded in Turin (Italy) in 1906. It still exists, producing backpacks, schoolbags and trolleys.","type":"Trademark (archival document)","holder":"Central State Archives of Italy","dates":"18 March 1918","location":"Rome","author":"Margherita Martelli","copy_editor":"Anne Dowell"},"deb4b3a7-5e57-5235-b533-346c36e88be2":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"dec28747-77eb-50f5-a4fc-d8e0b8ada348":{"name":"Print showing a catafalque","alternate_name":"*Castrum Doloris* of Johann Herbart Auersperg in St. Catherine’s Church, Zagreb","description":"Count Johann Herbart Auersperg was a General and Commander of the Military March. He was a descendant of the old, famous Slovenian Turjak Counts and a brother of Count Weichard, a powerful minister and favourite of the Emperors Ferdinand III and Leopold I. The catafalque was installed in the Jesuit St. Catherine's Church, Zagreb, when Count Johann Herbart Auersperg died in 1669.  \nIn the centre of the canopied hexagonal base with three steps is the sarcophagus, surrounded by six sculptures of famous Auersperg ancestors. Decorated with numerous candles and symbols in its entirety and signed on the bottom right *IC Mannasser.*  \nThere are also inscriptions, on the top left in a cartouche held by an angel: *EXCELLMO AC ILLMO ... Anno salut 1669 Aetatis 56* and at the top right in a cartouche held by an angel: *Ipso Die Exequiarum ... moestissimi erexerunt.*  \nFollowing the fashion of European funeral ceremonies also in Croatia, luxurious catafalques were made known as *castrum doloris.* Count Auersperg's social position suggests that a famous Austrian or Italian architect could have staged the funeral ceremony depicted in this print. These architects were in demand at the time to construct various complicated and spectacular performances, usually organised by the Jesuit Order, and designed to enchant the eye and spirit of viewers with the use of impressive effects. A bronze memorial plaque also in the church commemorates Auersperg's death.","short_description":"A Baroque catafalque was installed in the Jesuit Church of St Catherine, Zagreb for Count Johann Herbart Auersperg, General and Commander of the Military March, who died in 1669. The catafalque shown in this print is typical of a Baroque funeral ceremony of the type staged by the Jesuit Order, and designed to enchant the eye and spirit of viewers with the use of impressive effects.  \nA bronze memorial plaque, also in the church, commemorates his death.","type":"Print","holder":"Metropolitan Library, The Valvasor Collection of prints and drawings","owner":"Zagreb Archdiocese","initial_owner":"Johann Weichard Valvasor","dates":"1669","location":"Zagreb, North-West Croatia","dimensions":"H: 59.8 cm; w: 40.6 cm","place_of_production":"Croatia","method_for_datation":"Dated on print.","provenance":"From the Johann Weichard Valvasor Collection","obtention":"Purchased from Johann Weichard Valvasor by the Zagreb Archdiocese in 1690. Baron J. W. Valvasor, Slovenian polymath and collector, had his own mansion museum in Bogenšperg. Scarcity at the end of his life forced him to sell some of his exceptionally valuable holdings, and in 1690, the Zagreb Bishop Aleksandar Mikulić bought his collection of prints and the contents of his library.","bibliography":"*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993.  \nPelc, M., *Iconotheca Valvasoriana, VII. svezak*, Janez Vajkard Valvasor Foundation, Zagreb Archdiocese, Ljubljana, 2004.","author":"Mirna Abaffy","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["architectural sculpture","Cenotaph","ephemeral architecture","funerary architecture","print","scenography","theatre","Theatrical architecture","tomb"],"materials":["Copperplate etching on paper"]},"dfd5b69e-9c27-52e5-93bf-9d6d1a4fd259":{"name":"Tekke panel","description":"A *tekke* (dervish lodge) plate with *celi sülüs* calligraphy in the shape of a bird made with black ink. It reads *\"Yâ Bâz el-eşheb Kuddise sırruhu Şey'en lȋ'l-lâh\"* (religious text, untranslatable). On the upper right corner there is a date and signature together with a bouquet of rose, tulip and rosebuds. The plate is framed in rose colour.","type":"Paper","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"19th century","location":"Istanbul","copy_editor":"Daniel de la Vega"},"dfe6ce78-8f49-57a2-8d22-f6a5967fc725":{"name":"*Constantinople et le Bosphore de Thrace*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"e18d88ea-cdd3-514a-a77b-17670ead2f02":{"name":"*Jews’ Place of Wailing, Jerusalem*","description":"The wailing wall is situated at the foot of the western side of the Temple Mount/ Haram al-Sharif in Jerusalem, sacred to Jews, Christians and Muslims. It has been a site for Jewish prayer and pilgrimage for centuries. From the mid-19th century onwards, several unsuccessful attempts to purchase rights to the wall and its immediate area were made by Jews. With the rise of the Zionist movement in the early 20th century, the wall became a source of friction between the Jewish community and the Muslim religious leadership, who were worried that the wall was being used to further Jewish nationalistic claims to the Temple Mount/Haram al-Sharif and Jerusalem.This print first appeared (facing p. 140) in 'Walks about the City and Environs of Jerusalem. And: Forty Days in the Desert on the Track of the Israelites, a publication created in two volumnes by the writer and artist W. H. Bartlett and the engraver Ebenezar Challis. The work, based on Bartlett's visit to Jerusalem in the summer of 1842, was first published in London around 1850 by Arthur Hal, Virtue and Co.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1840s / early 1850s","location":"Sharjah","provenance":"Undetermined","author":"Ulrike Al-Khamis"},"e19b330e-2bba-52d4-86d4-2f8b8d208303":{"name":"Dr Joseph Hariz, doctoral thesis in medicine","description":"Pictured here is the cover of a doctoral thesis in medicine written by Joseph Hariz, a Jewish Tunisian doctor at l’Université de Marseille, in 1922. In the early 20th century, the Beylik of Tunis contained 170 qualified doctors, 81 of which were French, 83 were foreigners, and 6 Tunisian, with 2 Muslims and 4 Jews.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"e2b48175-dfa4-5317-9f12-0d280735f099":{"name":"Drawing of the railway bridge between the mainland and Venice","description":"This panoramic view shows the railway link between Venice and the mainland. In 1837 a company was founded to organize the building of the railway in the Kingdom of Lombardy-Venetia. Construction started in 1840 and the railway reached the Venetian station of Santa Lucia in 1846.","type":"Drawing","holder":"Austrian State Archives","dates":"c. 1830","location":"Vienna","copy_editor":"Daniel de la Vega"},"e2eea34e-96fb-5a2d-8d3e-29a6cd5d3d82":{"name":"Carpet Design","description":"Design of a carpet for its manufacture by the Royal Tapestry Factory of Santa Barbara in Madrid. The manufacturing process of the carpets relies on a previous design. This type of design is not common and the National Museum of Decorative Arts retains several, both from Francisco Javier Amérigo and the former Guild Foundation and is a sample of the manufacturing process that these works were a part of.","type":"Drawing","holder":"National Museum of Decorative Arts","dates":"c. 1881-1910","location":"Madrid","dimensions":"Length: 14.2cm, Width: 8cm","method_for_datation":"Through other similar sets of designs which are signed and contain the seal of the Royal Tapestry Factory.","method_for_provenance":"Through other similar sets of designs which are signed and contain the seal of the Royal Tapestry Factory.","provenance":"Royal Tapestry Factory of Santa Barbara (Madrid)","obtention":"Acquired in 2015","author":"Museo Nacional de Artes Decorativas","translator":"Asad Islam","materials":["Paper","watercolour and ink /drawing"]},"e3029e51-8121-5e09-b08a-bd958da4cd09":{"name":"'The first railway engine in Tripoli'","alternate_name":"An Italian colonial postcard; *La prima locomotiva ferroviaria a Tripoli*","description":"The railway in a colonial context was much more than a means of transport: it was a powerful symbol of modernity, of technological superiority of the colonisers over the colonised, and of mastery over the territory. The construction of railways in colonial situations was often celebrated by the colonialists’ popular press or in postcards, as in this case.  \nIn Libya, the Italians started building railroads from the first months of colonial rule. The first lines, inaugurated in 1912, connected Tripoli with Ain Zara (11 kms) and to Zanzur (39 kms). By the end of 1915, the railway lines in Libya amounted to 180 kilometres.","type":"Postcard","holder":"Enrico Sturani Private Collection","dates":"1910s","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"e3d1028e-c33d-53a4-a895-0276547994a0":{"name":"*Construction of the Bordeaux bridge in 1821*","alternate_name":"Taken from the collection *Topographie de la France*, \"Département de la Gironde\"","description":"The construction of bridges had always been a complicated matter, and particularly so in Bordeaux, where the river was especially temperamental. Until the 19th century people crossed it by ferry. However, in 1810 Napoléon I ordered a bridge to be built in Bordeaux, which was completed in 1822. The expertise this required (particularly the building of tunnels to reduce the size of the structure) attracted the attention of many contemporary engineers and architects.","type":"Print","holder":"National Library of France","dates":"c. 1821","location":"Paris","translator":"Flaminia Baldwin"},"e4bbe6bf-da24-5343-a888-89a40958c64c":{"name":"Plan and view of the Holy Sanctuary at Mecca, published by Thomas Tegg, London 1825","short_description":"This plate is from George Sale’s translation of the Qur’an. This edition of Sale’s work was published in a two-volume work in 1825, by Thomas Tegg without the Preliminary Discourse or the Memoir of the Translator, which makes up a large part of Sale’s original translation of 1734. The 1734 edition was known to be the first English translation of the Qur’an from the original Arabic. This plate is the same as that in the 1734 edition, and consists of two depictions: ‘*Plan of the Temple of Mecca*’ and ‘*View of the Temple of Mecca*’. It has a key to the significant parts of the Haram and a note stating that the references on both the plan and the view show the same locations. This plan however is missing the signature of the original engraver A.Motte. Hand colour tinting is commonly seen in Tegg’s publishing, however it is rare to find this particular plate from Sale’s *Koran* detached and so finely coloured. It may have been removed, coloured and used as artwork in its own right.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1825","location":"London","dimensions":"22x39cm","method_for_datation":"The date and publication details are included within the book.","provenance":"Europe","author":"Qaisra Khan","keywords":["architectural perspective","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Qur'an","Religion","travel","Traveller"],"materials":["Paper"]},"e4c6d454-9f18-5654-bdf6-7ba2ce34e089":{"name":"*Map of the desert between the Nile and the Red Sea, including Mount Zabara \\[…\\] and the remains of the ancient trade route between Egypt and India*","alternate_name":"Drawn according to M. Caillaud's itinerary, by M. Jomard, and engraved by M. Blondeau.","description":"The explorer and naturalist Frédéric Cailliaud made significant contributions to the birth of Egyptology thanks to the hieroglyphic tracings he made during his two trips to Egypt (1815–1818; 1819–1822). Muhammad 'Ali Pasha had tasked him with exploring the banks of the Nile and Nubia, where he discovered the monuments and emerald mines of Mount Zabara, and took several tracings from them, which he brought back to France with him. His observations were compiled and published by E.F. Jomard as a sequel to *l'Expedition d'Egypte*.","type":"Map","holder":"National Library of France","dates":"1820","location":"Paris","translator":"Flaminia Baldwin"},"e532dd30-df15-5462-88cf-6f2eaa8cf7bd":{"name":"Portrait of David Roberts, Esq., R. A.","description":"This engraving shows a portrait of David Roberts (1796 – 1864), first completed in the 1840s by Charles Baugniet. Roberts is shown seated on an ancient plinth or capital, holding a drawing board and a pencil. A classical temple structure appears in the background on the left. David Roberts was a Scottish painter especially known for a prolific series of detailed lithograph prints of Egypt and the Near East produced during the 1840s from sketches he made during extensive tours of the region (1838–1839). These, and his large oil paintings of similar subjects, made him a prominent and highly influential Orientalist painter. Charles-Louis Baugniet (1814 - 1886), was a Belgian artist famous for the lithographing of portraits of prominent European figures.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1844","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"e5dcb5be-a7f2-5f24-b1e8-fae35ee4b7b5":{"name":"*Foundations of Haram al-Sharif*","description":"Foundations of the South-Eastern corner of the Haram es-Sharif, as revealed for the first time by Charles Warren. This tunnel was some 85 feet below ground. Warren’s team were experienced mining engineers, and were assisted, as shown in several of this sequence of watercolours by William ‘Crimea’ Simpson, sent to record the expedition for the Illustrated London News, by extremely courageous local Jerusalem residents.","type":"Sketch","holder":"The Palestine Exploration Fund (PEF)","dates":"1872","location":"London","provenance":"?"},"e675bda3-74cc-5e0b-82fb-22ec48a324a5":{"name":"*Holy Trinity Column in Buda*","description":"In the 17th and 18th centuries, different types of Holy Trinity statues reminded people of the sufferings of the plague of 1691. The Holy Trinity Column in Buda, standing in front of the Parish Church of the Holy Virgin and the Old Town House of Buda, was built between 1710 and 1714. In 1916, during World War I, the column was the scene of the coronation of king Charles IV Habsburg. The column was demolished at the end of the 19th century.  \nThe original copperplates for this engraving are also preserved in the museum's collection. There were nine statues on the monument altogether, all of which were carved by Fülöp (Philipp) Ungleich. The three reliefs and coat-of arms were made by Antal (Anton) Hörger. Later, 16 statues were added to the column. The architectural setting surrounding the column also changed several times. During World War II the original statues in the collection of the Budapest History Museum were seriously damaged. A smaller size engraving was also made of the monument decades later.","short_description":"A large-size Baroque engraving representing the Holy Trinity Column, one of Buda’s most precious Baroque monuments.","type":"Engraving","holder":"Budapest History Museum","dates":"1714","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 111 cm; w: 84.6 cm","method_for_datation":"On the basis of the work and its inscription","obtention":"Transferred from the Capital’s collection in 1945","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 37.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Antal Hörger","Buda","Charles IV Habsburg","engraving","Franz Ambros Dietell","Fülöp Ungleich","Habsburgs","Holy Trinity","plague","religious object"],"materials":["Engraving on paper"]},"e6775e8c-d02b-5493-bf5e-5bcf66f6cbb0":{"name":"‘*A Short Note on the Design and Issue of Postage Stamps Prepared by the Survey of Egypt for His Highness Husein Emir & Sherif of Mecca & King of the Hejaz*’","short_description":"Prepared for ‘His Highness Husein. Emir & Sherif of Mecca & King of the Hejaz’, this detailed work with an unsigned introduction by Sir Henry MacMahon, details the creation of new postage stamps following on from independence from Ottoman rule. It also describes the design and technical attributions of the stamps, in detail. T.E. Lawrence conducted his initial research on the stamp issue by exploring design motifs in museums and buildings in Cairo. He drew inspiration from monuments such as from the tomb of al-Ghuri and the prayer niche of the mosque of al-Amri and from manuscripts such as Sultan Barquq’s Qur’an, amongst others. In his letters, T.E.Lawrence notes his fascination of the project, at one point suggesting that flavoured gum be used on the reverse of the stamps, to make them less unpleasant. Colonel Cyril Wilson (1873-1938) is now thought to be the main driving force behind the Arab Revolt of 1916-1918. He had an important diplomatic role which was connected to the safe passage of British Muslim pilgrims from India. This was in order to maintain control in Arabia and prevent any disruptions from rebel groups keen to spread anti-British sentiment.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated 15th March 1919","location":"London","dimensions":"28x19.2cm","method_for_datation":"Information on publisher and date is included in the book.","provenance":"Printed and published by the 'Survey of Egypt and Government Press Cairo' in 1918. Only 200 copies of this special edition were printed, with this copy being the 48th, dated 15th March 1919 and presented to Colonel C. Wilson.","bibliography":"Sir Ronald Storrs, *Orientations*, London: Readers Union Ltd, 1939.  \nWalker, P., *Lawrence Legend: the Forgotten Few who Shaped the Arab Revolt*, Oxford: Oxford University Press, 2018.","author":"Qaisra Khan","keywords":["arabesque","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","stamp"],"materials":["leather binding","Paper"]},"e696126e-a8d7-5829-87b8-1372eb83e64c":{"name":"A book on the activities of the Italian community in Tunisia, published by the Italian Chamber of Commerce of Tunisia for the 1906 International Exhibition in Milan","description":"In 1906, in celebration of the Simplon Tunnel opening between Italy and Switzerland, the Italian government organised an international exhibition in Milan. On that occasion, Italian communities in Egypt and Tunisia published books that described their lives and activities.  \nIn Tunisia, Italians entrepreneurs and professionals set up a committee charged with organising the participation to the exhibition of the Italian community in Tunisia.","type":"Book","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"e6b696c1-80fd-5fd5-8b33-a15b88ca3ccb":{"name":"An Italian Pasta Factory in Tunisia","alternate_name":"*Fabbrica di paste alimentari. Tunisi*","description":"According to historian Adriano Salmieri, in 1921 the four Tunisian towns of Tunis, Sfax, Sousse (Susa) and Bizerte had a total of 133 Italian shops making pasta and bread. Making pasta was hard work. In Tunisia, the industrialization of pasta production started only in the 20th century.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"e6ce0745-bf5d-5a64-ab65-c5f97224e8ef":{"name":"The Hall of Greece donated by the Greek government to the city of Rome, Rome Exhibition, 1911","alternate_name":"La Sala della Grecia donata dal Governo Greco alla Città di Roma","description":"On the occasion of the International Exhibition of Rome in 1911, the complex of the \"Baths of Diocletian” was restored under the direction of the archeologist and topographer Rodolfo Lanciani. The site housed the Archaeological Exhibition dedicated to the Roman culture in the Imperial Era with a particular interest for its positive influence on the ex provinces. Every single nation participated through original reproductions of archaeological materials, often lost. The photo shows material evidence and casts coming from Greece.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"e6f49abd-8e7a-5131-a593-cada7ee6ab5e":{"name":"Interior of Cattan's Bazaar; Interior of the Pavilion of Abdallah Ben Athia; Interior of the Eskenazi Museum of Antiquities [Paris Exhibition, 1878]","alternate_name":"*Interno del bazar di Cattan, Interno del Padiglione di Abdallah Ben Athia, interno del Museo d'Antichita' di Eskenazi*","description":"International Exhibition in Paris, 1878. Tunisia is represented by the creation of different bazaars. The reporter's descriptions of Cattan's Bazaar report mainly religious objects such as wooden rosary beads, mother-pearl crosses and the biblical plant, the Rose of Jericho. The Ben Athia Bazaar displayed cultural objects from Tunisia: luxury arms, rich materials, embroidery, perfumes of roses, bronze and enamelled jewellery. The Eskenazi bazaar displayed various antique objects.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright images: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"e714183d-faa1-5c38-bf56-e05a8f41f61e":{"name":"Bab el-Bhar - Porte de France","description":"This copy of a beautiful watercolour from Charles Lallemand's book *Tunis et ses Environs* shows the Porte de la Mer, or the Porte de France, around which both European settlers and Tunisian residents are gathered. Its location was strategic, as it led to both the Tunis medina and the European quarter.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"e751862b-fe57-57d5-ba9b-2d07b6938bd0":{"name":"'The war: the winners and… the losers'","alternate_name":"Italian cartoon against the Italian war on the Ottoman Empire, for the colonial conquest of Libya; *'La guerra: i vincitori e… i vinti'*","description":"Italian anti-colonial cartoon, with a clear socialist imprint: according to the author, soldiers of both sides were equal victims of the war, while businessmen of both sides made profits out of the war.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"1912","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"e76382a2-64c9-5d5c-8c41-049ddd06c52d":{"name":"Newspaper *al-Hoda*","description":"These two issues of *al-Hoda* date to 12 October 1901 and 27 November 1901. *Al-Hoda* was a semi-weekly critical periodical founded by N. A. Mokarzel and written, edited and printed in Philadelphia, USA.","type":"Print; newspaper","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"12 October 1901 – 27 November 1901","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"e76f2cd3-86ac-51b9-b076-e4ec90a04fbc":{"name":"*Illustrations of the One Thousand and One Nights, vol. 1*","description":"The *One Thousand and One Nights* played an important role in bringing the East and the West closer together. Galland was its first French translator, translating with much liberty what he had been able to understand in the early 18th century. The translated *One Thousand and One Nights* were extremely successful, and became the subject of a variety of art forms, both allowing Europeans to become better acquainted with the Arab world, but also forming the basis for lasting stereotypes.","type":"Print","holder":"National Library of France","dates":"1840","provenance":"France","translator":"Flaminia Baldwin"},"e77f7585-833b-5120-a08a-4e03b131f833":{"name":"*Interior of the Great Temple at Baalbec*","description":"This view into the interior of the Temple of Bacchus at Baalbek, Lebanon originally formed appeared in 'Syria, The Holy Land, Asia Minor, &c', illustrated views printed in 3 series over 2 volumes (37 plates, 37 plates, and 48 plates for each series respectively) including maps and title pages. The publication resulted from the 1836-1838 collaboration between the painter William Henry Bartlett, the engraver Ebenezer Challis and the Publishers Fisher, Son and Co. The architectural and artistic details they recorded subsequently inspired European Neoclassical architects and artists such as Robert Adam, who based one of the ceilings at Osterley House on the ceiling of the Temple of Bacchus and the portico of St George's, Bloomsbury on its portico. Since the 1860s, many tourists visited the site, including, in 1898, the German emperor Wilhelm II. Struck by the magnificence of the ruins, he dispatched a German archaeological team, whose subsequent work resulted in a meticulous, illustrated publication that further popularised the site.","type":"Steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Printed 1836–1838","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"e794e773-3653-5861-a65a-803eb3349875":{"name":"The trademark for the Italian company Smalto Tripoline, manufacturer of paints and varnishes","alternate_name":"*Smalto Tripoline*, colori, vernici, lacca a smalto, Ettore Tessitore, Verona","description":"The trademark of the company “Smalto Tripoline” (a factory producing enamels and paintings), based in Verona (Veneto, the same region as Venice).","type":"Trademark (archival document)","holder":"Central State Archives of Italy","dates":"7 February 1914","location":"Rome","author":"Margherita Martelli","copy_editor":"Anne Dowell"},"e87a28c8-480d-590e-ba3c-b84ef6e8d476":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861), riding a horse. When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali Pasha, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"e89aa553-0859-53ef-ad91-bdaddb8ac231":{"name":"*Hüdavendigar* Paper in Armenian","description":"After the *Tanzimat* (reforms), newspapers in Arabic, Persian, Bulgarian, Serbian, Albanian, Kurdish, English, French, Italian and German began appearing in the Ottoman Empire. Some of them were bilingual as Turkish-Greek, Turkish-Armenian and Turkish-Arabic. *Hüdavendigar* was a provincial newspaper of Bursa and it was first published on 19 February 1869. The same year, starting with the 80th issue, the back page was printed in Armenian. The paper was published twice (Wednesday and Saturday) and then four times a week. It was 50 x 25 cm. Subscription for a year was 100 kuruş, for six months was 50 kuruş and one issue was 20 para (1/2 kuruş). It continued to be published until 1953 under different names.","type":"Newspaper","holder":"Bursa Basın Tarihi Müzesi","dates":"1869","location":"Bursa","provenance":"Bursa","copy_editor":"Daniel de la Vega"},"e93e2356-ce89-5c16-b735-40f476c4b07d":{"name":"Gustave Eiffel. The Eiffel Tower in 1889.","description":"Today, the Eiffel Tower is one of the great symbols of Paris and of France. This metal structure, a huge technological achievement in and of itself, was constructed by Gustave Eiffel (1823–1923) for the Exposition Universelle (world fair) of 1889, which celebrated the centenary of the French revolution. Many of his contemporaries, such as Guy de Maupassant, considered the structure hideous and called for its demolition. This drawing recalls the tower's function as a symbol of the vitality of French industry, highlighting its exceptional size and its proximity to the great Palais de l'Industrie, which housed the Dôme Central, the first building to use electricity on a large-scale.","type":"Print","holder":"National Library of France","dates":"1889","location":"Paris","translator":"Flaminia Baldwin"},"e952d626-e57d-5b8e-b2e2-24763b1c7b83":{"name":"Receipt for a subscription among the Italians in Tunisia to buy Italy a plane","description":"We do not know whether the Italians living in Tunisia who collected money to buy Italy a plane were aware that Italy would use planes to bomb civilians in Libya. To be sure, they supported Italian expansionist policy.  \nThis receipt bears the signature of the treasurer of the committee that was collecting funding to buy Italy a plane, Giuseppe Di Vittorio, the owner of a successful construction company. The donor, Ugo Moreno, was another “big man” of the Italian community in Tunisia: a lawyer, he established a bank (Banca Italiana di Credito), in 1901 started an oil company (Societé du Pétrole) and in 1919 became town councillor in Tunis.","type":"Archival document","holder":"State Archives of Livorno","dates":"Tunis, 15 April 1912","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"e97ad326-57ea-571c-be97-f63b11fcafbc":{"name":"Chorographical plan of the attack waged by Lord Exmouth against Algiers on 27 August 1816","alternate_name":"*Plan / de l'attaque donnée à Alger / par S.E. Lord Exmouth / le 27. Août 1816. / et levé sur le lieu même par un Ingénieur / de la Flotte Anglaise / publié à Turin en décembre 1816. / Avec permission et privilege du Roi*","description":"In the spring 1816, a large Anglo-Dutch fleet headed by Admiral Lord Exmouth forced the three Ottoman regencies of the so-called “Barbary Coast” (the coastline of Algiers, Tunis and Tripoli; “Barbary” comes from “Berber”, the name given to the original people and culture of North-West Africa) to release Christian captives and to sign agreements over the abolition of corsairing, or privateering, and the enslavement of captives. In August, the Anglo-Dutch fleet returned to Algiers and made additional demands to the Turkish regent, who refused to comply. Lord Exmouth then ordered a heavy bombardment that destroyed the Algerian navy and part of the city of Algiers.","type":"Plan","holder":"State Archives of Turin","dates":"December 1816","location":"Turin","author":"Edoardo Garis","copy_editor":"Anne Dowell"},"e9b3ea92-3a5f-5e88-8c8b-35360ed3d3f2":{"name":"*Mosaic from the Christian basilica*","description":"","type":"Paper","holder":"Musée Public National des Antiquités","dates":"1840–1845","location":"Algiers","provenance":"Alger","translator":"Flaminia Baldwin"},"e9d20fa0-c214-51e8-a022-980c7d31384c":{"name":"Tekke panel","description":"*Hüsn-i Hat* is a type of calligraphy. Turks probably started to get interested in calligraphy after their arrival to Anatolia. The brightest period was during the Ottoman era. Calligraphy developed well beyond its functional role; it almost played a similar role to the paintings in Western art in terms of the level of its aesthetics. The script *\"Ya Hazreti Şeyh Sultan Yusuf Sümbül Sinan Kaddes Allahu sırrahu\"* (religious text, untranslatable) is written on a black background with *Zerendud* (gilded) calligraphy and designed as the *sikke* (tall felt hat) of the Sünbüli order. It stands over a small table in Rococo style and there are hyacinth flowers on either corner of the upper part. The sides of the plate are surrounded by two borders that are Rococo in design.","type":"Paper","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"Hegira 1311 / AD 1893","location":"Istanbul","copy_editor":"Daniel de la Vega"},"e9dc3805-7eb0-5025-b948-d69dd0ddfe00":{"name":"*The Citadel of Cairo, the Residence of the Pasha*","description":"The citadel of Cairo, here captured by the Scottish artist David Roberts in the 1830s, was undergoing major changes under Muhammad Ali Pasha (1769-1849). Having overcome the Mamluks of Egypt in 1805, Muhammad Ali erased all traces of their rule, including remaining palace and administrative structures. He rebuilt most of the walls, erected four new palaces - his own royal residence in the northern enclosure, a courthouse, an expansive terrace and state-of-the-art accomodation for his army. At the heart of the citadel complex, Mohammad Pasha ordered a memorial mosque for his son Tusun in the Ottoman style. Building work on the mosque lasted from 1828 to 1848. Roberts incorporates the new structures existing in his time, like the palace on the right, cresting the hill - the ongoing building works on the mosque are concealed by the Mamluk structure in the foreground on the right.","type":"Litograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"ea0dd19a-059c-55b1-ad56-fcbfe2341d01":{"name":"*Souvenirs d’Egypte; Femme Fellah du Caire*","description":"Lithograph, tinted with one tint stone, with additional colouring by hand, depicting a female agricultural worker (or fellah). Half bound in red morocco, in a modern portfolio. Each plate (apart from title page) lettered with title in French, Arabic and English, artists' names, and variously, 'Egypte. Imp. Lemercier, Paris', R'.Colas, Bibliographie Générale du Costume et de la Mode, 2 vols, Paris, 1933', and dated c. 1850.","type":"Print","holder":"Victoria and Albert Museum","dates":"1851 (published)","location":"London","provenance":"Egypt (possibly, drawn); France (published)","author":"Victoria and Albert Museum"},"eaed42bd-51b3-5083-8735-9c1467c68055":{"name":"An example of Italian colonial propaganda: 'Italy takes up the sword of ancient Rome. To the Italian sailors who are fighting in Tripolitania'","alternate_name":"A colonial postcard for the Italian soldiers fighting in Libya in 1911–12; *'L'Italia brandisce la spada dell'antica Roma - Ai marinai italiani combattenti in Tripolitania'*","description":"Italian sailors fighting in Libya are portrayed as the heirs of Roman soldiers. On the ground, one can see the personal military equipment of an ancient Roman soldier. The modern sailor holds in his right hand the Roman soldier’s sword and in his left hand an Italian flag.  \nItalian colonial rhetoric looked at the Roman Empire as a justification for Italy’s colonial conquests of Libya. The current territory of Libya was for centuries part of the Roman empire.","type":"Postcard","holder":"Central Institute for Cataloguing and Documentation (ICCD)","dates":"1911–12","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"eb38e940-7f0e-59a0-8e60-897613089325":{"name":"*Algerian Drinkseller* \\[Paris Exhibition, 1878\\]","alternate_name":"*Algerino venditore di bibite*","description":"Within the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion. Working activities were part of the project of the reconstruction of a hypothetical neighbourhood. The picturesque recreation of the Algerian surroundings includes a drinkseller offering lemonade kept fresh inside \"*alcarazas*” made by red earth.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"ebc1fbff-c25e-5ca5-86ba-1be3dbc34cbf":{"name":"The Gallery of Machines – Section of French Telegraphic Machines, Marinoni's Continuous Paper Model [Paris Exhibition, 1878]","alternate_name":"*La galleria delle macchine: – sezione francese Macchine telegrafiche, modello Marinoni a carta continua*","description":"Two of the most important inventions of the 19th century, the rotary and four-colour printing (quadrachrome), are attributed to Augusto Ippolito Marinoni. The new machines changed the printing of journals, achieving up to 18,000 to 20,000 copies per hour. Marinoni had extraordinary success in Paris, where his factory produced 4000 samples of machines which also sold in London, Berlin and Vienna. In Italy at the time, only the journal *Il Secolo* had a \"Marinoni\".","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"ec198745-bf85-5cf3-a025-264676b49e2d":{"name":"*Histoire de la Princesse Boudour (Conte des mille et une nuits)*, Translation by J.C. Mardrus of *The Story of the Princess Boudour: Tales of a Thousand and One Nights*","description":"François-Louis Schmied (1873–1941) and Jean Dunand (1877–1942) worked together on *Histoire de la Princess Boudour*, the French translation of one of the tales from *The Arabian Nights* by J.-C- Mardrus. The painter, illustrator, engraver, bookbinder and publisher François-Louis Schmied was primarily responsible for producing the graphic design and handling of the text, the illustrations and their wood interpretations. Dunand produced a lacquered metal plaque that transmitted the eroticism and voluptuousness revealed throughout the text. Using warm colours, Princess Boudour is portrayed on a red ground sprinkled with gold, and appears as a very elongated, tubular figure holding a flower with both hands. It’s a limited edition, just twenty copies, it’s a extremely rare Art Deco book.","type":"Book","holder":"Calouste Gulbenkian Museum","dates":"Paris: F.L. Schmied, 1926","location":"Lisbon","author":"Manuela Fidalgo"},"ecc37fb3-5606-5413-bfb4-48ac62d9c763":{"name":"Turkey. Inside view of the Scutari Hospital during the Crimean war.","alternate_name":"*One of the Wards of the Hospital at Scutari*","description":"Florence Nightingale (1820–1910), a British nurse famous for her commitment to and improvement of the health service, was sent to on a humanitarian mission to Scutari in the middle of the Crimean war. With a team of about 30 nurses, she cleaned the hospital and reorganised the wards in order to prevent the outbreak of epidemics. In this image she is pictured in the sick ward, taking various measures to improve its hygiene.","type":"Print","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin"},"ece4e33c-7204-5b42-8e58-18b1ae8b4d17":{"name":"*Ruins of Troy: general excavation plan by Mr Schliemann*","description":"Heinrich Schliemann (1822–1890) was a German businessman who discovered his passion for archaeology whilst travelling. In 1870 he decided to direct an archaeological campaign in Turkey where he discovered the ruins of Troy. Various scandals (stolen objects, scientific errors) quickly destroyed his reputation, and today he is credited only with having created sites which led to important advances in the field. However, this plan of Troy is evidence for Schliemann's efforts to direct the excavations in a rigorous scientific manner.","type":"Plan","holder":"National Library of France","dates":"1876","location":"Paris","translator":"Flaminia Baldwin"},"edae7a23-07b5-5d83-9c59-298568ea0cc0":{"name":"The Moroccan Embassy in Rome","alternate_name":"The Sultan of Morocco’s Ambassador, Haji el Maati Ben-el-Kebir Ben el Madani el Mazamizi during his visit to Italy in 1890; *L’ambasciata marocchina a Roma*","description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with extremely rich gifts.  \nThe Ambassador was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered him a gala dinner.  \nIn this picture one can see Morocco’s Ambassador, his interpreter, two Moroccan dignitaries who travelled with him, an Italian diplomat and another Italian high official.","type":"Photo published in a journal","holder":"State Library of Modern and Contemporary History","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"ee0cbe27-f7a7-56db-b5c5-18038a38b0c8":{"name":"Omar Pasha (1806–1871)","description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"eee2b270-70d5-58ca-a544-89ca4bbc9d54":{"name":"*Armenian Girl*","description":"*Armenian Girl* by Frederick Lewis, and important orientalist painter and etcher.","type":"Drawing","holder":"The British Museum","dates":"1841","location":"London","provenance":"?"},"ef29d044-78f8-52d1-a065-bb93ee480704":{"name":"Wardrobe of Luigi Elli of Milan [Paris Exhibition, 1878]","alternate_name":"Armadio letto di Luigi Elli di Milano","description":"One curiosity, presented at the Universal Exhibition of Paris in 1878, is a modern \"bed wardrobe\" designed by the Milanese industrialist Luigi Elli. Appreciated more in France than in Italy, and initially excluded from Italian orders, it was reintroduced when the France decided to display it within other French works.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"efb40382-898f-59c5-99c9-337e5b9fd997":{"name":"Europeans leaving Alexandria (Egypt) during the antiforeign rioting in June 1882","alternate_name":"*La partenza degli europei da Alessandria d’Egitto (da uno schizzo preso dal vero)*","description":"Ahmed Urabi, an army colonel of peasant origins, led a protest movement in 1881 against European domination of Egypt’s affairs and in favour of placing constitutional limits on the Khedive’s power. In 1882 Urabi was appointed minister of war and started working for the creation of a national assembly.  \nIn May 1882, Britain and France, concerned about access to the Suez Canal and intending to protect their financial interests in Egypt, sent a fleet to Alexandria, hoping to weaken Urabi’s nationalist movement. The presence of the fleet only worsened tensions. In June, anti-foreign rioting erupted in Alexandria and left several hundreds dead, including about 50 foreigners.  \n18,665 Italians were living in Egypt at the time, mostly in Alexandria and Cairo.","type":"Drawing in a newspaper","holder":"State Library of Modern and Contemporary History","dates":"1882","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"efe60dc6-7155-5eb3-a180-d0bfbd548106":{"name":"Revenue stamp","description":"A revenue stamp issued in 1888 during the reign of Khedive Muhammad Tawfiq with the value of one dime. Written at the top is “Egypt Post” in Arabic with its French translation below it. To the left is the value of the dime in French, and in the centre is an image of one of the Giza pyramids and the Sphinx. The first postal stamp was issued in England in 1840. It bore the portrait of Queen Victoria, as suggested by Sir Roland Hill. This stamp was issued twice, in red and in blue. The United States of America was the second country in the world to use stamps, and the first Egyptian stamp was issued in 1866 by order of Khedive Ismail.","type":"Stamp","holder":"Bibliotheca Alexandrina","dates":"1888","location":"Alexandria","copy_editor":"Daniel de la Vega"},"f0020c49-694c-556a-855c-e631e86ab20b":{"name":"Survey of Western Palestine","description":"Field sheet showing a week’s work mapping the environs of Gaza for the Survey of Western Palestine, dated 29th April, 1875. The SWP was the first detailed and fully accurate map ever made of Palestine, at 1 inch to the mile, for the Palestine Exploration Fund. The Survey Party was commanded by Lieut. Claude R. Conder, R.E., and his assistant, Lieut. H.H. Kitchener.","type":"Field sheet","holder":"The Palestine Exploration Fund (PEF)","dates":"1875","location":"London","provenance":"Levant"},"f0198935-079b-5690-9940-711aef84795d":{"name":"Postcard","description":"Postcard; printed paper; shows the Hejaz Railway monument, Damascus.","type":"Postcard","holder":"The British Museum","owner":"The British Museum","dates":"1930s (?)","location":"London, United Kingdom","dimensions":"Height: 14cm; width: 8,9 cm","place_of_production":"Damascus","obtention":"Purchased from: East London Postcards in 2013.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-1360?selectedImageId=1451015001","keywords":["monument","print","Railway","station"],"materials":["Paper"]},"f1166cb3-b783-5cbf-98fd-cd4d924c210b":{"name":"Main entrance of the Hotel Excelsior at the Lido in Venice","description":"The drawing shows the main entrance of the Hotel Excelsior on the beach of the Lido sandbar which separates the Venice lagoon from the sea. Two small towers crowned by domes with decorations stand aside the portal. Particularly interesting is the use of arches in Moorish style, for the main portal and for the loggias in the side wings.","type":"Architectural drawing","holder":"Archivio Progetti – Università Iuav di Venezia","dates":"1907–08","location":"Venice","author":"Riccardo Domenichini","copy_editor":"Anne Dowell"},"f175d1d2-4ea7-502d-8b4f-2dbcdf510fc9":{"name":"*Tunis 2*","description":"Designed by Joseph Nash, this is one of the set of views published with accompanying text as Dickinson's Comprehensive Pictures of the Great Exhibition. The prints used the newly available technique of colour lithography to record scenes from the popular 1851 Exhibition. This particular scene shows the Tunisian exhibit, Tunisia being one of few African countries represented at the Exhibition. Exhibits were selected by the bey, Mushir Basha, and included a Bedouin tent. The wealth of material displayed and the charisma of the exhibitors, Hamda Elmkadden and his assistant Saido Belais, ensured that the exhibit proved ‘one of the most remarkable features’ of the Exhibition.  \nFollowing the Exhibition, a government grant was awarded to a committee headed by Henry Cole to purchase items from the Exhibition to form the basis of a Museum of Manufactures (later the V&A).","type":"Print","holder":"Victoria and Albert Museum","dates":"c.1852","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum"},"f1948597-53b1-578c-8bd5-dbd5ac4ee6c3":{"name":"*The Great Khan of Damascus*","description":"Damascus had long been a major commercial hub in the Middle East, with trading caravans converging on its numerous souqs from all over the Islamic world. Commercial complexes had already flourished in the 18th century and were an integral part of Ottoman modernisation projects in the 19th century. This image gives a wonderful impression of the activities within a traditional Near Eastern khan or market complex in the 19th century. Under high vaulted domes, man and beast are engaged in various activities. Pack animals bring wares or are being unloaded, traders discuss their wares, rest or ponder their accounts. A fountain in the centre provides respite and coolness. On the second floor, figures are visible at the balconies, overlooking the activities below. The print was originally published in Volume I, p. 49, of 'Syria, The Holy Land, Asia Minor &c', printed in 3 series over 2 volumes, drawn by William Henry Bartlett and William Purser, engraved by W. Kelsall, with descriptive text by John Carne. Published by Fisher and Son, with series I and II bound together.","type":"Coloured steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Printed 1836–1838","location":"Sharjah","provenance":"England; published in Etching depicting *'The Great Khan At Damascus'*, first published in John Carne, *'Syria, The Holy Land, Asia Minor, &c'*, 1836–1838","author":"Ulrike Al-Khamis"},"f22befb9-5e91-59ad-a5d6-b1b4804da1d6":{"name":"*Fête Égyptienne: Divertissement de Concert pour Piano: op. 3*","description":"French \"Egyptomania\", which began with the campaign in Egypt and lasted the whole 19th century, saw a period of particular intensity during the construction of the Suez Canal. The illustrator of this score, responding to the music's supposedly Egyptian inspiration, focused his illustrations on stereotypical Egyptian images (pyramids, sphinx, palm trees), but notably failed to include images of Egyptian people or daily life.","type":"Sheet music","holder":"National Library of France","dates":"1891","location":"Paris","translator":"Flaminia Baldwin"},"f23c34bf-814d-5e9e-8baf-ebe84ce157b4":{"name":"*Folies Rambuteau. New quartet from the Auvergne.*","description":"The 19th century saw mass rural to urban migration, particularly to Paris, for largely economic reasons. These migrants often settled with people from their region, who offered them work in specific fields. Thus, those from the Savoy region became specialised in chimney-sweeping, those from the Auvergne were water-carriers or coal-merchants, those from Brittany were domestic workers, and so on. Regional solidarity therefore ensured the survival of regional culture. In this image, for example, a quartet from the Auvergne are advertising their performance in a *café-concert* in traditional dress. Music from the Auvergne was the origin of the Parisian *bal-musette* (a dance accompanied by accordion music).","type":"Poster","holder":"National Library of France","dates":"1885","location":"Paris","translator":"Flaminia Baldwin"},"f262f19f-c5f9-5c05-bd10-8873d3e30db2":{"name":"*Interview with Mehemet Ali in his Palace at Alexandria 1839*","description":"This scene shows Muhammad Ali Pasha, comfortably seated on a diwan with sword and waterpipe by his side, receiving a British Delegation at his palace in Alexandria on May 12th, 1839 - an event at which the artist David Roberts himself was present after receiving an invitation from the British Consul General in Alexandria, Colonel Patrick Campbell, to accompany him to the meeting at the city's Arsenal. On entering the audience room, Roberts noticed the magnificent view of the harbour from the window, and he eternalises this impression at the centre of his composition, accentuating at the same time the separation of the Egyptian ruler and his entourage on the left and the six-strong, British delegation on the right. Campbell is seated closest to the ruler, followed by Thomas Waghorn and David Roberts, eagerly leaning forward to listen and observe. Other identifiable individuals include Bogosh Bey, the Armenian chief minister, standing left of the seated Pasha, Dr Tattam, a Coptic scholar commissioned by the British Museum and Mr Pell. Campbell  was soon to be recalled due to his attempts to influence British politics towards Mehmet Ali, whom he greatly admired.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"f2797aad-043c-51e6-ba00-d9f4afd964a3":{"name":"*Recherches sur l' origine du Blason et en particulier sur la Fleur de Lis*","description":"The illustrated publication *Recherches sur l' origine du Blason et en particulier sur la Fleur de Lis* is a study on emblems with references to Mamluk blasons. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1853","location":"Athens","provenance":"Paris","author":"Mina Moraitou"},"f2e1525e-6b39-51de-8e19-c3cca74a4562":{"name":"*A Turkish Coffee-House, Constantinople*","description":"Preziosi was of noble Maltese birth, but against the wishes of his family rejected their chosen profession of the law to become an artist. From 1842, until his death forty years later, he lived and worked in Istanbul, renowned for his vibrant and evocative images of all the different races and cultures of that most cosmopolitan of cities. He became for a time well-known in Western Europe because many travellers, (including in 1869 the Prince of Wales) took his pictures home as souvenirs of their visit. Demand for his work prompted the publication in Paris in 1858 of a series of lithographs, Stamboul Recollections of Eastern Life.This is a fine example of Preziosi’s keen observation of contemporary Ottoman life, rapidly sketched yet full of accurately depicted detail.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1854","location":"London","provenance":"Turkey","author":"Victoria and Albert Museum"},"f31fd223-2144-5b45-8b4a-8cf3c4d36bc5":{"name":"*London-Paris-Constantinople* \\[…\\] *Orient Express. Paris-Munich-Vienna-Budapest-Belgrade & Constantinople: fast and direct service, without your car and without your passport* \\[…\\] *Winter 1888–89 ...*","description":"Founded in 1872, the Compagnie Internationale des Wagons-lits was originally a Belgian company. Its founder (Georges Nagelmackers) had the idea of creating a luxury train line, without the need for changes at each border, in order to allow wealthier tourists a more comfortable journey. The opening of the famous Orient Express between Paris and Constantinople in 1883 was an extremely successful example of this.","type":"Poster","holder":"National Library of France","dates":"1888","location":"Paris","translator":"Flaminia Baldwin"},"f32db4ad-178e-583f-be68-731a20b86a1a":{"name":"Map of the Hijaz Railway. Designation in Ottoman Turkish and Arabic","description":"The map is part of the Pocket Atlas of the Ottoman Lands: The Geographical and Statistical Conditions of the Ottoman State. It represents territories extending from Egypt and the eastern Mediterranean in the west to the Euphrates River in the east, and from Damascus in the north to the Hijaz region in the south. The map identifies regions, towns, ports, deserts, mountain ranges and maritime routes in Ottoman Turkish written in Arabic script. A route beginning in Damascus and continuing through Darʿa and Maʿan toward Medina corresponds to the Hijaz Railway. The map table heading is given first in Ottoman Turkish and immediately below in Arabic, reading: \"Map of the Hijaz Railway\", with a list of stations underneath. Each location is accompanied by a numerical value expressed in kilometres, indicating cumulative distances measured from Damascus.","type":"Map, pocket atlas","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1328 / AD c. 1910","location":"Berlin","dimensions":"Height: 13 cm; width: 9,2 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Nicholson, James, *The Hejaz Railway*, London: Stacey International, 2005.  \n  \nAga Khan Trust for Culture, *Historic Train Stations of the Al-Hijaz Railway Network*, Geneva: Aga Khan Trust for Culture, 2004.","copy_editor":"Danielle Morcom","keywords":["Hijaz","Map","Syria","Trainlines","Türkiye"],"materials":["Paper","printed coloured pocket atlas"]},"f36b7d3e-8e7a-5356-9555-d10076d72a09":{"name":"Muhammad Tawfiq Pasha (1852–1892)","description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"After 1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"f3e4d209-2bec-5851-8ab2-7247da1e8c09":{"name":"*Sepolcro del Giovedì Santo*","description":"This etching documents the main installation created by the sculptors Angelo and Domenico Piò in the church of the Holy Saviour in Bologna. Antonio Cartolari drew the engines, Petronio Nanni built them, Angelo Sarti was the painter and Marco Montanari the scenographer. It was a tradition to keep a drawn memory of ephemera built during the Holy Week in one of the three churches chosen each year among the 60 selected in the diocese of Bologna for this celebration This was a practice created by cardinal Gabriele Paleotti, that took shape in the eighteenth-century, with sumptuous and solemn liturgies. On the Holy Thursday the Catholic Church celebrated the institution of the Eucharist with the Last supper. The host was taken from the tabernacle and put in the Repository, called the Sepulchre, to commemorate the death of Christ. The repository was an installation built to emphasise the tabernacle holding the holy Eucharist. This etching was part of a booklet, helping the faithful to meditate over the Passion and Resurrection of Christ. The analytical description of the sumptuous installation involving the whole church was made in order to preserve the memory of a work created to last only few days.  The work was made to touch the faithful hearts and at the same time to instruct them about the core of the Catholic faith, thus helping them to follow in the right behaviour preached by the Church. On the altar stand the allegories of Holy Grace, Religion, Faith and Fortitude, defeating the devil. On the cartouche we read the words of St. Paul: “Gratia Dei Salvatoris nostri” “Thanks to the Lord our Saviour” (Tit. II. 11). The rest of the church was uniform, thanks to six installations like this one. All the figures were painted in white to convey the idea of marble, while the architectural details, standing inside niches covered with red and gold material, were made to look like travertine. The spirit animating the whole installation reflected the rhetoric and the ostentation of the age.","short_description":"Among the most significant documented ephemera built in the baroque age are the so-called sepolcri (“sepulchres”). This is an effective example. A group of sculptors, scenographers, sceneshifters, architects and painters erected them in churches during the three days before Easter.","type":"Print","holder":"Biblioteca Comunale dell'Archiginnasio","owner":"Biblioteca Comunale dell'Archiginnasio","dates":"1764","location":"Bologna, Emilia-Romagna","dimensions":"530 x 350 mm","place_of_production":"Bologna","method_for_datation":"Dated.","provenance":"This print is part of the booklet *Explanation of the Holy Sepulchre of the Redeemer exposed to the faithfuls piety...*, In Bologna, printing house of St. Thomas Aquinas, 1764","obtention":"Bequest Giovanni Gozzadini (1902).","bibliography":"Guidicini, G. *Descrizioni dei Sepolcri del Giovedì Santo dal 1691 al 1823, raccolte e divise in due volumi da Gio.* *Batta Guidicini*, Archiginnasio Municipal Library, Department of Prints and Drawings, A V. H V 18/1-2.  \nRoncuzzi, V. “La sacra rappresentazione dei Sepolcri del Giovedì Santo durante il triduo pasquale”, *L'Archiginnasio:* XCII, 1997, pp. 374-376*.*  \n*La devozione in tipografia: committenza religiosa in età moderna* (exhibition catalogue) (ed. P. Bellettini), S. L., (1997).  \n*Il magnifico apparato. Pubbliche funzioni, feste e giuochi bolognesi nel Settecento* (exhibition catalogue) (ed. S. Camerini), Bologna, 1982, pp. 74-76.","workshop":"Bolognese Late baroque","copyright":"Copyright image: Biblioteca Comunale dell’Archiginnasio di Bologna.","author":"Cristina Bersani","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Angelo Piò","architectural sculpture","devotional painting","Domenico Piò","ephemeral architecture","festivity","funerary architecture","liturgy","religious orders","scenography","Sepulchre of Jesus Christ","theatre"],"materials":["Etching on paper"]},"f3ed76b1-bbf6-54cf-8522-0f1b9baf22b6":{"name":"Rich drawing","description":"Portrait of a standing Yezidi woman.","type":"Drawing","holder":"The British Museum","dates":"c. 1800–1820","location":"London","provenance":"Iraq"},"f441f874-4d85-5d61-a241-aca16296bfa2":{"name":"Programme card for the Exposition Universelle of 1900. Phono-Cinéma-Théâtre.","description":"World fairs were an opportunity to discover new inventions, and to make them known worldwide. The \"cinematograph\" was present, in various forms, at the 1900 Exposition Universelle in Paris. The invention of the \"Phono-Cinéma-Théâtre\" brought sound and image together for the first time, and Henri Lioret and Clément-Maurice Gratioulet used a phonograph to combine the voices and images of famous actors such as Sarah Bernhardt.","type":"Programme card","holder":"National Library of France","dates":"1900","location":"Paris","translator":"Flaminia Baldwin"},"f4c22e70-95b9-576e-af85-4267539e8ace":{"name":"Précis Historique de la Traite des Noirs et de l'Esclavage Colonial","alternate_name":"Frontispiece","description":"This illustration, taken from the Précis Historique de la Traite des Noirs et de l'Esclavage Colonial  had didactic objectives. It attempted to show the inhuman treatment slaves were subjected to (yoke, chains, whipping) by traders. In this image, a mother is begging King Charles X of France to spare her son this dark fate and abolish slavery. However, even though the National Convention did abolish slavery in 1794, Napoléon Bonaparte then reintroduced it to most of the territories under French control.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1828","location":"Paris","translator":"Flaminia Baldwin"},"f4ee2a86-2553-5a0f-a698-a195e71a3ffd":{"name":"Treaty of the French Protectorate, 12 May 1881","description":"This drawing shows an important moment in modern Tunisian history: the signing of the treaty of the French Protectorate over the Tunisian regency, at the Palais Kassar Saïd, in Bardo, on 12 May 1881. The main players are featured in this drawing, namely Sadok Bey who ruled Tunisia from 1859 to 1882, with his hand resting on the table, and to his right the general Jules Aimé Bréart, the leader of the invading French troops.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1881","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"f54c0c7c-ee1e-50ca-aed8-8e94a72d0f30":{"name":"*Exposition d' art Musulman*","description":"A catalogue of the *Exposition d’ Art Musulman* which was organized by Gaston Migeon and held in Alexandria in 1925. For each object it contains a description and provenance with no illustrations.","type":"Book","holder":"Benaki Museum","dates":"1925","location":"Athens","provenance":"Alexandria","author":"Mina Moraitou"},"f5bf8d60-ea7d-51ea-b865-00084437d439":{"name":"A strike of rice weeders in northern Italy: the women on strike try to stop a train carrying workers hired by the landowners to replace them","alternate_name":"*Sciopero dei mondariso nel Vercellese: come le risaiuole tentarono impedire il viaggio ai liberi lavoratori chiamati a sostituirle*","description":"Women were very active in trade unions. In 1906, a woman, Argentina Altobelli, became secretary general of the National Federation of Agricultural Workers (Federazione nazionale dei lavoratori della terra).","type":"Published drawing","holder":"State Library of Modern and Contemporary History","dates":"1909","location":"Rome","author":"Rosanna De Longis","copy_editor":"Anne Dowell"},"f6ba7168-fb9b-59f4-96f4-181869aa5b52":{"name":"*The Battle on Dealu Spirii*","description":"In June 1848 revolution broke out in Wallachia. In terms of relations with the Ottoman Empire, Wallachia’s suzerain, revolutionaries claimed the administrative and legislative independence of the country. In the autumn, as negotiations with the revolutionaries proved unsuccessful, the Sublime Porte decided to intervene militarily. On the 13th of September, Bucharest was attacked. The battle that took place on Dealu Spirii between the Ottoman army and the Romanian soldiers helped by a company of firefighters was won by the former. Afterwards, the Ottoman sovereignty over the Romanian countries was re-imposed. The lithograph is entitled *The fight of the Romanian soldiers with the numerous column of the Ottoman army* and below the drawing a short text describes the battle.","type":"Engraving","holder":"National Museum of Romanian History","dates":"1848","location":"Bucharest"},"f6ce25ef-e196-51ea-878e-f582be55dc3a":{"name":"Petrie and typology","description":"In 1890 Petrie carried out a six-week season of excavations at Tell el-Hesy (as he transliterated it), which he identified, wrongly, as the ancient city of Lachish.  This was the first proper archaeological excavation ever carried out in Palestine, and in the course of this single season Petrie established the principle of dating strata by the pottery which they contained, thus establishing the outlines of the archaeological sequence, which continues to be refined to this day. This section drawing was made by Frederick Jones Bliss, who continued Petrie’s excavations from 1892–1894.","type":"Section drawing","holder":"The Palestine Exploration Fund (PEF)","dates":"1890’s","location":"London","provenance":"?"},"f6f098bc-4e9c-5171-b766-ca9c47aabe50":{"name":"New maps","description":"Sgt. George Armstrong, R.E., who was a key member of the Survey Party, later made a 3D ‘Raised Contour Map’ of Palestine from the 2D maps originally produced. This was shown all over the western world, and won him a medal at the St. Louis World’s Fair in 1903. It was the first such map ever constructed of Palestine, and served to introduce scholars and the public to the nature of the landscape in a way that no previous maps had done.","type":"Map","holder":"The Palestine Exploration Fund (PEF)","dates":"c. 1900","location":"London","provenance":"?"},"f7cee5d1-1e01-5071-9419-091425349403":{"name":"Dictionary of Three Languages","alternate_name":"Trijazichnik","description":"The *Dictionary of Three Languages* by Gjorgji Pullevski (1822–1893) shows the political context and coexistence of Macedonians, Albanians and Turks in the territory of Macedonia. It also provides evidence of the awakening of the national spirit of Macedonian people. The dictionary has 190 pages in paperback. It gives words in Macedonian, Albanian and Turkish in three columns. Despite its orthographic errors, the dictionary provides a valuable source for studying of the evolution of the Macedonian language.","type":"Book","holder":"Museum of Macedonia","dates":"1875","location":"Skopje","provenance":"Belgrade","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"f939b530-8866-5fba-afa5-e436e2211419":{"name":"Rich drawing","description":"Portrait of a standing male Yezidi from Sinjar. Claudius Rich made observations and drawings not only of sites but also of people. Early travellers often studied the customs and costumes of local peoples, as well as drawing landscapes or mapping territories. There was no such thing as a professional archaeologist yet.","type":"Drawing","holder":"The British Museum","dates":"c. 1800–1820","location":"London","provenance":"Iraq"},"f94fb43c-ce0a-57b2-b9cb-171b27871fa2":{"name":"*Arabs of the Desert*","description":"The constant movement of large Bedouin confederations regularly impacted on the history of the Middle East, in particular when it affected settled societies and cities.This print provides much interesting detail about the dress of the Bedouin at the time David Roberts visited the Near East in 1838/9. The individual in the foreground wears a white turban and short gown with belt, a dark red jacket and a voluminous, all-enveloping blue cloak. His legs remain uncovered, and he wears simple leather sandals on his feet. A formidable dagger or khanjar in its sheath is secured in his belt, and he carries a long slender gun through a sling. The bullets for the gun appear to be secured in an ammunition belt strapped diagonally across his chest. In the background, four male figures wearing striped headscarfs and cloaks as well as short white gowns and holdings lances appear on the right. On the left, a bedouin leads his camels away. The inscription states: *Arabs of the tribe of Benisaid, Feb. 17th 1839*.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"f99fda0f-bbfe-5494-9147-d4cccb13620e":{"name":"*Théâtre du Châtelet. Germinal*","description":"The thirteenth novel in the *Rougon-Macquart* series, *Germinal* (1885), is the most well-known and the most discussed of Zola's works. This naturalist writer took a new approach to depicting workers' lives, shedding light on miners' terrible working conditions and the violence and difficulty of strikes. Fearing that the adaptation of this novel for stage would trigger social unrest, the play was initially banned. It was finally performed for the first time in 1888 at the Théâtre du Châtelet. This poster highlights the most important themes of the novel - life in the mine, strikes, etc.","type":"Poster","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin"},"fa167dcd-aecd-50c2-9f06-7fb3d8cf9248":{"name":"*Description de L'Egypte: Antiquités Planches*","description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. The *Description de l'Égypte* was a series of publications, appearing first in 1809 and continuing until the final volume in 1829, which offered a comprehensive scientific description of ancient and modern Egypt as well as its natural history. It is the collaborative work of about 160 civilian scholars and scientists, known popularly as the savants, who accompanied Napoleon's expedition to Egypt in 1798 to 1801 as part of the French Revolutionary Wars, as well as about 2000 artists and technicians, including 400 engravers, who would later compile it into a full work.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1809–1829","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega"},"fb2abd3f-4014-5c92-a525-a24db70c968b":{"name":"Map of the 1877–1878 war","description":"This map shows the theatre of operations during the Russian-Ottoman war of 1877–1878, which for Romania represents her independence war. In April 1877, Romania signed a secret military convention with Russia, who was on the eve of a new war with the Ottoman Empire, allowing her troops to cross the Romanian territory in order to get south of the Danube. Because in May the Ottomans bombed some Romanian ports on the Danube without a previous war declaration, the Parliament proclaimed Romania’s independence and decided the country’s entrance in the war. By the beginning of 1878, the Russo-Romanian army was victorious. At the peace Congress of Berlin (June-July 1878) Romania’s independence was recognized, but she had to cede Russia the south of Bessarabia in exchange for a part of Dobruja.","type":"Map","holder":"National Museum of Romanian History","dates":"1877","location":"Bucharest"},"fb86b66e-ef8d-577e-9f18-2861adbb111f":{"name":"*The Storming of a large Storehouse near Rus al-Khyma where Capt Dancey of H. M. 65th Regt was killed. Nov. 13th 1809*","description":"This dramatic scene was recorded by a British soldier participating in the siege and destruction of Ras al-Khaimah, the main stronghold of the Qawasim empire in the lower Gulf. It shows a British contingent, armed with musket guns attacking a large, fortress-like building, surrounded by small dwellings, traditionally built of palm fronds and known as areesh. A soldier in the foreground is taking aim at a local fighter on the roof of the building, while he in turn is defending himself by launching a sharpened log in the attacker's direction. The actual subject of the image, however, is the striken soldier with a headwound, Captain M.M. Dansey, hit by a spear according to eye witnesses and attended to by his comrades in the centre. Nevertheless, after the attacks, the British prided themselves in their 'trifling losses' while estimating that 'from seventy to eighty' of the Qawasim Arabs were killed, and 'many must have fallen in the previous bombardment'.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","provenance":"London","author":"Ulrike Al-Khamis"},"fb87a426-40c2-5d5c-a3d0-e7ba69ca00e7":{"name":"*The railway*","alternate_name":"Part of the rail transport system","description":"Epinal prints take their name from the eponymous town in the Vosges region of France. These stencil-coloured lithographies with simple designs became very popular during the 19th century, thanks to their modest price and popular themes. This particular print is aimed at explaining the new railway system to rural communities, by illustrating the different jobs related to this mode of transport (station master, porter), and the types of people interested in faster transportation (soldiers, tourists, merchants). The different classes (from first to third) and their varying levels of comfort are also shown. This helped dispel and ridicule the fear transport had evoked.","type":"Epinal print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"fbde1ba4-0cc0-547e-9260-e7d47c092d47":{"name":"Picture postcard, *Greetings from Pirot*","description":"A picture postcard with the Cyrillic inscription *Pozdrav iz Pirota* (*Greetings from Pirot*) shows a woman from Pirot weaving a kilim, with a child standing by her side. Pirot, a town in south-eastern Serbia, was an important centre of kilim weaving in the Balkans. Pirot kilims were woven on vertical looms (as the one shown in the picture) with a slit weave technique (*klečanje*), which renders both front and back of a weave even and identical. It took one to ten weavers to weave a kilim, depending on its dimensions. The kilims were made of fine, thinly and evenly spun wool which, until 1880’s, was exclusively processed at homes. One of their major characteristics are the studied coloristic effects, achieved by choice and distribution of colours. Natural herb dyes were replaced by the aniline ones at the beginning of the 20th century.","type":"Postcard","holder":"Museum of Applied Art","dates":"Not later than 1903","location":"Belgrade","dimensions":"H: 8.8cm, W: 13.8cm","method_for_datation":"Ref. Perać, J., *Razglednice u Srbiji 1895–1914 = Postcards in Serbia 1895–1914*, Belgrade: Museum of Applied Art, 2009.","provenance":"Pirot","obtention":"Purchased in 1987","bibliography":"Perać, J., *Razglednice u Srbiji 1895–1914 = Postcards in Serbia 1895–1914*, Belgrade: Museum of Applied Art, 2009.  \nVitković-Žikić, M., *Pirotski ćilimi = Les Kilims de Pirot*, Belgrade: Muzej primenjene umetnosti, 2001.","workshop":"National Printers","author":"Draginja Maskareli","keywords":["Kilim","Pirot","postcard","Şarköy","weave"],"materials":["Autotype"]},"fc0202a4-85ca-5193-af7d-ee6857a9426b":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911), Colonel Ali Fahmi Bey, Colonel Abdellal Hilmi Bey","description":"Portrait of minister Arabi (Urabi) together with two officers. In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"fc5492b4-b79e-5ab6-acf3-8e4d44f66cbc":{"name":"The villa of Paul Draneht in Oggebbio (Verbania, Italy)","description":"In 1872, Paul Draneht Bey bought a Villa on the Lago Maggiore (Italy), which he remodelled, mixing oriental and European architectural styles. From this postcard, one can see a tower with an Arabic flavour.  \nIn the interior, there was an “Egyptian hall”, modelled according to the style of an ancient Upper-Egypt temple. The furniture was made by one of the shops in Paris that was making the scenes for the opera *Aida*.","type":"Postcard","holder":"Fulvio Ramoni Collection","dates":"1906 or slightly earlier","author":"Massimiliano Cremona","copy_editor":"Anne Dowell"},"fd4f4f6c-55c9-53ba-b261-f3fda9387dc4":{"name":"The Chapel of the Mihrab at the Oratory of the Cathedral of Cordoba Reproduced by Mr Giuseppe Botana with Pieces of Mother-of-pearl and Shells [Paris Exhibition 1878]","alternate_name":"*Cappella del Mirhab od Oratorio della Cattedrale di Cordova riprodotta con pezzi di madreperla e conchiglia dal signor Giuseppe Botana*","description":"Universal Exhibition of Paris, 1878. The Chapel of the Mihrab is a faithful reconstruction of the Mihrab in the beautiful mosque built in Cordoba by the Amir Abd al Rahman I above the previous Christian church. The decoration was created by Giuseppe Botana, who specialised in mother-of-pearl works, and by Zuloaga's, a mosaics' maker.","type":"Photo from  magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"fe6b786f-510f-5112-b531-2e5e437342ab":{"name":"The Empress visits the Orient","alternate_name":"*Her Majesty visits the Hagia Sofia in Constantinople*","description":"The Empress Eugénie (Napoléon III's wife) stopped off in Istanbul on her way to Suez, where she was representing France at the inauguration of the Suez Canal. This visit marked the beginning of improving relations between France and Turkey. Eugénie was received with great respect and visited all the great monuments of the city. A fervent Catholic, she could not resist stopping off at the Hagia Sophia mosque, which had once been an Orthodox cathedral.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin"},"feb66ca9-ced9-518b-8f58-1ac129aebdd4":{"name":"Lazar Sozich (2nd half of the 19th century – 1900)","description":"Portrait of Lazar Sozich. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"ff18d270-eb9c-5402-a699-82117263e1b6":{"name":"*Navis nundinaria* (The trading ship)","alternate_name":"A ship-shaped theatre for the roast pork feast of 1657","description":"The *Insignia degli Anziani Consoli*, bound in 16 volumes and housed in the Archivio di Stato Bologna, are documents on parchment. They were made every two months, from 1530 to 1796, to celebrate the eight Anziani Consoli and the Gonfaloniere di Giustizia, a group of magistrates ruling the city. From the end of the sixteenth-century, the names of the magistrates were depicted flanked by their coats of arms and a significant event that had taken place during the two months of their charge: an extraordinary visual chronicle illustrating more than two centuries of the city's history with six pictures a year.  \nThis picture (IV bimester of 1657) shows the stage for the roast pork feast. Celebrated every year on the 24th of August, a special installation was ssembled on the main square to host the feast of St. Bartholomew. In 1657 the theatre was shaped as a ship and was occupying nearly all the square, between the palace of the Podestà on the left and the stairs of the basilica of St. Petronius on the right. Along the sides of the ship were the stalls for the feast of the Assumption (from 15th to 24th August) that were going to become on the 24th boxes for the paying audience watching a theatrical representation and taking part in the traditional distribution of roast pork. On the mast waves the flag of the Municipality, under it a standard shows the coats of arms of Pope Alexander VII among those of the cardinal legate and of the archbishop of Bologna. On the aft deck a tent hosts the nine coats of arms of the Anziani Consoli and the Gonfaloniere of the bimester July-August 1657. On top right a Latin inscription in golden ink describes the picture and bears the names of the Anziani Consoli.","short_description":"This illumination represents a theatre in the shape of a ship that was built on the Main Square of Bologna for the feast of the roast pork in August 1657. This was an event that attracted a great number of people every year. The ship sails are the coats of arms of the nine families of the Anziani Consoli and the Gonfaloniere, who ruled Bologna in the bi-mester July-August 1657. On the left side of the ship, is the portico of the Palazzo del Podesta. In the background is the Pavaglione and the Palazzo dei Banchi.  The stairs on the right lead to the church of San Petronio.","type":"Illuminated print","holder":"Archivio di Stato","owner":"Italian State","initial_owner":"The Anziani Consoli of the town of Bologna","dates":"1657 July-August","location":"Bologna, Emilia-Romagna","dimensions":"355 x 460 mm","place_of_production":"Bologna","method_for_datation":"The date and the names of the magistrates are inscribed on the top right of the picture.","provenance":"Archive of the Bolognese Senate","obtention":"This illumination, like the whole series, has always been housed in the archive of the Bolognese senate, inside the municipal palace. It was transferred to the Archivio di Stato in 1874, when it was created.","bibliography":"Plessi, G. *Le Insignia degli Anziani del Comune dal 1530 al 1796. Catalogo-Inventario*, Rome, 1954.  \n*Il Magnifico apparato. Pubbliche funzioni, feste e giuochi bolognesi nel Settecento* (exhibition catalogue) (ed. S. Camerini), Bologna, 1982.  \nMatteucci, A. M. “La cultura dell'effimero a Bologna nel XVII secolo”, *Barocco Romano e Barocco Italiano. Il teatro, l'effimero, l'allegoria* (eds. M. Fagiolo and M. L. Madonna), Rome, 1985, pp. 159-173.  \nZanni Rosiello, I. “Le Insignia degli Anziani: un autoritratto celebrativo”, *Società e storia:* 52, 1991, pp. 329-362.  \nGiansante, M. “Gerarchie e scenografie. La festa della porchetta nelle Insignia degli Anziani Consoli di Bologna”, *I quaderni del M.AE.S.:* 8, 2005, pp. 93-125.","workshop":"Seventeenth-century Bolognese illuminator","author":"Massimo Giansante","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Coats of arms","ephemeral architecture","fairs","Feast","festival","Gonfaloniere","Heraldry","illumination","scenography","theatre","trade"],"materials":["Illuminated print on parchment"]},"ff28cb9b-b4cd-5d7f-8616-1983d1ba7e9b":{"name":"*The last day of the Commune, Paris 1871*","description":"The Parisians, who had spent many long months under siege, did not accept the armistice signed with Prussia in 1871. They rose up in revolt in March, as the government was hiding in Versailles. The \"Commune\" of Paris, which organised the city socially and politically, was thus created. Versailles fought the \"communards\" for two months. After a \"bloody week\" and the loss of thousands of lives and many deportations, the government finally regained control of the city, which continued until a general amnesty was reached in 1880. From this point onwards, the period - which had become a taboo - gradually began to be discussed. This poster from 1883 is advertising a play which enacted Paris' takeover by the Versaillais.","type":"Poster","holder":"National Library of France","dates":"1883","location":"Paris","translator":"Flaminia Baldwin"}}
+{"00a5042b-0fd6-51a0-9c1e-ba80caedf302":{"name":"Constitution of the Slav-Macedonian Scientific and Literary Society in Saint Petersburg","short_description":"The Slav-Macedonian Scientific Literary Society was established in St. Petersburg on 16 December 1903, acting under the patronage of the St. Petersburg Slav Charitable Society. Its founders were Krste Petkov Misirkov (1874–1926) and Dimitija Chupovski, who worked actively on the recognition of Macedonian as distinct Slavic language and the opening of native-language schools for children in Macedonia. The Society, also known as the Macedonian Colony in St. Petersburg, gathered many distinguished Macedonian writers, poets and publicists. Its extensive scientific and literary activities have brought about explicit formulation of the Macedonian national program. The Society largely contributed to issuing a periodical publication in Macedonian and Russian language called “Makedonski Golos” (“Macedonian Voice\"). It played an important role in the national awakening of Macedonians and bringing forth the issue of the Macedonian autonomy in the international community.","type":"Extract from a book","holder":"University of St. Cyril and Methodius - Publisher","dates":"16th December 1903","location":"Skopje","provenance":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["Literary society","national awakening"]},"00dac457-85a0-5a63-aebd-676267b9816c":{"name":"Société des Fermes Françaises de Tunisie","short_description":"French agriculture in Tunisia came about either through the establishment of large properties by private initiatives, or the arrangement of settlers by the public authorities. This is a text from the \"first phase\" - one of the \"companies\" (of \"French farms\") had purchased a large plot of land, and employed a number of (largely Arab and Italian) workers to cultivate it. It aims to publicise the company and make it attractive to both prospective immigrants to tunisia, and attract funds.","type":"Text","holder":"National Library of France","dates":"1904","location":"Paris","translator":"Flaminia Baldwin","keywords":["Immigration","agriculture","colonies","Tunisia"]},"00eecee6-1a79-5ca4-885a-64eb797adc19":{"name":"*The bas-reliefs of Trajan's Column, reproduced in electroplating and exhibited in a room of the new Louvre*","short_description":"Trajan's Column, erected in Rome, is famous for its exceptional bas-reliefs commemorating the victory of the Emperor over the Dacians. In 1861, with the aim of making it known to the French public, Napoléon III had the column moulded and a replica installed in Paris. This was achieved thanks to the new electroplating technique, and the copy was placed in the Musée du Louvre. However, in 1870 the column was judged too large, and was sent to the Château de Saint-Germain, where it was quickly installed in the moat. In this image shows visitors at the Louvre, examining the story reproduced by Trajan's Column.","type":"Print","holder":"National Library of France","dates":"1862","location":"Paris","translator":"Flaminia Baldwin","keywords":["Roman antiquities","Musée du Louvre"]},"01425452-ab97-5882-bfb1-7f4f896ba157":{"name":"Omar Pasha (1806–1871)","short_description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"1859","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Omar Pasha","Croatia","Bosnia","Ottoman empire","Herzegovina"]},"01e7089c-8585-5199-92a7-c9b05620637b":{"name":"[Paris] stock exchange","short_description":"This building (Palais Brongniart), located in the heart of Paris, housed the French stock exchange for almost two centuries. Its atmosphere, as a powerful financial building bearing witness to great bankers' fortunes and failures, inspired writers such as Honoré de Balzac in La Maison Nucingen and Émile Zola in L’Argent.","type":"Drawing","holder":"National Library of France","dates":"1840","location":"Paris","translator":"Flaminia Baldwin","keywords":["stock exchange","Paris"]},"02aa485b-b3bc-53cc-91c5-b9f267c8d3b1":{"name":"*Constantinople et le Bosphore de Thrace*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"02c23c32-bafe-5d35-af62-5391f4a033ad":{"name":"The Coffee Shop of Cairo","short_description":"This colourful print depicts a typical 19th century coffeeshop in Cairo. An exclusively male domain, its design was characterised by an open front and wide benches for seating, to allow for easy congregation and the gathering of friends and acquainances. Not only in Cairo, which had over a thousands coffeehouses in Roberts's time, but all over the Middle East, coffeehouses were important social hubs for the exchange of news, entertainment, smoking (customers brought their own pipes and waterpipes) and - not rarely - political dissent. Musicians and storytellers often enhanced the experience further. In this image, the proprietor or an employee of the cafe can be seen serving a beverage in the centre. Interestingly, both the ewer and the large copper cup he uses are of a type usually associated with water, not coffee. Perhaps Roberts introduced these items for artistic effect.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published in 1849","location":"Sharjah","dimensions":"391 mm x 345 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"030ea759-beb3-5cac-8d23-28665b5803d8":{"name":"*Meeting between General O'Donnell and Mulay 'Abbas*","description":"Conference between Mulay Abbas, sultan´s brother and General O´Donnell, Spanish President, after battle of Wad-Ras, when Spain claimed the victory and the Moroccan commander Mulay Abbas surrendered. On April 26th, 1860 the representants of Morocco and Spain singed the treaty of peace and the First Spanish Moroccan War ended.","type":"Print","holder":"National Museum of Romanticism","dates":"1860","location":"Madrid","dimensions":"16,6 x 24,5 cm","provenance":"Madrid","artist_birthdate":"1821","artist_birthplace":"Villanueva de Cameros (Spain)","artist_deathdate":"c. 1876","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell","keywords":["War","Morocco","Spain"],"materials":["Paper; ink; lithography"]},"03110c09-4d62-5959-a659-ea8534ac6e28":{"name":"Construction Site at Shellal","short_description":"In 1900, Count Giulio d’Aspremont, an Italian diplomat, visited the construction site of the first dam across the Nile (today known as the Aswan Low Dam or Old Aswan Dam). He took several pictures of the works and of the monuments on the island of Philae that were going to be submerged by the water. He published some of them on the *Bulletin of the Italian Geographical Society*, where he wrote that up to 2,000 Italian workers were employed in the works (as stone-cutters, miners and masons), out of a total labour force of about 10,000 or 12,000; an Italian village had sprung up on the Nile banks, with modest little houses, trattorias and shops.","type":"Photograph","holder":"Italian Geographical Society (SGI)","dates":"1900","location":"Rome","author":"Patrizia Pampana","copy_editor":"Anne Dowell"},"036c65ce-1ec4-519a-9780-ee407c279d2e":{"name":"An Italian cartoon in support of Ahmad Urabi's movement against foreign control of Egypt's finances","short_description":"Ahmad Urabi was an Egyptian colonel of peasant origins who led a revolt in 1879-1882 aimed at eliminating foreign control of Egyptian finances and establishing constitutional limits to the Khedive’s authority. John Bull is a recognized national personification of the United Kingdom.  \nCaption: “Be careful, merchant! Despite your cannons, your ships and your money, I will be able to teach you that in places where true love for one’s country flourishes, people can make heroic miracles in order to defend their homeland!”  \nPart of the Italian public opinion sided with the Egyptians, against the British, since it likened Egyptian struggle with Italian struggle for national unification and self-determination. Ironically, however, in 1882 Italy occupied Massawa, on the Red Sea, and started its own colonial expansion.","type":"Drawing in a newspaper","holder":"State Library of Modern and Contemporary History","dates":"1882","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"036f240e-d388-502f-b085-dcd2a8068418":{"name":"Rashid Pasha Mustafa Mehmet (1802–1858)","short_description":"Portrait of Rashid Pasha. He was born in 1800 in Istanbul and joined the Ministry of Foreign Affairs at the age of 20. He served as Ottoman Ambassador in Paris and London. In 1837 he became Minister of Foreign Affairs of the Ottoman Empire. In 1838 he lost his position, but still negotiated as a Turkish diplomat in London, Paris and Berlin. In 1846 he became Grand Vizier and initiated a number of reforms.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"04456e8e-b665-5aa7-96a4-825dc6689071":{"name":"Near Eastern and Balkan map","short_description":"One of the world's largest photo archives, Abdülhamid II's photo archives – knows as the Yildiz Albums – contain about 37 thousand pictures from that period of the Ottoman Empire. Abdülhamid II was the 34th Sultan of the Ottoman Empire and the last Sultan to exert effective autocratic control over the fracturing state. He oversaw a period of decline in the power and extent of the empire, including widespread pogroms and government massacres against the minorities of the empire (named the Hamidian massacres, after him) as well as an assassination attempt. He ruled from 31 August 1876 until he was deposed shortly after the 1908 Young Turk Revolution, on 27 April 1909.","type":"Map","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph map"],"materials":["Photograph"]},"04672ba4-7861-5eb6-ae9c-d793731c3fe9":{"name":"Three drawings: *View of the Throne Salon at the Alcazar of Segovia*; *Kiosk* and *View of the Mudéjar Room at The Royal Convent of Las Huelgas (Burgos)*","description":"These three drawings by Carderera, painter of the Queen Isabel II, illustrated the Mudéjar architecture. He travelled around Spain drawing and documenting the remains and monuments of the Spanish Muslim period and Mudéjar style. These designs had an important influence in the development in the Neo-Mudéjar style.","type":"Drawing","holder":"Lázaro Galdiano Museum","dates":"1850; 1820–1880","location":"Madrid","dimensions":"8 x 11,6 cm; 19 x 15 cm; 19 x 13 cm","provenance":"Segovia and Burgos","artist_birthdate":"c. 1796","artist_birthplace":"Huesca (Spain)","artist_deathdate":"1880","artist_deathplace":"Madrid","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Mudejar art","Neo-mudejar style","islamic influence","orientalism"],"materials":["Drawing on paper; pen, watercolour, gouache"]},"055fd98c-bc6c-5a97-9aae-e3c3ab6ea7fb":{"name":"Plan of Bullring of Campo Pequeno, Lisbon","short_description":"Built in an area assigned to the Casa Pia by the city of Lisbon in 1889 Praça de Touros do Campo Pequeno (Campo Pequeno Bullring) was designed by the architect António José Dias da Silva (1848-1912) and inspired by the Madrid's bullring. Praça de Touros do Campo Pequeno opened its doors on August 18, 1892, with a gala show.","type":"Plan","holder":"City Museum","dates":"Before 18 August 1892 (1887?)","location":"Lisbon","keywords":["Rediscovering the Past","Cities","Urban Spaces"]},"06eab576-316a-57c3-8710-45a77c94f15b":{"name":"Alexandria: The Consuls’ Square Rebuilt","short_description":"The large, rectangular square initially know under the French name “Place des Consuls” (later as Muhammad 'Ali Square), was officially inaugurated in 1860. It was designed by Francesco Mancini, chief engineer of the “Commissione d’ornato” (Board of Works), a committee set up in 1834 by Muhammad 'Ali (ruler of Egypt in 1805-1848), and modelled after similar urban-planning committees already functioning in some Italian cities. In 1872, an equestrian statue of Muhammad 'Ali was erected in the square, which took his name. In July 1882, after anti-foreign rioting in Alexandria, the British fleet heavily bombed the city, causing major destructions to the buildings surrounding the square.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Patrizia Pampana, Giulia Barrera","copy_editor":"Anne Dowell"},"07024cd6-c5bb-5d57-96ec-903ad7f248c4":{"name":"Museo Nazionale Preistorico Etnografico “L. Pigorini” (National Museum of Prehistory and Ethnography), Exhibition Room","short_description":"The origins, in terms of scientific activity and conservation, of the Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the “Regio Museo Nazionale Preistorico Etnografico di Roma\" (Royal National Museum of Prehistory and Ethnography). Initially the museum was located in a wing of the Palazzo del Collegio Romano built in the late 16th century by the Society of Jesus.  \nThis rare image represents the old arrangement of one of the rooms of the Roman College, where the collection of antiquities and curiosities gathered together by Father Athanasius Kircher was kept after the foundation of the museum. According to the intentions of its founder, Luigi Pigorini, the purpose of this new institution was not only to gather together the remains of Italian prehistoric culture and the \"primitive\" cultures of other European and non-European peoples in a \"central\" museum located in the new capital of the Kingdom, but above all to support, promote and participate in research by paleontologists in Italy.","type":"Photo from Magazine","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"Post 1912","location":"Rome","dimensions":"18 x 24 cm","provenance":"Italy","author":"Mario Mineo, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Paleoethnology","archaeology","exploration","anthropology","natural history","material culture","academy","Jesuits","Egypt","Egyptology","collection","collector","exoticism","curiosities","wunderkammer","Museum Kircherianum","Baroque","languages","Arabic"],"materials":["Silver bromide negative impressed on glass"]},"0801264d-8475-5c87-a800-17b6d0cc190e":{"name":"The drawings of Janissary clothes from The Album of Mecmua-i Tesavir-i Osmaniye (The collection of Ottoman Pictures)","short_description":"Arif Mehmed Pasha is considered one of the leaders of the western style of painting in Turkey. He developed a talent for drawing and produced a series of pictures detailing the clothes Ottoman state officials wore. He prepared these pictures under the name *Mecmua-i Tesavir-i Osmaniyye*. Although his work was supposed to come out in 12 volumes, only one volume was actually published in French in Paris in 1863 and in Turkish the same year. The other 11 volumes have been lost. The published volume is considered to be the first illustrated book in Turkey. What is amazing is the praise heaped onto Arif Mehmed Pasha for his portraits, the harmony of their colours and tones, the maturity of attitude and delicate detail, the artist’s control over his pen and watercolours. The clothing reflects the time when the Janissaries were still on the scene (before 1826 when the corps was disbanded).","type":"Drawings","holder":"Military Museum and Cultural Centre Command","dates":"1863","location":"Istanbul","artist_birthdate":"1808","artist_deathdate":"1865","copy_editor":"Daniel de la Vega","keywords":["Ottoman Clothes","Janissary Clothes"]},"08d3aed6-3599-5046-816b-66df7858d6a8":{"name":"*The Sultan’s Horses* (Drawing 19 for the *XX Dessins* album)","description":"This drawing by Amadeo de Souza-Cardoso forms part of an album, *XX Dessins*, which was published in 1912 and represents a key point of breakthrough for the artist. The context of the work can be explained by his interest in the Western primitivists, the influence of African art, the experiences that he exchanged with Brancusi and Modigliani, and his study of Henri Rousseau’s work. The artist aims to present a demarcated image of his own identity: in an elegantly sophisticated picture replete with medieval imagery, he produces an original work that explores volumes, dynamic forms, and the sense of speed. It was this clearly defined image that Amadeo presented at the Armory Show in 1913, where his work achieved great success in both critical and market terms.","type":"Drawing","holder":"Modern Art Centre, Calouste Gulbenkian Foundation","dates":"c. 1912","location":"Lisbon","dimensions":"Height 23.7 cm, width 29.5 cm","artist_birthdate":"1887","artist_birthplace":"Manhufe, Portugal","artist_deathdate":"1918","artist_deathplace":"Espinho, Portugal","author":"Helena De Freitas","keywords":["Amadeo Sousa Cardoso","breaks","avant-garde","medieval","primitivists","african art"],"materials":["Indian ink on paper"]},"091c2bb3-6009-5f5c-bff2-8e5c54938f6c":{"name":"*Chancel of the Church of St Helena*","short_description":"The slightly confusing title of this print by David Roberts actually refers to the Church of the Nativity in Bethlehem, first commissioned in 327 AD by the Emperor Constantine and his mother Helena. at the spot where it is believed Jesus was born. The view captures the area before the iconostasis shielding the main altar in the eastern apse of the church, as well as - below on the right - the south-eastern entrance to the Grotto of the Nativity.The Church of the Nativity is one of the foremost pilgrimage sites for Christians and would have been a highlight on the itinerary of European travellers to the Holy Land. As is typical for his works, Roberts exaggerates the proportions of the architecture in relation to the human figures, which appear dwarfed by the majesty and monumentality of the structures that surround them.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1843","location":"Sharjah","dimensions":"402 mm x 557 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"0938866e-9a77-5d93-86b4-888bd58845d1":{"name":"*Constantinople*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1883","location":"Istanbul","provenance":"Paris","artist_birthdate":"1846","artist_birthplace":"Oneglia, Italy","artist_deathdate":"1908","artist_deathplace":"Bordighera, Italy","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"0942d14e-52ed-5b05-a15c-0c47cf1ea748":{"name":"Map of the Kingdoms of Fez and Morocco","description":"A map drawn in the early 18th century to a scale of 1:50, its toponyms are in French.","type":"Map","holder":"General Library and Archives","dates":"Early 18th century","location":"Tetouan","dimensions":"H: 35cm, W: 49cm","keywords":["Map","historical maps","French in Morocco","international relations","diplomacy","Moroccan-French relations","economy","trade","Moroccan-European relations","export","traditional economy","sea route","maritime route"],"materials":["Paper"]},"0a06094f-646e-5da9-8071-e4fb40e88bc7":{"name":"Italian General Exhibition in Turin, 1898","short_description":"For the 1898 exhibition the Talmone chocolate company associated its products with objects related to Egypt, where a massive Italian community had been established.","type":"Postcard","holder":"The House of Antique Tin Boxes","dates":"1898","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["International exhibition","Esposizione generale italiana di Torino","trade","trademark","commerce","Italian firms","chocolate","nationalism","raw material","finished product","exoticism","popular culture","Italians in Egypt"],"materials":["Card"]},"0a0e3c68-6be2-5140-b568-bf800fe28f33":{"name":"*The Religious Pilgrimage of the Mohammadans - Makkah (Arabia) - General View of the City, the Precinct and Enclosure of the Al-Haram Mosque and the Holy Kaaba*","short_description":"This print was originally published in 'La Ilustracion Espanola y Americana', a newspaper published in Madrid on the 15th of April, 1882. Entitled 'La Peregrinacion religiosa de los mahometanos: Vista general de la Meca, del patio y claustro de la mesquita El-Haram y de la Santa Kaaba', it was copied from the first known photograph (at the time) depicting the Makkah precinct, taken - according to the newspaper - by the English traveller Mr [John Fryer Thomas] Keane.  Keane (1854-1937) was a clergyman, who converted to Islam and visited Makkah in 1877. In 1881, he published two books about his experiences in the Hijaz, 'Six Months in Meccah' and 'My Journey to Medinah'. The image shows the courtyard of the Makkah mosque with hundreds of pilgrims clustering around the Ka'bah at the centre. Beyond, the hills of Makkah with their traditional houses, many of them multistoreyed, can be seen.","type":"Engraving","holder":"Sharjah Museum of Islamic Civilisation /Sharjah Museums Authority","dates":"Published in *La Ilustración Española y Americana*, April 15th, 1882","location":"Sharjah","dimensions":"330 mm x 240 mm (image only, without margin)","provenance":"Spain","author":"Ulrike Al-Khamis","keywords":["Ka'bah"],"materials":["Engraving"]},"0a226934-adb7-5611-ac1e-769b4276935b":{"name":"*Mount Tabor*","short_description":"This depiction of Mount Tabor by the American artist John Douglas Woodward carries the caption 'Mount Tabor. Bearing among the Arabs, like so many other mountains, only the general name 'Jebel et Tur'. The scene suggests a rugged, primeval landscape untouched by modern humanity, the mystically lit, driven clouds that half veil the mounting evoking a spiritual and at the same time awe-inspiring atmosphere well suited to an important biblical site. In popular Christian tradition: Mount Tabor was associated with the Transfiguration of Christ. At the same time the mountain was to prove of historical importance, too.  In 1799, during the time of Napoleon Bonaparte's expedition in the area, the valley between Mount Tabor and the Moreh Hill saw a decisive battle in which a French force of about 3,000 soldiers under the command of Napoleon and General Jean Baptiste Kléber faced a Mamluk force of about 20,000 soldiers.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Late 19th century","location":"Sharjah","dimensions":"246 mm x 235 mm","provenance":"Probably New York","artist_birthdate":"12/7/1846","artist_birthplace":"Middlesex County, Virginia, USA","artist_deathdate":"1924","artist_deathplace":"New York","author":"Ulrike Al-Khamis","keywords":["Jebel el-Tur","Mamluk"],"materials":["Coloured wood engraving"]},"0b654295-705f-5779-91d5-6ee361403ebb":{"name":"Nouvelle gare de Haidar-Pacha. (New Haidar Pasha Station)","description":"The postcard depicts the new Haidar-Pasha station, Constantinople. The first station before the new one was a modest structure appropriate to a relatively short suburban and regional railway. As the network expanded across Anatolia and the planning of the Baghdad Railway, the construction of the present station began in 1906. The architects were Otto Ritter and Hellmuth Cuno, and construction was undertaken by the German firm Philipp Holzmann. The station is a Neoclassical building that draws its symmetrical monumental composition, steep roofs, towers, stone façades and architectural vocabulary from European historicism. The postcard presents the station from the Bosporus, emphasising its monumental waterside façade. The building occupies an artificial platform at the edge of the sea and functions as an intermodal transport complex linking trains, ferries and port installations.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1328 / AD c. 1910","location":"Berlin","dimensions":"Height: 8,9 cm; width: 13,9 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Aslankaya, Güzide, and Cenk Üstündağ, “Structural Analysis and Evaluation of the Historic Haydarpaşa Railway Station”, In *Structural Analysis of Historical Constructions*, Cham: Springer (2019): 1410–18.  \n  \nMuseum With No Frontiers, “Haydarpaşa Train Station”, Sharing History. Istanbul University Rare Books Library.  \n  \nKaynar, İhsan Seddar, “Haydarpaşa–İzmit Railway and Its Relation with Piers”, *ODU Journal of Social Sciences Research*, 5:12 (2015).","dynasty":"Ottoman","copy_editor":"Danielle Morcom","keywords":["Construction","Neoclassicism","station","Türkiye","water"],"materials":["Paper, coloured printed postcard"]},"0b7f2149-f01d-5891-815e-947600259db6":{"name":"*The drilling of an artesian well*","short_description":"The purpose of the album *Les Colonies Françaises* was to highlight, amongst other things, the French \"achievements\" and technological innovations in the colonies, and thus legitimise their rule. This image shows the construction of an artesian well in Tunisia in the 19th century. In reality, however, this type of well was built by the French army in order to appease the populations in agricultural areas and thus better control them.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Hydraulic","irrigation","Tunisia","colonisation"]},"0b914ea4-3750-5949-ba83-6be97904425d":{"name":"The fundamental pact","short_description":"This foundational text was drawn up by Mohamed Bey of the Husainid dynasty (1855–1859) under the pressure of the French and English consuls. They had the aim of either adopting or adapting the reforms introduced in Istanbul which required them to provide non-Muslim subjects with semi-secular services, such as the establishment of mixed tribunals avoiding the strict application of the Quran, and also ensured free trade for France and England.","type":"Manuscript; historical document","holder":"Archives Nationales","dates":"1857","location":"Tunis","provenance":"Palais du Bardo","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["Reform movement","Tanzimat"],"materials":["Paper"]},"0b97f89a-0044-5842-b25e-e3cff94ae0d0":{"name":"Postcard","description":"Postcard; printed; photograph showing the \"Hurriyeh\" ('Liberty') Bridge at Baghdad, with buses, cars and open-top lorries and pedestrians crossing.","type":"Postcard","holder":"The British Museum","owner":"The British Museum","dates":"1962 (circa)","location":"London, United Kingdom","dimensions":"Height: 8,9 cm; width: 13,9 cm","place_of_production":"Basra, Iraq","obtention":"Purchased from D. J. Hutchinson in 2014","copyright":"This is an 'orphan work' in The British Museum’s collections. If you are the copyright holder and were not contacted, please reach out to Museum With No Frontiers at editing@museumwnf.net so that proper credit may be given on this website.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-2478?selectedImageId=1557622001","keywords":["architecture","Baghdad","bridge","City","photograph"],"materials":["Paper"]},"0bdb3920-5c44-5859-a7de-be6f63a099b9":{"name":"*Raft Conveying Winged Bull to Baghdad*","short_description":"Layard describes the removal of the winged bulls from the site of the mound of Nimrud in Nineveh and its remains, 1849, from where they had lain for approximately the last 2,730 years. They were carefully loaded on to rafts, made in the traditional way of using hundreds of inflated goat and sheep-skins supporting a wooden superstructure. Layard (who had learnt Arabic and Persian) recruited the crew locally, as he had done with his workforce. In April 1847, he sent them floating with the current, off on a six hundred mile journey down the river Tigris to Basra, where ships of the British Navy were waiting to take them the next 12,000 miles to England. Although the artist Cooper was not present on this occasion, he subsequently witnessed similar events, and would have been able to reconstruct the scene.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1849–50","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum","keywords":["Engineering"]},"0c6aabc0-aac2-5d65-82f5-b3a3f1826243":{"name":"*Senator Ratta Banquet*","description":"In this sumptuous installation which was organised by Francesco Ratta theatrical baroque pomp is evident. At the end of his charge, lasting two months, each Gonfaloniere had to offer a banquet at his expenses to his colleagues (the Anziani). It was a good occasion for exhibiting grandiosity, riches and celebrating family prestige, even if these heavy expenses were ultimately fatal to personal finances.  \nThis spectacular banquet is documented by a series of eight prints. They portray the decoration of the open gallery with garlands and depict details of some of the interior decorations. The room in the residence once owned by the Vizzani family (nowadays Sanguinetti, Via S. Stefano, 43) has as its centerpiece a spectacular sugar trophy designed by the sculptor Giuseppe Maria Mazza: one-meter-high, wrought after the techniques of the glass masters of Murano by the confectioner Giovan Battista Zacarini. It is a surprisingly rocky mountain made of silver and veiled in green, reflective of the famous Bernini fountain in Piazza Navona, it is surrounded by the allegorical statues of the four rivers. From their urns is an outpouring of delicious food. This space is encompassed by a great table for 66 guests, which because of its round shape priority problems were averted. The room scenography bears the family heraldic symbols. Golden griffins and palm leaves clearly allude to the prosperity of Bologna during the government of Francesco Ratta. Along the green damask covered walls small mirrors are hung, tilted to multiply the original and artistic compositions of bottles and precious plates which are scattered all over. The Hall, painted by Tommaso Laureti (n. 1530 – m. 1602), shows in the middle of the ceiling *Victory Presenting Fame with the World Conquered by Alexander the Great* and a frieze with Alexander's adventures successively covered by new decorations.","short_description":"At the end of his charge as a Gonfaloniere (the most significant political position occupied in turns every two months by the Bolognese senators until the age of Napoleon), Francesco Ratta offered the Anziani a memorable banquet. On this occasion, the Hall of his residence was transformed thanks to a baroque ephemera set documented by this series of etchings and a printed description.","type":"Print","holder":"Biblioteca Comunale dell'Archiginnasio","owner":"Biblioteca Comunale dell'Archiginnasio","dates":"1693","location":"Bologna, Emilia-Romagna","dimensions":"528 x 672 mm","place_of_production":"Bologna","provenance":"The print is part of the series *Disegni del convito fatto dall'illustrissimo Signor Senatore Francesco Ratta all’Illustrissimo Publico, Eccelsi Signori Anziani, & altra Nobiltà terminando il suo Confalonierato Li 28 Febraro 1693*, (*Drawings of the banquet organized by the most illustrious senator Francesco Ratta to the most illustrious, distinguished and noble public including the supreme Anziani, and other noblemen to celebrate the end of his Gonfalonierato the 28th of February 1693*), In Bologna, Per li Peri All’Angelo Custode, 1693","obtention":"Bequest of Giovanni Gozzadini (1902).","bibliography":"Mazza, G. *La custodia d'oro goduta nel vigilantissimo Confalonierato dell'illustrissimo signor senatore Francesco Ratta e simboleggiata nel di lui sontuos.mo convito fatto all'ill.mo publico, & ecc.si sig.ri anziani il primo bimestre dell'anno 1693,* Bologna, 1693.  \nBellettini, P., Campioni, R. and Zanardi, Z. *Una città in piazza, Comunicazione e vita quotidiana a Bologna tra Cinque e Seicento*, Bologna, 2000, pp. 155-156, fig. 19.  \n*Il magnifico apparato. Pubbliche funzioni, feste e giuochi bolognesi nel Settecento* (exhibition catalogue) (ed. S. Camerini), Bologna, 1982, pp. 21-31.  \nOttani Cavina, A. “Le feste, gli apparati d'occasione”, *L'arte del Settecento emiliano. Architettura, scenografia, pittura di paesaggio (*exhibition catalogue) (ed. A. M. Matteucci), Bologna, 1980, pp. 209-212, fig. 318-322.","workshop":"Bolognese Late baroque","copyright":"Copyright image: Biblioteca Comunale dell’Archiginnasio di Bologna.","author":"Cristina Bersani","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Banquet","Bernini","Ephemera","Feast","furnishing","Giuseppe Maria Mazza","Gonfaloniere","scenography","society and social life","theatre","Tommaso Laureti","Triumphs for the table"],"materials":["Etching on paper"]},"0c74ae54-ebaf-5ed2-bc1e-2921c31f8219":{"name":"Egyptian Pavillion in the form of an Egyptian Palace","description":"Illustration from the book edited by C. Lützow: *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, 1875, S 101.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1875","location":"Vienna","copy_editor":"Daniel de la Vega"},"0cbc7e1b-2d6c-5b8a-a3c2-1ce733f00a89":{"name":"Etching showing the so called Museo Cospiano in Bologna","description":"Illustrating the book by Lorenzo Legati entitled *Museo Cospiano* (Bologna 1677) this etching shows the interior of the museum owned by Marquis Ferdinando Cospi. Officially bequeathed to the city in 1672 the museum was housed in the Palazzo Pubblico along with the naturalistic collection of Ulisse Aldrovandi since 1657. The text describes the exhibits: things living on the earth, in the sea, fossils (*naturalia*), and artefacts such as coins and medals, sculptures, small bronzes and archaeological relics (*artificialia*). Some of the objects represented here are still recognizable among those surviving in the city museums. Among the *Mirabilia* there was also the “dimostratore”, a guide who was a dwarf. This collection is a good example of the XVII century encyclopaedic taste and seems to be inspired more by curiosity and wonder than by genuine scientific interest. It grew progressively thanks to contacts and exchanges with travellers and correspondents abroad. After having been moved to the Institute of Sciences in Palazzo Poggi in 1743 the Cospi collection was used for a didactic inspired by the Enlightenment ideas and based on a direct experience of materials. Following the Napoleonic suppressions and a crisis for the institute there was a new distribution and reclassification of materials in the age of Positivism. The collection was divided among different Museums in Bologna based on their subject or scientific field. Several of the pieces in the American Collection were bought by Luigi Pigorini in the 19th century and are now housed in the Pigorini Museum, in Rome.","short_description":"Marquis Ferdinado Cospi’s *Wunderkammer* is a good example of the encyclopedic collections fashionable in Europe in the Baroque age. It was composed of *Naturalia and Mirabilia*, a combination of items coming from the world of nature, antiquity, artifacts and scientific instruments.","type":"Etching","holder":"Biblioteca Comunale dell’Archiginnasio","owner":"Biblioteca Comunale dell'Archiginnasio, Comune di Bologna","dates":"Before 1677","location":"Bologna, Emilia-Romagna","dimensions":"284 x 435 mm","place_of_production":"Bologna","method_for_datation":"This etching was the first page of Cospi's Wunderkammer, published in 1677. It was probably made before this date, and certainly after 1667, when a short description of the collection was published.","obtention":"Bequest Giovanni Gozzadini (1902).","bibliography":"Legati, L. Museo Cospiano annesso a quello del famoso Ulisse Adrovandi e donato alla sua Patria dall' Illustrissimo Signore Ferdinando Cospi patrizio di Bologna e senatore Cavaliere Commendatore di S. Stefano, Bali d'Arezzo, e March. di Petriolo, fra gli accademici Gelati il Fedele, e principe al presente de' medesimi, descrizione di Lorenzo Legati Cremonese, Bologna, 1677.  \nGentili, C.  “I Musei Aldrovandi e Cospi e la loro sistemazione nell'Istituto*”*, *I materiali dell'Istituto della Scienze* (exhibition catalogue), Bologna, 1979, p. 90, pp. 95-99.  \n Laurencich Minelli, L.“Dispersione e recupero della collezione Cospi”, *Atti e Memorie della Deputazione di storia patria per le province di Romagna:* XXXIII, 1982 (1983), pp. 185-202.  \n Gualandi, G. “Il Museo delle “meraviglie” di Ferdinando Cospi”, *Dalla stanza delle antichità al Museo Civico. Storia della formazione del Museo Archeologico di Bologna* (exhibition catalogue) (eds. C. Morigi Govi and G. Sassatelli), Bologna, 1984, pp. 125-128.","workshop":"Mitelli's vast production of etchings documents scenes of daily life, especially people and historical scenes.","artist_birthdate":"1634","artist_birthplace":"Bologna","artist_deathdate":"1718","artist_deathplace":"Bologna","copyright":"Copyright image: Biblioteca Comunale dell’Archiginnasio di Bologna.","author":"Carla Bernardini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["arms and armours","collection","collector","Cospi","education","encyclopaedism","Enlightenment","exoticism","Medici","Mirabilia","naturalia","science","Wunderkammer"],"materials":["Etching"]},"0dd30a0a-1b26-5aa8-95ed-2abdad17a184":{"name":"*Tercüman-ı Ahval* Newspaper","short_description":"*Tercüman-ı Ahvâl* was the first private newspaper published in Istanbul. It was produced between 1860-1866 by Agah Efendi and Şinasi, men of letters of Tanzimat Era. Initially it was published only on Sundays, but starting from the 25th issue in 1861, it was published three times a week. Leading authors of the period such as Ahmed Vefik Paşa, Ziya Paşa and Refik Bey frequently wrote for it, discussing the reasons for the backwardness of Ottoman society and current events. In the paper, works of literature were also published. For instance the first Turkish theatre play, *Wedding/Marriage* of the Poet, by Şinasi (1860) was published as a series. The paper was closed for two weeks in 1861 after a very critical article probably written by Ziya Paşa. This is regarded as the first example of a ban in Turkish press. The paper was no longer published after 11 March 1866.","type":"Newspaper","holder":"National Library of Turkey","dates":"1860-1866","location":"Ankara","copy_editor":"Daniel de la Vega"},"0df04b1e-0995-5f3a-a767-e848e62c8fbf":{"name":"*The Bridge Carol I*","short_description":"The railroad bridge over the Danube that was built between 1890–1895 in South-Eastern Romania shortened the route of the Orient Express, a passenger train meant to connect Paris to Istanbul. The bridge made it possible for the Orient Express to reach Constanţa, a Black Sea port, from where ships went to Istanbul, whereas in the past the journey implied people being ferried on the Danube from Romania to Bulgaria, travelling by train to Varna (a Bulgarian Black Sea port) and then taking a ship to Istanbul. The “Carol I” bridge, which was designed by engineer Anghel Saligny and was at that time the longest in Europe, was inaugurated on 29 September 1895. In his inaugural speech, the king declared that “Romania is now owner of the shortest route between the northern seas and the countries of the Orient”.","type":"Postcard","holder":"National Museum of Romanian History","dates":"Beginning of the 20th century","location":"Bucharest"},"0e6a50b3-2b5c-5608-aae5-77ecf66cfde2":{"name":"*Sketch of Algeria, featuring the Roman occupation, the railway lines, roads suitable for mule and horse drawn vehicles, ports* \\[…\\] drawn from an archaeological point of view and dedicated to ...","short_description":"Founded in 1856, the Société Historique Algérienne organised excavations, published a journal, and created maps and plans. This map helped facilitate research on the Roman occupation of Algeria, by indicating clearly the main sites, how to get there, and other elements which allow the reader to better understand the Roman presence (such as marble quarries and thermal baths).","type":"Map","holder":"National Library of France","dates":"1869","location":"Paris","translator":"Flaminia Baldwin","keywords":["archaeological excavations","Algeria"]},"0e85d24e-665e-5157-bf0e-e0f313fbe465":{"name":"Air Orient Company. Planisphere. Weekly Air Service France-Syria-Indochina","description":"This 1930s Air Orient poster highlights the French airline’s east–west routes across the Middle East. From Beirut and Damascus to Baghdad and Basra, the service carried passengers and mail between Paris and the Levant. Produced in a republican France that was also a vast colonial empire, the poster embodies both the allure of modern aviation and the projection of French influence through new networks of mobility.","type":"Poster","holder":"Bibliothèque nationale de France (BNF)","dates":"1932","location":"Paris","dimensions":"28,5 x 55,5 cm"},"0ee9442b-fe87-5668-a98a-944398b82de9":{"name":"*Egypt. Suez canal.*","short_description":"The inauguration of the Suez Canal saw spectacular celebrations, attended by many European royalties. This was a huge victory for Ferdinand de Lesseps, who had sincerely hoped it would be a memorable and historical event. On his request, the painter Édouard Riou (1833–1900) produced a series of watercolours which were later published in *L’Album de l’Impératrice : Voyage Pittoresque à travers l’Isthme de Suez*.","type":"Lithograph","holder":"National Library of France","dates":"1880s","location":"Paris","artist_birthdate":"1833","artist_deathdate":"1900","translator":"Flaminia Baldwin","keywords":["Suez canal","Egypt","Ferdinand de Lesseps"]},"0ef1fad2-ddb0-571e-aa44-e858e5b159ac":{"name":"*Die stadt Algier*","short_description":"According to the historiographer Gabriel Esquer, this illustration was the most detailed view of Algiers available in the 17th century. The artist has accurately mapped out the streets and houses of the city.","type":"Print","holder":"Musée National des Beaux-Arts","dates":"17th century","location":"Algiers","dimensions":"35.4 x 25.5","artist_birthdate":"1660","artist_birthplace":"Chemnitz","artist_deathdate":"1736","artist_deathplace":"Augsbourg","author":"Dalila Orfali","translator":"Flaminia Baldwin","keywords":["Print","traditional city"],"materials":["Black and white engraving"]},"0f088fa7-47b1-5825-9ada-f45bc3097162":{"name":"The Italian Politeama Rossini theatre in Tunis, inaugurated in 1903","short_description":"The Politeama Rossini was built by the construction company of Giuseppe Di Vittorio (a Sicilian who had migrated to Tunisia in 1882); the architect was a Mr. Baron. It could house an audience of 2,500.  \nThe first Italian theatre in Tunis was the “Teatro Tapia” founded in 1826. Other Italian theatres (such as the “Teatro Italiano” and the “Teatro Paradiso”) and concert halls (“Gran Teatro”, “Teatro Cohen”, etc.) were created in Tunis the following decades.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"1903–06","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"0f0a80ba-ac59-5cc2-9963-b390e49608d0":{"name":"*Kitchen of the Algerian Coffee Shop, at the Trocadero* \\[Paris Exhibition 1878\\]","short_description":"Within the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion. The scene shows the practice of making unfiltered coffee inside a kitchen decorated with *majolicas*, part of the reconstruction of a hypothetical neighbourhood in Algeria.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"0f2af30a-b903-5cfa-a52e-5a834629196d":{"name":"*Sbeïtla. Attempt to reconstruct the façade of the three temples*","short_description":"The French architect and winner of the Grand Prix de Rome, Henri Saladin, went on an archaeological campaign to Tunisia with the archaeologist René Cagnat between 1882 and 1883. He took many sketches in various archaeological sites, such as this drawing of Sbeïtla (the ancient Roman city in Sufetula). Upon his return he constructed a \"Tunisian pavilion\" for the 1889 Exposition Universelle (world fair) in Paris, which contained a mix of all the different architectural styles he had seen during his time in Tunisia.","type":"Illustrated page","holder":"National Library of France","dates":"1886","location":"Paris","artist_birthdate":"1851","artist_deathdate":"1923","translator":"Flaminia Baldwin","keywords":["Archaeological excavations","Tunisia"]},"104473a3-fc89-55f7-a3b9-20138dba554c":{"name":"Plan of the city of Pompeii and the excavations there, pl. 2. Historical note","short_description":"The architect François Mazois (1783–1826) was appointed as Caroline Murat's official artist in 1809. He was allowed to set up in Pompeii to draw and measure the ruins, something unheard of at this time. His drawings and observations, published under the title *Les Ruines de Pompéi, Dessinées et Mesurées pendant les Années 1809 à 1811*, became a model for contemporary archaeologists and a source of inspiration for neo-Classical architecture.","type":"Plan","holder":"National Library of France","dates":"c. 1816","location":"Paris","artist_birthdate":"1783","artist_deathdate":"1826","translator":"Flaminia Baldwin","keywords":["Roman antiquities","archaeological excavations","Italy"]},"1057c04c-dcfd-5f86-aac4-e464ef4ed226":{"name":"Diploma awarded to the Vista Alegre factory","short_description":"The participation in commercial exhibitions by the Vista Alegre Factory began in 1838, with the presentation of a glass and crystal collection in the Exhibition promoted by the Portuguese Industrial Society. In 1851 Vista Alegre took part in the Universal Exhibition, organized in London, and again in 1867 in Paris, having won the copper medal. In 1873 the factory received the Medal for Merit in the International Exhibition of Vienna, Austria. Universal Exhibitions represent in the 19th century an excellent medium for commercial and artistic exchanges, as well as a public stage for the competition between. This display arenas, with an international vocation, commercial exhibitions were ideal for the promotion of technical and artistic skills of European industries.","type":"Document","holder":"Vista Alegre Museum","dates":"1873","location":"Vista Alegre, Ílhavo","dimensions":"C 47 x L 34,5","keywords":["International Exhibitions","Portugal","Vista Alegre","Factory"],"materials":["Paper"]},"10c5da68-3de4-54d1-9e73-5196e05c7ae8":{"name":"*Description de L'Egypte: Antiquités Planches*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. The *Description de l'Égypte* was a series of publications, appearing first in 1809 and continuing until the final volume in 1829, which offered a comprehensive scientific description of ancient and modern Egypt as well as its natural history. It is the collaborative work of about 160 civilian scholars and scientists, known popularly as the savants, who accompanied Napoleon's expedition to Egypt in 1798 to 1801 as part of the French Revolutionary Wars, as well as about 2000 artists and technicians, including 400 engravers, who would later compile it into a full work.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1809–1829","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Egypt"],"materials":["Paper"]},"10e20816-215a-59c8-b59d-b15f4c933e82":{"name":"Mahmud II Sultan of Turkey (1784–1839)","short_description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mahmud II, Sultan of Turkey","Egypt","Janissary","Konya","Ibrahim Pasha","Muhammad Ali","Greece"]},"12e1f5c3-c135-5c06-b2c9-4dc99c6e764e":{"name":"Clashes between agricultural labourers on strike and the mounted police in Cerignola (Foggia, Apulia, in southern Italy)","short_description":"Agricultural workers were at the forefront of Italian labour movement. In 1901, they created the National Federation of Agricultural Workers (Federazione nazionale dei lavoratori della terra).  \nIn 1904, at Cerignola, the police violently repressed a protest of agricultural workers, killing 4 and injuring 40.","type":"Published drawing","holder":"State Library of Modern and Contemporary History","dates":"1904","location":"Rome","author":"Rosanna De Longis, Giulia Barrera","copy_editor":"Anne Dowell"},"131cc02c-dea1-5e00-b932-6c0832f9d8d7":{"name":"*Diligence / Diligentia*","alternate_name":"*Industriousness*","description":"The drawing is plan-sketch for the side walls of a niche for the Olomouc Town Hall astronomical clock, a tower clock with several chronological devices and pictorial symbolism. It depicts Diligence or Industriousness and Punctuality. Her attributes include a spider spinning a web, an hourglass, a cockerel pecking grain and the placement of the female figure in a cave. One interesting detail is a spur held by the woman: even Diligence needs to be pricked. The motifs are derived from Cesare Ripa's *Iconology*, the most widespread pictorial manual of the period.  \nPlan-sketches included a detailed description of the clock, respecting the original 15th-century plan. The decoration, with allegorical scenes of the Seven Liberal Arts, had a markedly secular character. Other scenes comprised Grammar, Mechanics, Arithmetic, Astronomy, Philosophy, Dialectics, Music and Geometry portrayed as female figures with various attributes, supplemented by the figures of the Mathematician, the Astronomer, Apollo, with a Muse, and Pegasus. The series of drawings for the unpreserved parts of the Olomouc clock is one of the highlights of the work of Jan Kryštof Handke, a leading Olomouc artist. He created easel and ceiling paintings in central and north Moravia and east Bohemia. Handke's most important work is the fresco in the auditorium of the Jesuit university in Wroclaw. The Prague astronomical clock and the Olomouc clock are the only ones of their kind preserved in the Czech Republic. As part of the town hall, it demonstrates the significance of Olomouc as the seat of the bishopric and a one-time centre of Moravia. The original appearance of the clock is not preserved, the present one is in the style of *Socialist Realismus* made in the 1950s by Karel Svolinský.","short_description":"The drawing is one of the plan-sketches for the painted decoration of the Olomouc astronomical clock. The allegorical scenes, with the Seven Liberal Arts, had a markedly secular character, demonstrating the significance of Olomouc as the seat of the bishopric and a one-time centre of Moravia.","type":"Drawing","holder":"State District Archive, Olomouc","owner":"State District Archive, Olomouc","dates":"1746","location":"State District Archive, Olomouc, Moravia","dimensions":"H: 21.5 cm; w: 13.3 cm","place_of_production":"Olomouc","method_for_datation":"The town council assigned the painted decoration of the restored town hall clock to the Kryštof Handke workshop in 1746; it was executed in the following year. Handke also mentioned the series of 12 planning sketches for the astronomical clock, and their realisation, in his biography.","provenance":"Olomouc Town Hall","obtention":"Until the end of the 19th century the drawing was deposited in Olomouc Town Hall. Around 1900 it was found in the German Museum from whence it passed to the municipal archive and later to the district archive.","bibliography":"*Autobiografie moravského malíře Jana Kryštofa Handkeho*, 1766, Brno, Moravský zemský archiv, fond G 12, sign. Cerroni II, inv. 180.  \nMilan Togner, *Jan Kryštof Handke* *– malířské dílo,* Olomouc, 1994, cat. 30–40.  \nMilan Togner, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, cat. 66d, pp. 193*–*194.  \nMiloslav Čermák, *Olomoucký orloj – Memoria*, Olomouc, 2005.","artist_birthdate":"1694","artist_birthplace":"Janovice u Rýmařova","artist_deathdate":"1774","artist_deathplace":"Olomouc","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","Attribute","education","Iconology","Jesuit","personification","science","university"],"materials":["Dark-brown pen with green and red water colour on brownish paper"]},"138b0748-bba7-544a-afa4-6e44661538d4":{"name":"*View of Constantinople*","short_description":"Both this print and the *View of Smyrna* are based on earlier Western ones, which have been assimilated into the distinctive Athonite topographical style. They are exceptions to the corpus of Athonite prints, since they are of secular subjects. The printmaker was, indeed, active outside Athos, where he executed nonreligious commissions. The subjects relate to the tradition of topographical murals depicting important commercial and cultural centers of the day that decorated the mansions of wealthy merchants by the mid-eighteenth century. Kaldis aimed to supply a wider public with inexpensive works of a decorative nature. The activity of merchants from Lesbos at Smyrna, Constantinople, and the Black Sea on the one hand justified the choice of subject and, on the other, provided the appropriate network in which the multiple printed works could circulate. In order to attract the largest possible clientele, the view is coloured and annotated with explanatory comments in Greek and Turkish.","type":"Engraving","holder":"Benaki Museum","dates":"1851","location":"Athens","author":"Papastratos 1990, vol. 2, 578-79, figs. 617-18; Delivorrias, Fotopoulos 1997, 508-9, figs. 900-901","keywords":["Smyrna","map"],"materials":["Engraving on paper"]},"13a6be55-80b1-576f-be99-bfc3e15b7c3f":{"name":"*Casket from San Isidoro of León*","description":"This casket was donated by the Dean of Leon Cathedral to the National Museum of Archaeology in 1869. It was part of the Cathedral Treasury and it is an example of the importance of Arab workshops in the Iberian Peninsula in Middle Ages.","type":"Print","holder":"National Archaeological Museum","dates":"1872","location":"Madrid","dimensions":"44,70 x 31,5 cm","provenance":"Madrid","copy_editor":"Anne Dowell","keywords":["Spanish Muslim art","applied arts"],"materials":["Paper; lithograph"]},"13caa9ac-5165-5334-9cdf-31b3219e01b9":{"name":"*Sipahis of Algiers*","description":"","type":"Paper","holder":"Musée Public National des Antiquités","dates":"1832","location":"Algiers","translator":"Flaminia Baldwin"},"147b289f-3d6e-58be-8aa0-db105cfb150f":{"name":"*National Museum of Archaeology No. 9 (Arab Courtyard) Monuments and Epigraphy of Islamic Spain*","description":"View of the courtyard in the National Museum of Archaeology, also known as \"Arab courtyard\", between 1917-1936. This room displayed different pieces such as the Alfajería arch, a copy of the fountain of the Lions and the bronze lamp from the Alhambra palace. This room was one of the first museum galleries focusing on Arab or Islamic pieces in Europe.","type":"Postcard","holder":"National Archaeological Museum","dates":"c.1917–1936","location":"Madrid","dimensions":"9 x 14 cm","provenance":"Madrid","copy_editor":"Anne Dowell","keywords":["Museums","Spanish Muslim art and Archaoelogy","Madrid"],"materials":["Cardboard; print"]},"147c8e1e-4cb1-51c6-a42b-c10e8b602904":{"name":"Tender specification relating to the supply of running water to Tangier","description":"The Chérifien government established 34 specifications altogether listing the causes and conditions for adjudication in order to supply the city of Tangier with a reliable, abundant water supply.","type":"Archival document","holder":"Private archive","dates":"1906","location":"Rabat","provenance":"Tangier","keywords":["Modernisation","Moroccan society","city","urban spaces","Moroccan city","water supply","reforms","social changes","health","hygiene","water management"],"materials":["Paper; ink"]},"14edc45d-6bf0-507b-a305-757f6f034ef5":{"name":"Portrait of Emperor Shah Jahan","short_description":"The bearded emperor Shah Jahan, with a nimbus around his head, stands facing proper left, holding a flower in his raised left hand, his right clasping the hilt of his sheathed sword, which is pointed toward the ground. He wears a *jama* (a kind of frock with skirt). A *kamarband* (sash with ends pendant) girdles the waist, and a *dupatta* (scarf) falls over the left shoulder, the end dropping to the waist line. A dagger (*kataar*) is stuck in his sash on his waist. On his feet are heelless slippers. *Pajamas* are worn under the *jama*. The emperor also wears a jeweled *pagari* (turban) with the *sarpes* (plume), encircled by a dark halo. The *sarpes* appears to be jeweled. He wears the following jewelry: a *mala* (necklace); a *bhuja* band (armlet); and a *kangana* (bracelet). A tannish-gold thin border with dark-tan floral drawings surrounds the painting. The page background is decorated in a floral motif with feral feline heads in shades of tan and gold.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Hegira c. 1059 / AD c. 1650","location":"Saint Louis","dimensions":"Image: Length: 21cm x Width: 12.4cm; Sheet: Length: 34cm x Width: 21.8cm","method_for_datation":"This miniature painting depicts Emperor Shah Jahan (1592–1666). This border originally belonged to the Persian dictionary Farhang-i-Jahangiri (1608), which was later cut up and its borders added to many Mughal miniatures, such as this one.","method_for_provenance":"This miniature painting depicts Emperor Shah Jahan (1592–1666) in formal court attire. This painting is one of only four full-length standing portraits of Shah Jahan known.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","dynasty":"Mughal","keywords":["Asia","drawing","emperor","gold","India","Indian","ink","opaque watercolor","Paper","Portrait","Shah Jahan","watercolor","watercolour"],"materials":["Ink, opaque watercolor, gold on paper"]},"159f7828-e467-5f3d-b3ba-96aafc6f5b7c":{"name":"Postcard: *Colonial Exhibition 1907, Tuareg caravan*","description":"This postcard (not franked or used) is part of a collection donated by the anthropologist Manuel Antón.  \nDuring the second half of the nineteenth century in Europe and America there were held countless ethnological and colonial exhibitions that showed groups of individuals from distant exotic territories, to make them public and available to anthropologists and scholars. They were put on show alongside exotic animals and recreations of the structures inhabited by these people in their places of origin.  \nThese exhibitions were a result of the intensification of colonial imperialism of the West and also the relative popularity of two young scientific disciplines (physical anthropology and ethnology) and the development of new and intense forms of consumerism among the European bourgeoisie. Actually these exhibitions got to transmit a sense of lower and \"savage\" status of the colonised people (Sánchez Gómez, L. “Espectáculos demasiado humanos”, 2008, 88-89).","type":"Postcard","holder":"National Museum of Anthropology","dates":"1907","location":"Madrid","dimensions":"9 x 14 cm","copy_editor":"Anne Dowell","keywords":["Exhibition","Photography"],"materials":["Cardboard"]},"16145c6c-e484-5568-ab55-c93317ec5964":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","short_description":"Portrait of Carol I, King of Romania (1839–1914) in uniform with Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Carol I, King of Romania","Karl von Hohenzollern-Sigmaringen"]},"16fa95b3-e587-5dfb-983e-0384c05f1b3e":{"name":"L.A. Balboni, The Italians in the Egyptian Civilization of the XIX Century, Alexandria, Egypt, 1906; title page","short_description":"The work in three volumes, exalts the importance of the Italian settlement in Alexandria, and represents one of the most consistent literary evidence of cultural and commercial relations, as well as administrative and building activities, started by the Italian state before 1911.","type":"Book","holder":"Private collection","dates":"1906","location":"Rome","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Italians in Egypt","Egyptian society","cosmopolitan cities","foreign communities in Egypt","industrialists","workers","craftsmen","trade","commerce","craftmanship","Italians in Alexandria","city","urban space","migration","book"]},"171ffd50-c8dd-51b6-8ca7-e79ffd9de227":{"name":"*The tourist's travelling equipment*","short_description":"The rise of tourism saw the production of clothes and items suitable for varying climactic conditions, physical activity, and even potential dangers. This poster foregrounds an image of a hiker in an alpine setting, framed by depictions of many other types of tourism, such as seaside resorts and other more adventurous activities.","type":"Poster","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin","keywords":["Travelling","tourism"]},"17887320-c89a-503d-8231-40a84fa14975":{"name":"*Revolution of 1830 (29 July). Building barricades.*","short_description":"The revolutions of the first half of the 19th century are strongly associated with barricades, usually a pile up of furniture and other objects across streets, aimed at slowing down army troops. There were almost 4,000 barricades in Paris during the revolution of 1830.","type":"Print","holder":"National Library of France","dates":"1830","location":"Paris","translator":"Flaminia Baldwin","keywords":["Revolution"]},"179f9d9d-6b5a-52fc-8dea-c159da198fd5":{"name":"*La Reine de Saba: 14 costume sketches*","short_description":"Charles Gounod turned to the librettists Jules Barbier and Michel Carré for advice when he was writing his great opera, and so they recommended him the legend of Hiram, the great tale narrated by Gérard de Nervale in his *Voyage en Orient*. The opera was put on in Paris in 1862. As this costume from the court of Suleiman shows, the models and costumes responded above all to the Orientalist stereotypes in vogue at the time.","type":"Drawing","holder":"National Library of France","dates":"1861-1862","location":"Paris","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"17e0e95e-14d7-5aeb-b21f-b18091757a69":{"name":"*Mr. Byzantoine et son ex-libris*, by the Greek cartonist Kem","short_description":"Antonis Benakis in Byzantine dress holds his ex-libris and golf clubs, with his dog Mangas and his boat at his feet; on the right, the Russian painter I. Bilibin, below, K. Synadinos, and, top left, ceramics glued together, probably from sherds. Kem’s drawing is a satire on the artistic and athletic interests of Benaki, in the style of Bilibin’s illustrations to Russian legends, for example *The Tale of the Tzar Saltan* (1905).","type":"Drawing","holder":"Benaki Museum","dates":"1920s","location":"Athens","provenance":"Alexandria","author":"Mina Moraitou","keywords":["collecting","Greeks","Egypt","cartoon","caricature"],"materials":["Paper, ink"]},"17f9a63f-8638-5603-ac11-f8d674b5657b":{"name":"*Firework Display Held in Brno on the Occasion of the Coronation of a Picture of the Virgin Mary of St. Thomas*","description":"In the 1730s Moravia hosted two festive events offsetting the largest religious festivals of the Czech baroque, the beatification and canonisation of St. John of Nepomuk in Prague (1729). As the capital of the Czech kingdom came into the spotlight for the whole country, so the celebrations of the coronation of Marian pictures symbolically confirmed the importance of Olomouc and Brno, the two main towns in the Moravian margraviate. These occasions made the Holy Virgin the Queen of Moravia and the patron saint of the country. The festivities around the coronation of the picture of the Virgin Mary in Brno lasted a week. “The night turned into day and the town of Brno into a new heavenly Jerusalem full of scenes of adoration, praise and exultation”. The town's splendour was illuminated by 5,000 lights and plentiful firework displays. The print shows one of the ephemeral festive structures with sculpted decoration and pyrotechnical effects. A detailed programme was issued to accompany the fireworks, explaining the display to viewers in 27 steps.  \nAfter a fanfare of trumpets and tympani, the fireworks were set off by the firing of cannons, and an angel setting white and red fire to the chronogram “Mary the Gem and Patron Saint of the Town of Brno”. Rockets lit up six life-size figures: Emperor Charles IV, who donated the picture, his brother Jan Jindřich, founder of the Augustinian monastery, Pope Clement XII, protector of the adoration picture, the Bishop of Olomouc, who crowned the picture, the prior of the monastery, and the *genius loci* of Brno. The spectacle climaxed with Catherine Wheels at the tips of pyramids and six hearts burning under the figures. The fountain in the foreground started to spew a multitude of tiny stars and blue flowers, while the fire illuminated a flood of garlands. The final highlight of the show, to an overture of cannon fire, was the flight of a two-headed imperial eagle rising with an inscription within mighty flames.","short_description":"Celebrations for the coronation of Marian pictures symbolically confirmed the importance of Olomouc and Brno, the two main towns of the Moravian margraviate. The Holy Virgin became Queen and patron saint of Moravia. The print shows one of the ephemeral festive structures with pyrotechnical effects.","type":"Print","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"1736","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 44.2 cm; w: 58.3 cm","place_of_production":"Brno","method_for_datation":"Marked bottom left: *F. A. Baran del;* bottom right: *F. A. Mayer Sculp: Brunae.* The little-known F. A. Baran was the artist and engraver of the fireworks print. František Antonín Mayer, a student of Jan Jiří Guttwein, was a bookbinder and engraver in Brno. He executed the engraving of the “silver altar” and the picture of the Brno Thaumaturga.","obtention":"Purchased in 1978 from an art shop in Brno.","bibliography":"Jan Royt, *Obraz a kult v Čechách 17. a 18. století*, Prague, 1999, p. 169.  \nJana Oppeltová, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 157–158.  \nPavel Košťál, Ohňostroj jako součást barokní slavnosti korunovace obrazu P. Marie Svatotomské v Brně Léta Páně 1736, in: Jana Svobodová (ed.), *Baroko. Příběhy barokního Brna*, Brno 2009, pp. 57–65.","artist_birthdate":"1667 ? – 1755 Brno","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Celebration of the Virgin Mary","ephemeral architecture","festival","Madonna","scenography","theatre"],"materials":["Etching on paper"]},"1811cbd4-6fab-5304-b983-fcad1cbe7fa9":{"name":"*Procession and* Auto de Fé","description":"The Inquisition was established during the Verona Council of 1183 for the purposes of the judgment of heresy by the Roman Catholic Church. Necessitated by the emergence of various religious movements and the popularisation of different interpretations of Christian doctrine in opposition to the Roman Church, it was initially called the Episcopal Inquisition because it was administrated by the bishops. Later, in 1230, the Church tried to reform the role and actions of the Inquisition by recruiting professionals mainly from the Dominican Order.  \nThe new inquisitors judged heresy using local authorities under the Inquisition's procedures. In 1542, three years before the Council of Trent, Pope Paul III established a system of Courts as demanded by the \"Supreme Sacred Congregation of the Roman and Universal Inquisition\". The Inquisition was established in 1536 in Portugal following a request from King João III.  \nFollowing judgment, defendants were submitted to punishment; a ritual of public penance of condemned heretics and apostates, the so called *Auto de Fé*. In these engravings two important moments of this theatrical religious scene are observed: the Procession taking place in Ribeira Square in Lisbon – close to the Royal Palace of King João V – and the condemned being burned alive at the stake wearing *sambenitos*, clothing with a red cross.  \nThe Portuguese Inquisition expanded to the colonies: Brazil, Cape Verde and Goa, where it continued as an activity of the religious courts until 1812. In Goa, the processes mostly concentrated on Jews, the Hindu communities and Indian Muslims. The violence of the Inquisition in Goa was so intense that Voltaire wrote: \"Goa is sadly famous for its Inquisition, which is contrary to humanity as much as to commerce. The Portuguese monks deluded us into believing that the Indians were worshipping the Devil, while it was them who served him.\"","short_description":"The theme of these engravings is related to the brutality of the Inquisition. The Inquisition acted against those whom it deemed heretical and apostates. First they were humiliated and walked through the city in Procession. Then a mass would was said where the sermon preached the morality of the ceremony. Finally they were punished in public in the square.","type":"Engraving","holder":"National Library of Portugal","owner":"National Library of Portugal","initial_owner":"António Costa Lobo","dates":"c. 1741","location":"Lisbon, Lisbon","dimensions":"H: 132 cm; w: 158 cm","place_of_production":"Amsterdam","method_for_datation":"The engraving is published in the *Annales d'Espagne et de Portugal, contenant tout ce qui s'est passé de plus important dans ces deux royaumes & dans les autres Parties de l'Europe, de même que dans les Indes Orientales & Occidentales, depuis l'établissement de ces deux Monarchies jusqu'á présent. Avec la Description de tout ce qu'il y a de plus remarquable en Espagne & en Portugal*, Amsterdam, 1741.","provenance":"António Costa Lobo","obtention":"Donated by António Costa Lobo","bibliography":"Couto, M. do, *Livro das plantas e monteas de todas as Fábricas das Inquisições deste Reino e India, ordenado por mandado do Illustrissimo e Reverendíssimo Senhor Dom Francisco de Castro Bispo Inquisidor Geral e do Conselho de Estado de Sua Majestade*, Anno Domini 1634. Por Matheus do Couto, Architecto das Inquisições deste Reino.  \nCouto, M. do, *Livro dos Evangelhos que serve na Mesa do Conselho Geral do Sancto Officio da Inquisiçam* ordenado por mandado do Illustrissimo Senhor Bispo Dom Pedro de Castilho Inquisidor Geral nestes Reynos e Senhorios de Portugal. No Anno de MDCVIII.  \nBailly, J. S., *Lettres sur l'origine des sciences, et sur celle des peuples de l ' Asie* adressées à M. de Voltaire par M. Bailly, & précédées de quelques lettres de M. de Voltaire à l'Auteur, Londres, Elmesly et Paris, Debure, 1777. (suivi de): *Lettres sur l'Atlantide de Platon et sur l'ancienne histoire de l'Asie pour servir de suite aux lettres sur l'origine des sciences*, adressées à M. de Voltaire par M. Bailly, London and Paris, 1779.","author":"Rui Oliveira Lopes","translator":"Lili Cavalheiro","translation_copy_editor":"Mandi Gomez","keywords":["Auto-de-Fé","Goa","Inquisition","Portugal","Religion"],"materials":["Engraving"]},"18197caa-f988-5826-9a1d-d30e87a0bed4":{"name":"Ottoman map of the period of Sultan Abdülhamid II","short_description":"One of the world's largest photo archives, Abdülhamid II's photo archives – knows as the Yildiz Albums – contain about 37 thousand pictures from that period of the Ottoman Empire. Abdülhamid II was the 34th Sultan of the Ottoman Empire and the last Sultan to exert effective autocratic control over the fracturing state. He oversaw a period of decline in the power and extent of the empire, including widespread pogroms and government massacres against the minorities of the empire (named the Hamidian massacres, after him) as well as an assassination attempt. He ruled from 31 August 1876 until he was deposed shortly after the 1908 Young Turk Revolution, on 27 April 1909.","type":"Map","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph map"],"materials":["Photograph"]},"183b1889-44b1-5781-a76f-71957bab4067":{"name":"Muhammad ‘Ali Pasha (1769–1849)","short_description":"Portrait of Muhammad 'Ali Pasha. Although born in Greece, he was the founder of modern Egypt. From Albanian origin, he came to Egypt as an Ottoman officer and began the modernisation of the Egyptian state.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Muhammad 'Ali Pasha","Egypt","Greece"]},"18fa1217-5885-554f-bf5c-aed5d4898cb0":{"name":"Editorial. Inauguration of the Musée Gallo-Romain at the Château de Saint-Germain","short_description":"In March 1862, Emperor Napoléon III ordered the \"creation of a museum for Celtic and Gallo-Roman antiquities at the Château de Saint-Germain-en-Laye\". The castle was restored by Eugène Millet, student of Viollet-le-Duc, who chose to restore it to its condition under François I. A team of confirmed archaeologists were tasked with the organisation of the Museum. Napoléon III wanted a museum dedicated to the archaeology of the national lands (contrary to the collections at the Louvre), and methodically classified: the first curator, Alexandre Bertrand, introduced a chronological classification, breaking the tradition of thematically classified collections. The emperor chose to inaugurate the museum with a symbolically extravagant ceremony, while in Paris the Exposition Universelle (world fair) was in full swing (May 1867).","type":"Printed and illustrated text","holder":"National Library of France","dates":"1867","location":"Paris","translator":"Flaminia Baldwin","keywords":["Gallo-roman antiquities","Musée de Sain-Germain en Laye"]},"1947528b-a97f-56af-b6c4-fe8372c9bdd5":{"name":"*The Western Wall*","short_description":"The Western Wall of the Haram es-Sharif in Jerusalem, as depicted for the readers of the Illustrated London News by William ‘Crimea’ Simpson. Simpson’s sketches were turned into engravings for publication in the ILN, and were among the most important graphic depictions which helped to introduce western readers to the present-day appearance of Jerusalem and Jerusalemites.","type":"Sketch","holder":"The Palestine Exploration Fund (PEF)","dates":"1872","location":"London","provenance":"?","keywords":["archaeology"]},"1961e839-9c16-5779-a767-870149fec738":{"name":"The Serious Unemployment Crisis in the Province of Ferrara [central Italy]: Women Preventing the Cavalry from Advancing against the Rioters","short_description":"Violent clashes in the province of Ferrara (Emilia Romagna, Italy) between people who protested against unemployment and the army. The women are in the front line, protecting their comrades from the attacks of the cavalry.  \nIn 1913, an economic crisis hit Italy. Unemployment grew considerably and so did emigration. In 1913, Italian migration abroad reached its peak: 870.000 Italians migrate abroad. Social tensions and conflicts ran high.","type":"Published drawing","holder":"State Library of Modern and Contemporary History","dates":"4–13 May 1913","location":"Rome","artist_birthdate":"1871","artist_birthplace":"Arzignano (Vicenza)","artist_deathdate":"1945","artist_deathplace":"Milano","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"19dba65f-a9fe-593e-8561-b4a20b42b083":{"name":"*A British Ship Coral Fishing Near Algiers*","short_description":"Coral fishing was an important economic activity in the Mediterranean. Algeria was the main fishing area for corals, especially after the depletion of Sardinian coral, and ships from different countries competed for this valuable resource. Torre del Greco, near Naples, was the most important port town for coral fishing in the Kingdom of the Two Sicilies, while Livorno was the most important port town for coral fishing in the Grand Duke of Tuscany. In 1864, Torre del Greco had 300 coral-fishing boats while Livorno had 60.","type":"Drawing (archival document)","holder":"State Archives of Naples","dates":"26 October 1826","location":"Naples","dimensions":"21,5 x 31 cm","author":"Rossana Spadaccini, Cristina Francioli","copy_editor":"Anne Dowell","materials":["Pencil, pen and watercolour drawing"]},"19f232dc-5ab5-59c1-9ebb-efa8da82d771":{"name":"*Turkish woman at the hammam or baths*","short_description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","hammam","women","fashion","Orientalism","travel","traveller","Ottoman bath culture"]},"1a477c20-c077-5125-9fc1-9d8eb04e2681":{"name":"*View in the Plain of Latakia, in Syria*","short_description":"This print, entitled 'View in the Plain of Latakia, Syria' was first published on page 28 of in Robert Brown''s 'The Countries of the World', published by Cassell and Company Ltd, London and New York in 1876. In the 19th century, Latakia was famous for its tobacco, grown in the plain behind the town and on the Ansarieh hills. Three main varieties of tobacco were produced: the lowest quality was dark in colour and strong in flavour; the best, grown in the districts of Diryus and Amamareh, was light and aromatic, exported mainly to Alexandria, Constantinople, Cyprus and directly to Europe.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1876","location":"Sharjah","dimensions":"144 mm x 184 mm","provenance":"First published in Robert Brown, *The Countries of the World*, published by Cassell and Company Ltd, London and New York, 1876, p. 28","author":"Ulrike Al-Khamis","materials":["Coloured wood engraving"]},"1b553eb5-5ca4-5f1a-9027-ff3e00f54fe1":{"name":"*Voyage de la Haute Egypte*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1876","location":"Istanbul","provenance":"Paris","artist_birthdate":"1813","artist_deathdate":"1882","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"1bb390d7-8753-553f-9174-6119a0f96ab1":{"name":"*Exposition Universelle - Their Royal Imperial Majesties and the Viceroy of Egypt visit the Temple of Edfu*","short_description":"Visitors to the 1867 Exposition Universelle (world fair) had the opportunity to explore a reconstruction of the Temple of Edfu in a \"Parc Égyptien\". This reconstruction (containing a mix of various different temples) was a response both to the fashion for ancient Egypt, and the desire for good diplomatic relations with modern Egypt. Indeed, we can see the imperial couple in this photograph standing with Isma'il Pasha, the viceroy of Egypt, who had come to see the exhibition. The Temple of Edfu had just been rediscovered by the famous Egyptologist Mariette.","type":"Print","holder":"National Library of France","dates":"1867","location":"Paris","translator":"Flaminia Baldwin","keywords":["Archaeological excavations","Egyptomania","Egypt","World fairs"]},"1d05a82c-6016-572a-b4ab-6100639104d3":{"name":"Project for a steamship for the Sultan of Morocco, by the Fratelli Orlando shipyards (Livorno, Italy)","short_description":"Project drawn to a scale 1:100.  \nIn 1899, the Fratelli Orlando shipyards (Livorno, Italy) made a project of a screw steamer for the Sultan of Morocco. The steamer was to have two decks, two steam engines of 900 HP and harbour twelve passengers. The project, however, was never realised.  \nThe Fratelli Orlando shipyards built the cruiser Bascir for the Moroccan Navy and a yacht for the Khédivé of Egypt.","type":"Archival document","holder":"State Archives of Livorno","dates":"Livorno, 7 March 1899","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"1d9fdf68-a63f-5cd6-937f-9223edee8336":{"name":"*Hebron*","short_description":"This print is based on a watercolour by David Roberts entitled 'Hebron Mosque erected over the graves of Abraham and the Patriarchs' and completed in 1835. Apparently, this in turn was based on an initial sketch made at the Mosque by a Mrs Bracebridge. According to Jewish, Christian and Muslim tradition, the sanctuary at Hebron houses the graves of Abraham, his wife Sarah and their family. To Jews, it is the second holiest site after Jerusalem. Muslims revere the site because of its associations with Abraham and view the city of Hebron as one of the sacred cities of Islam. Formerly prosperous as a glass-manufacturing centre and hajj staging post, Hebron's fortunes declined in the 19th century due to cheap glass imports and the rerouting of the hajj caravan from Damascus to Transjordan.","type":"Steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"1835","location":"Sharjah","dimensions":"Height 120 mm x 150 xx","provenance":"London?","artist_birthdate":"David Roberts: 24/10/1796; William Finden: 1787","artist_birthplace":"David Roberts: Edinburgh, Scotland; William Finden: place of birth unknown","artist_deathdate":"David Roberts: 25/11/1864; William Finder: 20/9/1852","artist_deathplace":"David Roberts: London; William Finder: London","author":"Ulrike Al-Khamis","keywords":["Haram al-Ibrahimi","Ibrahim","Mamluk"],"materials":["Steel engraving"]},"1e12d773-b67f-5c74-86a0-52e25a1cd507":{"name":"*Précis Historique de la Traite des Noirs et de l'Esclavage Colonial*","short_description":"Joseph Elzéar Morénas (1776–1830) was born to a wealthy family of merchants. Following an early trip to India, Morénas became specialised in botany and developed a love of languages, which even led him to write a Hindi dictionary. When he was sent to Senegal in 1818 he was horrified by what he saw of the slave trade, and so asked to be repatriated. After a sojourn in Haiti, he began working on research in the agricultural sciences, all the while denouncing the \"slave trade\". His two petitions, \"*Pétition contre la traite des noirs*\" (1820 and 1821), which he presented to the Chamber of Deputies, created many problems for him. He therefore began working on a *Précis Historique de la Traite des Noirs et de l'Esclavage Colonial* instead, which was published in 1828. He died in Russia, where the Tsar encouraged the continuation of his agronomical work. This title page points to his relationship with and support for Cyril Bissette, a Martinician accused of having written De la Situation des Gens de Couleur Libres aux Antilles Françaises, who was banished by the royal court along with his so-called accomplices (Fabien and Volny).","type":"Printed and illustrated text","holder":"National Library of France","dates":"1828","location":"Paris","translator":"Flaminia Baldwin","keywords":["Slavery","Africa","France"]},"1ef87e38-e142-56b3-951f-b7d338ff850e":{"name":"*Austrian troops occupy Venice in 1797*","short_description":"Napoleon ended the existence of the 1000-year-old Venetian Republic in May 1797. French troops proceeded to occupy Venice for six months from May 1797 to January 1798, then ceded the city to Austria. Austrian troops occupied Venice starting 18 January 1798 until the Peace of Pressburg in 1805.","type":"Print","holder":"Vienna Museum","dates":"1798","location":"Vienna","copy_editor":"Daniel de la Vega"},"1f2e44d5-854a-519d-868a-777ceb2535e3":{"name":"*Les Folies Turques: quadrille*","short_description":"The 18th century fascination with \"turkeries\" was followed in the 19th century by a trend for music with more stereotypical, supposedly \"oriental\" motifs. This operetta about \"turkish follies\", is an example of this.","type":"Sheet music","holder":"National Library of France","dates":"1875","location":"Paris","translator":"Flaminia Baldwin","keywords":["Music","Middle East"]},"1f36adb3-13ae-550d-b5bc-5e1b31f12bb9":{"name":"Seven plates from *Antiquities and views in Greece and Egypt, with the manners and customs of the inhabitants, from drawings made on the spot*, A.D. 1749 by Richard Dalton","short_description":"Between 1746 and 1754, Lord Charlemont, James Caulfield, 1st Earl of Charlemont embarked on a Grand Tour of Europe. Whilst in Sicily in 1749, Charlemont encountered Richard Dalton, a draftsman and engraver, whom he asked to accompany him and his travelling companions onwards to Greece and Egypt in order to provide illustrations for his essays. Dalton travelled with Charlemont until 1750 during which time he made many drawings of landscapes, customs and events and was known as the first Englishman to make drawings in these regions. Some of these drawings were published in ‘*Antiquities and views in Greece and Egypt*’, which was published definitively in 1791 and included engraved sketches of important sites beyond Italy. Notably Dalton also seems to have taken great interest in the annual Hajj procession, and sketched eight different parts of the ceremonies (it is said while concealed in a nearby house), each labelled with an extensive caption. Dalton went on to become librarian to King George III.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1749","location":"London","dimensions":"37x55cm; 36.4x52.5cm; 36.4x52.3cm; 36.3x52.4cm; 36.2x52.4cm; 36.5x50cm; 36.5x50cm","method_for_datation":"The date and publication details are taken from the original publication.","provenance":"Europe","bibliography":"Gibbons, M., and Gibbons, M., “Charlemont: On the Grand Tour”, *History Ireland*, 13 (2005): 21-27.","author":"Qaisra Khan","keywords":["banner","camel","Ceremonial object","embroidery","hajj","Hijaz","Ka'ba","Mahmal","Mecca","Ottoman textile","Paper","pilgrimage","Pilgrimage route","Religion","religious object","Standard","textile","travel"],"materials":["Paper"]},"1f4778d6-1457-56dc-8745-6fecef3643f8":{"name":"Hussein Avni Pasha (1819–1876)","short_description":"Portrait of Huseyn Avni Pasha, who was murdered in 1876 by Hasan Bey. In 1874 Huseyn Avni Pasha became Grand Vizier. He served in this position until 25 April 1875. From 25 August 1875 until 1 October 1875, he served as War Minister. Starting 11 April 1876, he served again as War Minister and played a major role in toppling Sultan Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Huseyn Avni Pasha","Sultan Abdülaziz","Ottoman army"]},"1f9cc409-36e4-51f2-828e-77a94d820a08":{"name":"Istanbul water pipeline map","short_description":"During the 19th century, new technologies radically transformed both travel and communications. The Cendere Hamidian Water Pump Station was built by Abdülhamid II in 1902. The station is located at an altitude of 34 metres above sea level. With its function, architectural design and mechanical equipment, the station is a unique reminder of Ottoman architecture. It pumped to Balmumcu and Beşiktaş – with water coming from 20 different pipes in Kağıthane, propelled by steam pump machines.","type":"Map","holder":"Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library)","dates":"19th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["Yıldız Album","II. Abdulhamid Han","Photograph","History of Water in Ottoman Empire","Water","map"],"materials":["Photograph"]},"1fb1726f-8870-520a-9b34-30b69dacfc97":{"name":"*The Encyclopaedia of Islam*, edited by M. Th. Houtsma (and others)","short_description":"The first of four volumes of the *Encyclopaedia of Islam*, a dictionary of the georgraphy, ethnography and biography of the Muhammadan peoples by Th. Houtsma and others. It was published by Brill in Leiden and Lyuzac in London. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1913-1938","location":"Athens","dimensions":"27 cm","provenance":"Leyden","author":"Mina Moraitou","keywords":["book","encyclopaedia"],"materials":["Printed paper"]},"1fc5fe5c-fbfa-5316-9126-a887d85076f6":{"name":"*Description de l'Arménie la Perse*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Félix Marie Charles Texier was a French historian, architect and archaeologist. Texier published a number of significant works involving personal travels throughout Asia Minor and the Middle East. These books included descriptions and maps of ancient sites, reports of regional geography and geology and descriptions of artwork and architecture.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1842–1845","location":"Istanbul","provenance":"Paris","artist_birthdate":"1802","artist_deathdate":"1871","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"2014af0a-f0bc-59a2-9a32-22eb77035668":{"name":"Ferdinand I, Czar of Bulgaria (1861–1948)","short_description":"Portrait of Ferdinand I (1861–1948) as Duke of Bulgaria. Ferdinand I was born as the son of the Austrian General August von Sachsen-Coburg and Gotha. In 1887 he became ruler of Bulgaria after the abdication of Alexander I von Battenberg. In 1908 he made himself Tsar of Bulgaria. Because he joined the German and Austrian monarchy in WWI and lost the war, he had to abdicate on 3 October 1918 and to emigrate to Germany and Slovakia. In 1948 Ferdinand I of Bulgaria died in Coburg, Germany.","type":"Photograph","holder":"Austrian National Library","dates":"After 1887","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ferdinand I, Czar of Bulgaria","Sachsen-Coburg and Gotha"]},"20184242-548f-5030-bd05-abb877ad5352":{"name":"The Persian Pavilion at the Trocadero [Paris Exhibition, 1878]","description":"Paris, Universal Exhibition of 1878: interior of the Persian Pavilion at Trocadero.","type":"Drawing from a book","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["International exhibition","universal exposition","Exposition universelle de Paris","furniture","exhibition building","exhibitions and urban spaces","Islamic art","Islamic influence","Iran","Persia","Qajar","model","reproduction","magazine","book"]},"20742252-5d4f-565f-8b1e-0849b9510ddd":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","short_description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861). When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"c. 1850","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Abdul-Mejid, Sultan of Turkey","Egypt","Syria, Palestine","Hungarian refugees"]},"2088a0e4-bb93-514d-9d8c-6b0a1e09ef8a":{"name":"*The Necropolis, Petra, March 9th, 1839*","short_description":"The Necropolis' of Petra appears in Volume 3 of 'The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia' from drawings made on the spot by David Roberts, lithographed by Louis Haghe and published in six volumes by F.G. Moon in London between 1842-1845. Situated at the beginning of the steep ravine or siq that leads into the heart of Petra, both the so-called 'obelisk tomb' shown in the centre and the Triclinium situated to its lower right still exist today, even if much eroded since the days Roberts visited Petra in 1839. In the 19th century, Petra was one of Europe's most enduring Orientalist fascinations, but it also played a part in the region's more modern history. In October 1917, T. E. Lawrence, to divert Turkish military resources away from the British advance before the Third Battle of Gaza, led a small force of Syrians and Arabs in successfully defending Petra against a combined force of Turks and Germans. Bedouin women from the Petra area - under the leadership of their Sheikh's wife - were recruited to fight in the defense of the city.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","dimensions":"329 mm x 428 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","keywords":["siq","Triclinium"],"materials":["Lithograph"]},"21190cc8-58e0-5705-a812-394f864b6c6e":{"name":"Peace between Italy and Turkey. Between Workers: ‘You and I made peace long ago!’","short_description":"*L’Asino* (1892-1925) was a satirical weekly paper, founded by cartoonists of socialist area (Guido Podrecca and Gabriele Galantara). It launched a vocal campaign against the 1911-1912 Italian colonial war in Libya, and supported brotherhood among workers across national lines.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"1912","location":"Rome","artist_birthdate":"1865","artist_birthplace":"Montelupone (MC)","artist_deathdate":"1937","artist_deathplace":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"21983581-bf0c-5102-8ca7-8f1af359caf4":{"name":"Muhammad Tawfiq Pasha (1852–1892)","short_description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"1879","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Muhammad Tawfiq Pasha","Egypt","Arabi (Urabi) revolution","Great Britain"]},"21ba2a39-e5d5-58c6-a42b-e97edf24cfc5":{"name":"Gold medal awarded to l'École Emile-Loubet","short_description":"This certificate for a gold medal was awarded to the vocational college l'École Emile-Loubet in Tunis at the Paris International Trade Fair in 1900 for the training it provided particularly in carpentry, metalwork and book binding. The school was founded in 1898 by 'Ali Bey for teaching the basics of manual occupations. The bey, accompanied by the French President, placed the first stone of its new building in 1900, which then became the Lycée Technique Emile-Loubet.","type":"Photograph","holder":"Musée de l’Education","dates":"1898","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["l'École Emile-Loubet","professional college"],"materials":["Paper"]},"21cf7fa5-ac97-5097-8b52-ba4324bd02bd":{"name":"Edward Dodwell, *View in Greece* (London 1830)","short_description":"Edward Dodwell recorded the trasformation of the ancient Tower of the Winds into a dervish teke and in the early 19th century it wqas particularly popular with the travellers. Scenes from the city of Athens. Over the lintel, which faces the north-east, upon a red ground, is inscribed the Arabic *La Illah, Allah, Mahamed u resoul ullah* declaring there to be no God but God, and Muhammad to be his prophet. The wooden floor of the interior rests upon the lower cornice, many feet above the ancient pavement. The marble walls are washed with a uniform white. The *mihrab*, painted in perpendicular stripes of green and red, indicates by its position the direction of the Kaaba, or oratory of Mecca; each side of this is a wax candle, and the green flag of the prophet has also its place. The Qur'an is deposited within this niche, and an imitation of the two-edged sword of 'Ali is attached to the adjoining wall. Before these is performed the circularly whirling dance of the Dervishes, witnessing which, the spectator will find it as difficult to remain serious, as it would be dangerous to appear otherwise.","type":"Book","holder":"Benaki Museum","dates":"1830","location":"Athens","keywords":["travels","Dodwell","Athens"],"materials":["Paper"]},"221db0e4-52d5-54d3-a7f0-9a52cbd932ad":{"name":"Italian postcard of colonial propaganda: \"Dawn of civilization\"","short_description":"This postcard explicitly states a key element of colonial propaganda: the notion that the colonisers brought “civilisation” to the newly conquered territories. Italian navy ships in the background are intended to convey the notion of Italy’s military might, but nothing reminds viewers of the violence of the colonial enterprise: the military man in the forefront does not carry weapons, but only the Italian flag.","type":"Postcard","holder":"State Library of Modern and Contemporary History","dates":"1911–12","location":"Rome","author":"Maria Pia Critelli, Giulia Barrera","copy_editor":"Anne Dowell"},"229ce446-298c-5552-9810-3b37da02fac9":{"name":"*Tulumbacı*","short_description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. *Tulumbacı*, a member of the Janissary fire brigade.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","Orientalism","travel","traveller","Ottoman army","Devşirme","Janissaries","court life","fashion","military wear"]},"22e62379-2fd3-551c-8a81-3883d3d21495":{"name":"The biweekly paper *Spettatore Egiziano* was the first Italian-language newspaper to be published in Egypt","short_description":"The *Spettatore Egiziano* was founded in 1845 by Giacomo Castelnuovo, a Jewish medical doctor from Livorno (Tuscany, Italy) who had to flee his country in 1843 because of his affiliation to the Giovane Italia (the Italian patriotic and republican movement created by Giuseppe Mazzini). The *Spettatore Egiziano* was the first Italian-language newspaper to be published in Egypt. Castelnuovo also founded the *Il Progresso d’Egitto*, a bulletin that kept the Italian community in Egypt updated about the Italian political events like the 1848 revolutions.  \nCastelnuovo later moved to Tunis where he became the Bey's physician.","type":"Newspaper","holder":"State Archives of Livorno","dates":"24 July 1856","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"235e2dec-25cb-5d30-8fea-a6de9c3f6d26":{"name":"*The Attack on the Fort of Luft, November 27, 1809*","short_description":"This depiction shows the fortress of Luft, one of the Qawasim strongholds on the island of Qishm in the Gulf, being attacked by British forces armed with long muskets. Several large dhows are burning in the foreground, while the smoke from defending gunfire can be seen emanating from the loopholes of the fortress. Local fighters are seen lined up along the top the fortress walls and towers.  After having sacked Ras al Khaimah on the Arabian side of the Gulf, the British proceeded to rout out all remaining Qawasim strongholds on the Persian coast, including those on Qishm island. On the 26th of November 1809, the British reached Luft, and after futile negotiations with the local Qawasim representative, they attacked by sea and land. Despite brave and consistent defence which led to heavy British casualties, the fort was taken, all dhows destroyed and the resident Sheikkh exiled.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","dimensions":"505 mm x 602 mm (framed); image: 218 mm x 355 mm","provenance":"London","artist_birthdate":"William Haines: 21/6/1778","artist_birthplace":"Bedhampton, Hampshire, England","artist_deathdate":"William Haines: 24/7/1848","artist_deathplace":"London","author":"Ulrike Al-Khamis","materials":["Coloured etching"]},"23c0eaa7-284e-5a97-9ac8-8edafc208719":{"name":"A petition to collect signatures in support of an appeal to the Italian parliament to grant women the right to vote, drawn up by Anna Maria Mozzoni","short_description":"With this appeal, Anna Maria Mozzoni and other women asked members of parliament to leave aside “academic digressions” on women’s nature and on their “mission” and to “consider we \\[women\\] only in our relation to the State, for what we really are: citizens, taxpayers, and able” who deserved the right to vote.  \nItalian women’s campaign to get the right to vote gained momentum at the end of the 19th century and beginning of the 20th but it wasn’t successful until 1946.  \nAnna Maria Mozzoni was the most brilliant Italian feminist activist of the second half of the 19th century. She authored books, founded journals and associations, and incessantly campaigned in favour of women’s rights.","type":"Leaflet","holder":"State Library of Modern and Contemporary History","dates":"1877","location":"Rome","artist_birthdate":"1837","artist_birthplace":"Rescaldina (Milano)","artist_deathdate":"1920","artist_deathplace":"Rome","author":"Rosanna De Longis","copy_editor":"Anne Dowell"},"23e8db58-0148-5dc3-98b4-98cb5313ba16":{"name":"Pilgrimage proxy scroll.","description":"This pilgrimage proxy scroll includes handwriting, painting, and drawing on an expensive yellow glazed paper known as *abadi*. It is in fragmentary condition and its title, as well as the section containing the *basmala* (the formula 'In the Name of God, the Compassionate, the Merciful'), are missing. The first of the two fragments includes a pair of standards bearing the name of the contemporary Abbasid caliph, al-Nasir (r. AH 575–622 / AD 1180–1225); the standard on the right is partially preserved. Below this emblem is a colour depiction of Mount Arafat flanked by candlesticks. Below this are depictions of the Maqam-i Ibrahim, a stone associated with the Prophet Abraham, and the water wells. Further below this is a depiction of al-Muzdalifa, where pilgrims spend the night as part of their pilgrimage duties, and al-Mina, which is the third most important site for pilgrims. The empty spaces in between the drawings are filled with inscriptions describing the requirements for the pilgrimage.  \n  \nThe depiction of the Ka'ba unfortunately has not survived in this scroll. The second fragment features depictions of al-Safa and al-Marwa (two locations that pilgrims visit in Mecca), the city of Medina (where pilgrims visit the tomb of the Prophet Muhammad), the city of Jerusalem, which pilgrims customarily visit after the pilgrimage to Mecca and Medina, and al-Aqsa Mosque in Jerusalem. This proxy certificate was prepared for a person identified as Umm Abbas, wife of Ghalib. The person performing the pilgrimage on her behalf is Ahmad ibn Fadl al-Andalusi. The document was prepared in AH 602 / AD 1206.  \n  \nIn the Middle Ages it was difficult for people, especially women, to go on pilgrimage. Therefore, people who went on pilgrimage themselves, and those who sent a proxy on their own behalves, wanted to own a certificate proving that they had visited the holy sites and fulfilled all the requirements for the pilgrimage (perhaps in order to leave them to the future generations). Such pilgrimage and proxy certificates are invaluable documents for they describe the pilgrimage ritual, depict the holy sites, and provide information regarding the social life of the period.","short_description":"Pilgrimage certificates document pilgrimages to the Holy Lands, culminating in circumambulation of the Ka'ba. The certificates or proxy certificates (for those unable to make the hazardous journey themselves) give the names of the pilgrim and the proxy, the places visited and worship performed, accompanied by pictures.","type":"Scroll, paper","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Umm Abbas, wife of Ghalib.","dates":"Hegira 602 / AD 1206.","location":"Sultanahmet, Istanbul.","dimensions":"4737: Height 55 cm, width 26.5 cm.; 4746: Height 51 cm, width 26.5 cm.","method_for_datation":"The document's inscription specifies the date 602 / 1206. Both the style of writing and the name of the contemporary caliph support this dating.","obtention":"Ismet Bey, the mayor of Istanbul and a member of the board of directors of the Museum of Islamic Foundations (the old name for the Museum of Turkish and Islamic Arts), visited the Umayyad Mosque in Damascus while travelling. He had a number of items in the Qubbat al-Hazine (Treasury) of the mosque, including Qur'ans and this pilgrimage document, transferred to the Museum where they were registered in the inventory in around 1332 / 1914.","bibliography":"Aksoy, Ş., and Milstein, R., “A Collection of Thirteenth-Century Illustrated Hajj Certificates”, *M. Uğur Derman 65th Birthday Festschrift*, Istanbul, 2000, pp.73–134.  \n  \nölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, pp.80–81.","dynasty":"Ayyubid","author":"Şule Aksoy","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["hajj","Ka'ba","pilgrimage"],"materials":["Handwritten and hand-painted on glazed (abadi) paper using ink and watercolour."]},"240766f1-2bff-5c21-abf7-80992ebf2e6a":{"name":"The Hall of Spain, Rome Exhibition, 1911","short_description":"On the occasion of the International Exhibition of Rome in 1911, the complex of the \"Baths of Diocletian” was restored under the direction of the archeologist and topographer Rodolfo Lanciani. The site housed the Archaeological Exhibition dedicated to the Roman culture in the Imperial Era with a particular interest for its positive influence on the ex provinces. Every single nation participated through original reproductions of archaeological materials, often lost. The photo shows material evidence and casts coming from Spain.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Esposizione Internazionale di Roma","post-unitarian Italian society","nationalism","celebration of Ancient Rome","Roman empire","map","topography","reconstruction","model","exhibition building","exhibitions and urban spaces","archaeological findings in urban context"]},"2457b927-f975-5a7e-ab6c-6f0fce7979b6":{"name":"A sheet of a Persian poem","short_description":"The calligraphy is a Persian poem in three stanzas of two lines by the poet Bidel (1642–1720) who lived in India. Mirza Abdul Qadir Bedil (or Bidel), also known as Bidel Dehlawi, was one of the most influential and successful poets who lived outside Iranian territory and wrote in Persian.  \nThe poem is written in *taliq* script using iridescent ink. Each stanza is contained in its own cloud-shaped area of white which contrasts the gilt paper background. The edges of the paper are framed by a blue border painted with a scrolling leaf pattern.  \nThe translation of the poem is as follows:  \n“Each man who confides his grief in Him (God, the Beloved) saddens Him / I have a grief which, when I reveal it, causes Him great distress / Sometimes He makes a place in my soul for love and tenderness / sometimes because of the hearts of the others (breaking the hearts of the others) I sadden Him / If I, the heartless (someone who has gone through lots of love grieves in life) reveal my severance (grief of love) to Him, the radiant sun of love for His help /saddens Him greatly.\"","type":"Calligraphy","holder":"MKG Museum for Applied Arts","dates":"Hegira 12th century / AD 18th century","location":"Hamburg","dimensions":"Height: 11cm, Length: 22cm","method_for_datation":"Calligraphic style indicts  Bīdel's work.","method_for_provenance":"Purchased from Dr. Friedrich Spuhler, Berlin.","provenance":"Iran","obtention":"Purchased in 1990.","bibliography":"Karolewski, J. and Köse, Y., \"Wunder der erschaffenen Dinge: Osmanische Manuskripte in Hamburger Sammlunge,\" *Manuscript Cultures*, 9 (2016): 175-190.  \nKeshavmurthy, P., *Persian authorship and canonicity in late Mughal Delhi: Building an Ark*, New York: Routledge, 2016.  \nPope, A. U., *Masterpieces of Persian Art*, New York: Asia House, 1954.  \nSchimmel, A., *Islamic Calligraphy*, New York: Metropolitan Museum of Art, 1992.","dynasty":"Safavid","copy_editor":"Caitlin Link","keywords":["calligraphy"],"materials":["Iridescent ink, gilt paper"]},"248b6ee3-8b98-5fe8-a126-461e9a621403":{"name":"The Committee of Tunis for Milan Exhibition 1906","short_description":"The Italian community in Tunisia participated in the 1906 Milan international exhibition. The Committee in charge of organizing exhibition participation included Italian professionals and entrepreneurs who had migrated from Italy to Tunisia or who were children or grandchildren of immigrants, such as Alfredo Coen (owner of the furniture shop “Au Palais Arabe” and of a furniture factory), G. Di Vittorio and L. Rey (owners of constructions companies that built important public and private buildings, Di Vittorio, from Sicily, Rey, the child of an immigrant from Piedmont), Ugo Moreno (a trader, whose the family had migrated from Livorno in 1830) and Doctor Pietro Brignone (who ran a pharmacy in Tunis).","type":"Photo (published on a book)","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"24a1ef30-391f-5de1-b0c3-ac5c96034a3d":{"name":"Sketch","description":"Sketch for a rectangular stained-glass window, comprised of three panels – the outer two narrow and the middle wider. Likely due to this symmetry in design, only the left half of the sketch was completed; thus, the right-hand panel and right half of the middle panel appear empty. The decoration consists of an outer border and rocaille detail in the corners and centre of the design. The centrally positioned main panel features a coat of arms bearing the image of a building. Surrounding this blazon is a medallion with a circular inscription reading “Banco Hispano de Edificación Madrid” (Spanish Bank of Construction, Madrid). The medallion is adorned with a wreath (perhaps of laurel and oak) and construction tools; culminating in a central rosette; surrounded by a frame of trimmed leather and crowned with a scallop shell.  \n  \nAs its inscription indicates, the sketch was made for a stained-glass window to be placed in the Banco Hispano de Edificación. The building that originally housed the bank exists to this day, at 60 Calle Gran Villa in Madrid. The bottom of the sketch bears the workshop registry number and scale of the drawing. As Paloma Pastor notes, in stained-glass window production, the sketch serves as the proposed design. Traditionally, it was offered to the client as a model before carrying out the work. Colour, applied with ink and watercolour pigment, is a fundamental element of these sketches.  \n  \nCasa Maumejean was a French family business with several branches in Spain, the most renowned of these being the Madrid office. While the company created works for export to diverse locations, the bulk of its production occurred on national soil. Many early-century buildings in Madrid continue to preserve the magnificent stained-glass windows made by the Maumejean company.","type":"Sketches; Maumejean Archive","holder":"Museo Nacional de Artes Decorativas deposited in La Granja National Glass Center Foundation","dates":"6 May 1931","location":"La Granja de San Ildefonso, Segovia, Spain","dimensions":"Height: 20.3cm, Width: 21cm, Scale: 10:100","provenance":"La Granja de San Ildefonso, Segovia, Spain","obtention":"Purchase, 1993","bibliography":"Pastor Rey de Viñas, Paloma, *Vidrieras del Taller Maumejean en las Colecciones de la Real Fábrica de Cristales de la Granja*, Segovia: Taller Imagen, 2005.","workshop":"Casa Maumejean","dynasty":"Contemporary Period","author":"Celia Diego Generoso","copy_editor":"Janice Medina","translator":"Autumn Linn","keywords":["Banco Hispano de Edificación","Maumejean","Sketch","Stained-glass windows"],"materials":["Watercolour"]},"251b2b7e-e8f3-5697-9d6d-a33a6facc5ca":{"name":"*Details and ornaments from the Alhambra by Owen Jones, Architect*","description":"The influence of the Islamic art also arrived through different publications as the well-known Owen Jones's books and the pieces displayed in the International Exhibitions, as in the first one in London where Owen Jones displayed the Lion fountain of the Alhambra Palace in a building dedicated to master works of art. This book was well-known for many of the Orientalist artists as an example for decoration and the use of the colour.","type":"Book","holder":"National Museum of Decorative Arts","dates":"1845","location":"Madrid","dimensions":"68 x 48,5 x 3,7 cm","artist_birthdate":"1809","artist_deathplace":"1874","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Alhambra","International exhibitions","Diffusion of models","Architecture","colour"],"materials":["Paper and ink; printed"]},"254ea7af-536e-5a78-8206-f0d4cc517b93":{"name":"*Study of an Arab*","short_description":"*Study of an Arab* by Frederick Lewis, and important orientalist painter and etcher.","type":"Drawing","holder":"The British Museum","dates":"1840’s","location":"London","provenance":"?","keywords":["costume","Orientalism","travel","traveller","fashion"]},"254f2ab4-2fe6-52af-8591-2539a60545f9":{"name":"Nebamun tomb paintings","short_description":"Tracings were made of the fragile wall-paintings in the British Museum before they were mounted in the 1830s, so that no fragments would be lost.","type":"Tracing","holder":"The British Museum","dates":"1820–1830","location":"London","provenance":"UK","keywords":["archaeology","Egyptomania","exploration","collection","collecting","wall painting","museums","travel","traveller","drawing"]},"25a67385-d901-5896-a204-90f0be3423ed":{"name":"Cartoon","short_description":"This cartoon, which criticised the French invasion of Tunisia, appeared in the satirical magazine L'Epoca on 1–2 August 1881. The French consul in Tunisia, Théodore Roustan, is depicted as the new ruler of Tunisia, under the tile \"His Royal Highness Roustan 1st\", and holds the ruling bey Sadok Pacha on a leash.","type":"Photograph; cartoon","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["French protectorate","resistance","occupation","cartoon","caricature"],"materials":["Paper"]},"261e731d-c1f3-5549-9d76-8e6eb76876e3":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","short_description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Photograph","holder":"Austrian National Library","dates":"c.1893","location":"Vienna","copy_editor":"Daniel de la Vega"},"268aaa5c-cd67-562b-a9f2-43828b435d6f":{"name":"Drawing","description":"Undated watercolour and pencil drawing on stiff paper with a landscape showing a bedouin black tented encampment, with horsemen and the river Khabur behind and looking towards Jebel Abdulaziz on the left, Tell Umjerjeh (sic) in the centre and the mounded sites of Tell Mijdel and Dibbs on the right.","type":"Drawing","holder":"The British Museum","owner":"The British Museum","dates":"1850","location":"London","dimensions":"Height: 21 cm; width: 35,5 cm","obtention":"Purchased from Chin Fine Art in 2010.","artist_birthdate":"1810","artist_deathdate":"1880","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_2010-6001-18","keywords":["Camp","Khabur","landscape","river","tent"],"materials":["watercolour, pencil, paper"]},"26d5c466-64f0-57e3-823b-ed86f67a2c66":{"name":"A postcard of Italian colonial propaganda","description":"The Roman Empire once ruled over the entire coastal area of North Africa. This postcard explicitly links the Italian colonial conquest of Libya in 1911-12 with ancient Roman rule over the same territory. It suggests that the Italian Kingdom was the legitimate heir of the Roman Empire and had an historic right to rule over Libya. Especially during Fascism, Italian colonial propaganda often referred to the Roman Empire in order to legitimize Italian expansionist policy.","type":"Postcard","holder":"State Library of Modern and Contemporary History","dates":"1910s","location":"Rome","author":"Maria Pia Critelli, Giulia Barrera","copy_editor":"Anne Dowell"},"2704a657-75fb-53a2-a452-1f915fe21d3e":{"name":"Drawing","alternate_name":"Drawing of the Holy Sepulchre, Jerusalem","description":"Church of the Holy Sepulchre, Jerusalem  \nGraphite and watercolour on a sheet of paper stuck down onto a second sheet","type":"Drawing","holder":"The British Museum","owner":"The British Museum","dates":"1775-1864","location":"London","dimensions":"Height: 27,2 cm; width: 36,2 cm","obtention":"Donated by Ita Rennie in 1949","bibliography":"Fani-Maria Tsigakou and Stephen Cozi Agelastos, 'James Skene: Monuments and View of Greece 1838-1845', (Athens 1985)","artist_birthdate":"07.03.1775","artist_deathdate":"27.11.1864","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/G_2012-5007-16","keywords":["Church","landscape","Topographic representation"],"materials":["Paper, graphite, watercolour"]},"270df30e-d695-5d3a-90a4-7dc1c7724043":{"name":"Regards","type":"Printed serial","holder":"BNF","owner":"BNF","dates":"1951","location":"Paris","place_of_production":"Paris","provenance":"Paris","catalogue_holding_link":"https://gallica.bnf.fr/ark:/12148/bd6t5111340/f5.item","materials":["Printed serial"]},"2711a503-9f23-5282-b34a-bc7b254979eb":{"name":"Outline map of Damascus in 1918","short_description":"Damascus, now the political and cultural centre of Syria, is one of the world’s oldest continuously inhabited cities. The design of its living spaces and the organization of urban society were always connected to the culture of its inhabitants. Damascus’ geographical space reflects this “spatial turn”: Its public spaces were clearly shaped and influenced by the diverse social, historical and cultural structures and events, which contributed to the vitality of Damascus’ multilayered Urban Design.","type":"Photograph; map","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"Map made in 2005","location":"Berlin","author":"Stefan Weber"},"2714690e-5a6c-5656-b85e-272d60d6e647":{"name":"Camels","description":"Horses and camels were the traditional means of travel for nomadic and semi-nomadic groups in the Hijaz and Levant for generations. While the Hijaz Railway meant to industrialise the pilgrim travel from Damascus to Medina, quadrupeds remained an essential part of the pilgrimage route, as well as vital resources for the construction of the railway itself. While the railway served as a mechanised replacement for their labour, horses and camels remained vital to the path of the railway before, during and after its construction.","type":"Lithograph print","holder":"Jordan National Gallery of Fine Arts","owner":"Jordan National Gallery of Fine Arts","dates":"1980","location":"Amman","dimensions":"Height: 69,2 cm; width: 59,2 cm","artist_birthdate":"1940","artist_birthplace":"Jeddah, Saudi Arabia","catalogue_holding_link":"https://nationalgallery.org/artist/safeya-binzagr/#artwork-1","keywords":["Camels","Hijaz Railway","horses","Nomadic/ Semi-nomadic Groups","pilgrimage","Transportation"],"materials":["Lithograph 88/100"]},"27238194-345e-5c00-b880-860d50c950cf":{"name":"The trademark for Chocolat des Pyramides produced by the company Talmone, based in Turin (Italy)","short_description":"The Talmone chocolate factory was founded in Turin in 1850. In 1929 merged with Venchi.","type":"Trademark (archival document)","holder":"Central State Archives of Italy","dates":"31 July 1894","location":"Rome","author":"Margherita Martelli","copy_editor":"Anne Dowell"},"2735c542-1b56-59a7-9fac-72518fe82535":{"name":"Blueprint map of the Hijaz railway line between Damascus and Medina","short_description":"In 1900 the Ottoman Sultan Abdülhamid II (r.1876–1909) began the construction of a railway line connecting Damascus to the holy cities of Medina and Mecca. Built by public subscription and with an appeal to Muslims of the world for financial support, the railway line began from Damascus and reached Medina in 1908, never reaching Mecca.  \nThis map, which is dated 28 Huzayran 1334 (28 June 1916), shows the Hijaz railway line from Damascus to Medina and Dar‘a to Haifa, with a dotted line marking the line between Medina and Mecca (a line which was never completed). Names of stops and tribal territories are marked. The map is signed by the German Heinrich August Meissner – the chief engineer of the Hijaz railway. In 1904 he was given an official title and was known as Meissner Pasha. The original sketches for Hijaz railway maps were made by Mukhtar Bey, an accomplished engineer from Istanbul who was responsible for the original surveys of the route. They were then drawn by other officers and the blue prints signed off by Meissner, perhaps with changes. Mukhtar Bey was known as ‘Meissner’s right hand man’. The date here is notable as the Arab Revolt, which saw sections of the railway destroyed, began in June 1916.","type":"Map; chart; blue print","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1916","location":"London","dimensions":"86.5x56cm","method_for_datation":"Map is signed and dated.","provenance":"Turkey","bibliography":"Nicholson, J., *The Hejaz railway*, London: Stacey International, 2005.","dynasty":"Ottoman","author":"Qaisra Khan","keywords":["engineering","hajj","Hijaz","Hijaz Railway","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","Pilgrimage route","prayer","Prophet Muhammad","Religion","travel"],"materials":["Light-sensitive paper"]},"2750ade6-0ba3-536b-a712-3d37388d9bf1":{"name":"*Nuit d'Orient*. \\[waltz for piano, op. 11\\]","short_description":"Musical composers' fascination with the \"Orient\" manifested itself in their music and their titles. The \"harem\" had intrigued Westerners for a long time.","type":"Sheet music","holder":"National Library of France","dates":"1901","provenance":"France","artist_deathdate":"1901","translator":"Flaminia Baldwin","keywords":["Music","Orientalism","Egyptomania"]},"279d0dc2-0ffe-5cf8-89f7-8199c9c7ec9a":{"name":"*Fantasy in Egyptian Gallery, the British Museum*","short_description":"Fantasy in Egyptian Gallery, the British Museum, by Duncan. A group of sculptures come to life. Closely modelled on the sculptures displayed in the British Museum. Assyrianising figures at rear left. At front right Ry yawns and rubs his eye.","type":"Print","holder":"The British Museum","dates":"1870","location":"London","provenance":"United Kingdom"},"27bffbe0-bf77-51b6-87f3-1667b65ae607":{"name":"*The Ruins of the Temple of the Sun at Baalbec*","short_description":"This dramatic view looks across the great court of the temple complex in Baalbek. In the ancient world Baalbek, to the east of Beirut in Lebanon, was a great centre of trade between Europe and Asias, and home to a religion of sun worship. The Scottish artist David Roberts visited in 1839 and over the following years made many images of the still imposing ruins. This painting is Roberts's last of Baalbek, and he considered it as 'a grand finale' to his career as a painter of the Middle East. The complex's imposing architectural and artistic details also inspired European Neoclassical architects and artists such as Robert Adam. Since about 1864 many tourists visited the famed site, including, in 1898, the German emperor Wilhelm II on his way to Jerusalem. Struck by the magnificence of the ruins, he dispatched a German archaeological team, whose subsequent work resulted in a meticulously presented and illustrated publication that further raised interest in Baalbek.","type":"Painting","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"1861","location":"Sharjah","dimensions":"1300 mm x 2300 mm","provenance":"Probably London","artist_birthdate":"24/10/1796","artist_birthplace":"Edinburgh, Scotland","artist_deathdate":"25/11/1864","artist_deathplace":"London","author":"Ulrike Al-Khamis","materials":["Oil on canvas"]},"27da4fd7-996d-5066-b357-ffc4082c83ad":{"name":"Dr Charles Nicolle","short_description":"This is a photograph of the Nobel Prize for Medicine won by Dr Charles Nicolle for his work on infectious illnesses during his time at l'Institut Pasteur from 1903 to 1936.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","materials":["Paper"]},"27db4792-06af-5d09-8d3d-457d76486f2e":{"name":"*Magnificent Atrium with Figures*","description":"The growing influence and interaction between communications, especially the printing press and foreign travel, reinforced the cosmopolitan culture that came to characterise the processes of the European courts. Lisbon took the lead, when, under the reign of the King João V, Absolutism gave the Portuguese monarchy a renewed lease of life. Sacred and profane music, heard either at the Patriarch or at court, had a strong political meaning and reinforced the king's aura of majesty. King João V, therefore, commissioned artists such as Domenico Scarlatti; built the monumental Opera House next to the Royal Palace in 1754 (destroyed during the earthquake of 1755), and enlarged the Royal Orchestra with new foreign soloists.  \nThe theatrical scenery drawings of the Galli Bibiena family were not made on durable material. Due to the fact that the theatre sets they designed for court functions were temporary, few of their creations have survived. The richness and splendour of their stage sets can however still be judged from contemporary drawings, preserved in great numbers, and found mainly in collections in [Vienna](http://en.wikipedia.org/wiki/Vienna \"Vienna\"), [Munich](http://en.wikipedia.org/wiki/Munich \"Munich\") and [Dresden](http://en.wikipedia.org/wiki/Dresden \"Dresden\").  \nThis drawing by Francesco Galli Bibiena is a study for an unknown stage set. It is possible that it was brought to Portugal in 1750–1751 by his son, Giovanni Carlo Sicino Bibiena (1717–1760), who was charged by King José I to modernise both the theatres themselves and their services.  \nThe drawing shows an interior space with large arcades seen from a diagonal perspective. The composition is dominated by two large arches leading up to corridors at the top of a staircase. The vaults are richly decorated and the balconies bear several medallions with mythological figures at the centre supported by little angels. Bound by columns and female sculptures, the central area is occupied by women with children. Two dogs can be seen on the left. Through the main arcade a young crowned ruler makes his entrance surrounded by soldiers carrying banners, attracting everyone's attention.","short_description":"This drawing by Francesco Galli Bibiena is a study for an unknown stage set. It represents an interior space with large arcades seen from a diagonal perspective. The vaults are richly decorated and the balconies bare several medallions with mythological figures at the centre supported by angels.","type":"Drawing for a stage set","holder":"National Museum of Ancient Art","owner":"Museu Nacional de Arte Antiga","initial_owner":"Probably belonged to Giovanni Carlo Sicino Bibiena (1717–1760)","dates":"First half of the 18th century","location":"Lisbon, Lisbon","dimensions":"H: 40.6 cm; l: 57.6 cm","place_of_production":"Italy","method_for_datation":"Stylistic approach to the graphical work of Francesco Galli Bibiena.","provenance":"Royal Academy of Fine Arts, Lisbon, 1884","obtention":"The drawing might have been brought to Portugal by Giovanni Carlo Sicino Bibiena in 1751 or 1752, along with some others. There is little information about the whereabouts of these drawings during the second half of the 18th century and the beginning of the 19th. In around 1845 the drawing was in the collection of the Royal Academy of Fine Arts, Lisbon and then transferred to the Museu Nacional de Arte Antiga in 1884, the date of its establishment.","bibliography":"Correia, J. M., da Silva D., \"Teatros Régios do século XVIII – algumas considerações acerca dos desenhos da colecção do Museu Nacional de Arte Antiga\", *Boletim do Museu Nacional de Arte Antiga*. Vol. V, Nos 3 & 4, Lisbon, 1969.  \nBeaumont, M. A., \"Stage-sets by the Bibienas in the Museu Nacional de Arte Antiga, Lisboa\", *Apollo*, 1973, pp. 408–415.  \nMuraro, M. T., Povoledo, E., *Illusione e Pratica Teatrale - Proposta per una lettura dello spazio scenico dagli intermedi fiorentini all'Opera comica veneziana*, Venice, 1975.  \n*Desenhos dos Galli Bibiena*. *Arquitectura e cenografia* / *Eighteenth-Century Scenic and Architectural* *Design*, Lisbon 1987; USA, 1990.  \n*I Bibiena, una famiglia europea*, Bologna, 2000.","workshop":"Italian School, Bologna","artist_birthdate":"1659","artist_birthplace":"Bologna","artist_deathdate":"1739","artist_deathplace":"Bologna","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Regina Peixeiro","translator":"Regina Peixeiro","translation_copy_editor":"Mandi Gomez","keywords":["architectural perspective","Bibiena","Bologna","corner perspective","scenography","stage-set, drawing","theatre"],"materials":["Pen and brown ink with green and brown wash on paper"]},"28039875-4e38-5259-a55c-6b799bdfae9b":{"name":"Grand Bazar Arabe. A late-19th-century bazaar built in Tunis by the construction company of G. Di Vittorio, an Italian immigrant in Tunisia","short_description":"On the main entrance one can read the shop sign “Grand Bazar Kassar Said”; on the left “Grand Bazar Arab” and on the right, one can read the shop sign “I. Piperno”: Piperno is an unmistakably Italian Jewish name.  \nGiuseppe Di Vittorio, who ran the construction company that built this building, migrated from Termini Imerese (a small town near Palermo, Sicily, Italy) in 1882.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"Photograph: first years of the 20th century; building: late 19th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"28a47b67-f1e7-5f4c-8ee1-b205470d3b94":{"name":"For the working classes. All sorts of good available to buy on credit, paying 1 franc a week.","short_description":"As the working class expanded to huge numbers due to industrial developments and rural exodus to the cities, they also became an important pawn in the nation's economic game. Banks and businesses  introduced systems of paying by credit, claiming to help the less privileged. This poster, for examples, claims that a simple credit system would allow this family to radically change their life, affording them a larger and better lit home, nicer clothes, and a more luxurious dinner on the table.","type":"Poster","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin","keywords":["Credit","urban population"]},"28ad9737-7a52-5383-8f8a-2a5177cead7c":{"name":"Bookmark","short_description":"Gadget having scimitar shape distributed by a Company producing Talmone Chocolate and presented during the International Exhibition of Turin in 1911. The bookmark is part of an advertising using an Egyptian exotic style, which was very common in those years.","type":"Bookmark","holder":"The House of Antique Tin Boxes","dates":"1911","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Esposizione Internazionale di Torino","trade","trademark","commerce","Italian firms","nationalism","raw material","finished product","Egypt","exoticism","popular culture","Italians in Egypt"],"materials":["Cardboard"]},"28ec76df-2d4c-59e5-8b93-2cd4db3c1960":{"name":"Labour certificate No.1(a) [Child’s labour certificate]","short_description":"Under the Employment of Children Act 1903, a child needed to obtain such a certificate (by passing a certain grade standard in school work) before being able to leave school and commence employment. The certificate is divided into two parallel sections, both stamped with the signature of James Graham, a Local Education Authority officer. The left-hand one gives the holder's name (Annie Waggonheim), address and birthdate, and certifies that she is not less than thirteen years old according to her birth certificate or statutory declaration. The right-hand section certifies that she has made 350 attendances in not more than two schools during each year for five preceding years, and gives 'Darley St C School' (Darley Street Council School) as the school in which the attendances were made.","type":"Child’s labour certificate; historical document","holder":"Victoria and Albert Museum","dates":"Dated 1914","location":"London","dimensions":"Height: 21.25 cm, Width: 33.5 cm","author":"Victoria and Albert Museum","keywords":["Children","childhood","education","work"],"materials":["Printed and hand-inscribed paper"]},"28f6f7de-3daa-59e6-960d-f0cac66b210d":{"name":"North African caravan, in the west of the Sahara","short_description":"Camille Douls (1864–1889), who was passionate  about Africa, decided in the late 19th century to enter indigenous North African territory, despite it being forbidden for foreigners at the time. He began to learn Arabic and study the Quran for this purpose, and was able to live among the Oulad Delim tribe for five months, although not without risk to his personal safety. He published his observations on his return (1888), which attracted much attention, as no European had lived among these people to date. He was assassinated the following year during a trip to Algeria. The tale of his time in the desert was illustrated by Jules Girardet, an artist specialising in historical scenes who had never seen the subjects of his drawings. This image is therefore interesting, as it sheds light on the nature of the stereotypical Western gaze on nomadic lifestyles.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1888","location":"Paris","artist_birthdate":"1856","artist_deathdate":"1938","translator":"Flaminia Baldwin","keywords":["North Africa","nomadism"]},"28f9592c-7e7c-553c-be06-baac37d4447b":{"name":"*The arrival of Suleiman Pasha, envoy of the Porte, in Giurgiu*","short_description":"In June 1848 revolution broke out in Wallachia, aiming to liberate the country from the Ottoman sovereignty. Prince Bibescu was deposed and a provisional government was installed. As a result, the sultan sent an army to Wallachia. The Ottoman army entered on the Romanian territory in July and the Porte’s representative, Suleiman Pasha, began negotiations with the Romanian revolutionary government. This chromolithograph is part of a series of German chromolithographs depicting episodes from the Revolution that took place in Wallachia in 1848. It shows the entrance of Süleyman Pasha, the Porte's envoy, accompanied by a part of his army of 20.000 soldiers, in Giurgiu, a port on the Danube, after having crossed the river. He is received by a Romanian delegation.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1848","location":"Bucharest","provenance":"Germany"},"29d1744d-d29c-54bc-a8d4-afa1ddd2f9e0":{"name":"Algerian Pavilion Garden in the Trocadéro [Paris Exhibition, 1878]","short_description":"International Exhibition in Paris, 1878. The Algerian Pavilion represents one of the greatest examples of French colonisation policy. On the inside, the Algerian Pavilion has a huge garden with a fountain in the middle and represents one of the most beautiful pavilions within the exhibition. The Algerian pavilion was designed by the architect M. Wable, appointed by General Chanzy.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","house","garden","Islamic garden","magazine"]},"2a51dcfa-cb1d-50b4-aa78-fe06eed41edc":{"name":"Plan of Temple Mount, called “Harem ech-Cherif” by Muslims. (In French)","description":"This annotated plan by Ermete Pierotti pays particular attention to the water cisterns below the surface of the Haram al Sharif, which were used by those people who lived in, worked in, and visited the compound. Ermete Pierotti was an Italian naval officer who was employed by the Ottoman government in Jerusalem between 1854 and 1861. He was an engineer on the Haram al Sharif. This gave him unprecedented access to the monuments, which he recorded in some detail.","type":"Hand-annotated plan with extensive notes","holder":"Palestine Exploration Fund (PEF)","owner":"Palestine Exploration Fund","initial_owner":"Ermete Pierotti","dates":"AH 1862 / AD 1862","location":"London","dimensions":"41 x 30cm","place_of_production":"Jerusalem","method_for_datation":"Written on document","method_for_provenance":"Written on document","provenance":"Jerusalem and Cambridge","obtention":"Acquired following Ermete Pierotti's death","bibliography":"Pierotti, E., J*erusalem Explored: Being a Description of the Ancient and Modern City, with Numerous Illustrations Consisting of Views, Ground Plans and Sections*, London: Bell and Daldy, 1864.  \n  \nLegouas, J.Y., “Saving Captain Pierotti”, in *Palestine Exploration Quarterly*, 143.3 (2013).","workshop":"Ermete Pierotti, Jerusalem","artist_birthdate":"1820","artist_birthplace":"Pieve Fosciana, Italy","artist_deathdate":"After 1888","artist_deathplace":"Unknown","author":"Felicity Cobbing","copy_editor":"Judy Harter","keywords":["Jerusalem, Haram Al Sharif, Cisterns, Ottoman, Ermete Pierotti"],"materials":["Paper, ink, watercolour"]},"2ab573cd-8e69-51f0-8275-3af031e2fa06":{"name":"*The View of the City of Algiers*","type":"Print","holder":"Musée National des Beaux-Arts","dates":"(published in) 1830","location":"Algiers","dimensions":"48.5 x 64.5 cm","artist_birthdate":"Early 19th century","artist_birthplace":"Engalnd","author":"Dalila Orfali","translator":"Flaminia Baldwin","keywords":["Lithography","English","Regency","Ottoman","diplomacy"],"materials":["Colour lithography"]},"2bc79611-c941-5b21-81f7-7525e5e187ea":{"name":"An example of Italian colonial propaganda describing 'The first railway engine crossing Libya, causing astonishment and panic among the Arabs'","short_description":"The railway in a colonial context was much more than a means of transport: it was a powerful symbol of modernity, of technological superiority of the colonisers over the colonised, and of mastery over the territory. The construction of railways in colonial situations was thus often celebrated by the colonialists’ popular press or in postcards, as in this case.  \nIn Libya, the Italians started building railroads from the first months of colonial rule. The first lines, inaugurated in 1912, connected Tripoli with Ain Zara (11 kms) and to Zanzur (39 kms). By the end of 1915, the railway lines in Libya amounted to 180 kilometres.","type":"Postcard","holder":"Enrico Sturani Private Collection","dates":"1910s","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"2be85362-6e14-5698-94e1-a895d7c03a8e":{"name":"*Birtles in Jerusalem*","short_description":"Sgt. Birtles, Charles Warren’s chief assistant during the work in Jerusalem, climbing down into the destruction debris of Herod’s Temple in the Tyropoean Valley.","type":"Sketch","holder":"The Palestine Exploration Fund (PEF)","dates":"1872","location":"London","provenance":"?","keywords":["archaeology"]},"2c45ad6b-40d7-5711-b2ec-f75cf2e0ea72":{"name":"Carte du royaume de Tunis","short_description":"This is a copy of a map of the Beylik of Tunis by Sir Thomas Shaw, an English naturalist and traveller. It was one of the first Western maps of the area. Sir Thomas Shaw wrote all the names of all the ancient Roman towns, clearly marked the borders of Africa Romana and Numidia and the ancient sites of Carthage, Sicca Veneria, Suffetula, Hadrumetum, Thysdrus, Tacapae, and more.","type":"Carte; plan; papier","holder":"Musée de la Monnaie : Banque centrale de Tunisie","dates":"1727","location":"Tunis","dimensions":"Map of the Beylik of Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Cartography","exploration","geographical mission"],"materials":["Papier"]},"2c70cc9a-2217-511d-9c1d-1addea916d7b":{"name":"The Nubian Court; Interior view of The Crystal Palace in Sydenham","short_description":"Lithograph, tinted with one tint stone, depicting the interior of the Nubian Court at Crystal Palace. Each lettered with title and 'Interior of the Crystal Palace At Sydenham'. Numbered '7'. The lettering of the titles to plates 7 and 8 is only partly visible, due to trimming. These titles are also inscribed in pencil in a later hand.","type":"Print; lithograph","holder":"Victoria and Albert Museum","dates":"c.1854","location":"London","dimensions":"Height: 24.1 cm, Width: 18.8 cm","provenance":"United Kingdom","author":"Victoria and Albert Museum","keywords":["Exhibition","Courts","Crystal Palace (South London)","Nubian","Prints"],"materials":["Lithograph, tinted with one tint stone"]},"2c73cd52-5b96-52b7-92d1-8d8619ab444d":{"name":"*Bronze Lamp of Abu \\`Abd Allah Muhammad III of Granada*","description":"Drawing of the lamp from the Mosque of the Alhambra; it has an important inscription. This piece was acquired by the National Museum of Archaeology in 1868, when the museum was founded. The interest for the Arab past of the Iberian Peninsula was increased by the publications of these objects and monuments.","type":"Print","holder":"National Archaeological Museum","dates":"1873","location":"Madrid","dimensions":"44,70 x 31,5 cm","provenance":"Madrid","copy_editor":"Anne Dowell","keywords":["Spanish Muslim art","applied arts","Alhambra"],"materials":["Paper; lithograph"]},"2c9ad369-e5c9-5902-9932-97df74755096":{"name":"The Door of the Jami`a el-Kebir Mosque [Paris Exhibition, 1878]","short_description":"Universal Exhibition of Paris, 1878: reconstruction of the big door set along the street of Marina for the gate of the big Mosque of Algeria. The presentation of those important buildings represents a form of cultural promotion of the country.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","provenance":"France","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"2cac8790-8730-5708-8f5a-80058a37752b":{"name":"*Turkish Country Houses on the Bosphorus*","short_description":"This engraving shows the typical, wooden Ottoman yalis or summer houses built along the shores of the Bosphorus by high-ranking officials and members of the elite since the late 17th century. Designed to reflect both their location, making maximum use of the waterfront, and the taste and status of their owner, the yalis provided a welcome and comfortable escape from the congested city. Their interior, with separate areas for public reception and private family quarters, was furnished, with inbuilt cupboards and diwans, and decorated in the traditional Ottoman style. Only in the 19th century were aspects of European-style interior design and furniture adopted widely. The facades of the yalis were traditionally painted a deep rose colour, until European influence led to the adoption of pastel shades in the 19th century. The image was originally published in Julia Pardoe's 'The Beauties of the Bosphorus', published in London by George Virtue in 1838.","type":"Coloured steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published 1838","location":"Sharjah","dimensions":"Height 120, width 175 mm","provenance":"First published in Julia Pardoe, *The Beauties of the Bosphorus*, London 1838, facing page 40","artist_birthdate":"William Henry Bartlett: 26/3/1809; J. C. Bentley: date of birth unknown","artist_birthplace":"William Henry Bartlett: London; J. C. Bentley: place of birth unknown","artist_deathdate":"William Henry Bartlett: 13/9/1854; J. C. Bentley: date of death unknown","artist_deathplace":"William Henry Bartlett: off the coast of Malta; J. C. Bentley: place of death unknown","author":"Ulrike Al-Khamis","keywords":["yali"],"materials":["Coloured steel engraving"]},"2cba4816-822e-5153-8c2f-a05c21e94c01":{"name":"Mulay ‘Abd al-Rahman, Sultan of Morocco (1789–1859)","short_description":"Portrait of Mulay 'Abd al-Rahman, Sultan of Morocco (1789–1859). In 1822 he became the successor of his uncle and tried to fight against the growing influence of the European powers in North Africa by supporting the Algerian resistance against the French occupation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mulay 'Abd al-Rahman, Sultan of Morocco","Austrian fleet","Arzila","Tetouan"]},"2cf5398f-8d6e-5e13-b679-67442f1bcbc6":{"name":"Menu for the gala dinner offered by the Italian king in honour of the Ambassador from Morocco, who visited Italy in June 1890","short_description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with extremely rich gifts.  \nThe Ambassador – who was escorted by his secretary, an interpreter, and some dignitaries – was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered a gala dinner for him.  \nThe menu for the gala dinner was in French. A military band played different pieces of music during the dinner.","type":"Archival document","holder":"Central State Archives of Italy","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"2de7ed41-7aaa-5c57-b454-3ebdfa97e428":{"name":"Newspaper to commemorate the installation of wireless telegraph","description":"The front page of the newspaper *Le Petit Journal*, which depicts the installation of the wireless telegraph between Morocco and France in 1907.","type":"Newspaper; print","holder":"Itisalat al-Maghrib Museum","dates":"1907","location":"Rabat","keywords":["Magazine","communication","technical innovation","telegraph","celebration of progress","wireless","protectorate","Guglielmo Marconi","Edouard Branly"],"materials":["Paper; printed"]},"2e1b7a1f-87a3-5357-a286-a3e13417e1ea":{"name":"*Catalogue Raisonné des monuments exposés dans le Musée National de l'art Arabe*","short_description":"The *Catalogue Raisonné des monuments exposés dans le Musée National de l'art Arabe* by Max Herz Bey is an illustrated catalogue of the collections at the Museum of Islamic Art in Cairo. It contains an introduction with the history of the different periods from the Umayyads to the Ottomans and chapters following the galleries of the museum and according to material: chapters on stucco and stone, woodwork, metalwork, ceramics, textiles, bookbindings and glass.","type":"Book","holder":"Benaki Museum","dates":"1906","location":"Athens","dimensions":"17 cm","provenance":"Cairo","author":"Mina Moraitou","keywords":["Exhibitions","museum","Egypt","book"],"materials":["Printed paper"]},"2ea1c843-e974-5276-8455-c507ef6d058b":{"name":"The Algerian Tailor [Paris Exhibition, 1878]","short_description":"At the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion, as part of the reconstruction of a hypothetical typical neighbourhood. The character shown here is an Algerian tailor.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"2ea7c030-0b7a-51c2-aa26-875093afd861":{"name":"Life-size templates for the curtain of the door of the Ka‘ba","short_description":"The majority of the Ka‘ba door curtains made at Dar al-Kiswa during the 19th century follow the same basic design in which calligraphic cartouches predominate and which is characterized by the series of stylized ‘palm trees’ either side of the door opening.  \n  \nDue to their size, Ka‘ba door curtains were made in four sections which were embroidered separately then joined together. They were known as *al-‘ataba*, *al-tiraz*, *al-qa’im al-saghir* and *al-qa’im al-kabir*, and these actual-size tinted drawings set out the layout and decorative patterns of each. Areas ito be embroidered in silver are tinted blue, whereas those which were to be embroidered in silver-gilt wire are in yellow. The Collection also includes life-size templates for the curtains of the internal door of the Ka‘ba; for the Meccan *minbar*; for the *kiswa* of Maqam Ibrahim; and for the door of the Maqsurat Ibrahim, from the same set.","type":"Drawing; template; Ka‘ba door curtain; *sitara*; *burqu‘*; *burda*, *kiswa*; Dar al-Kiswa","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 19th century","location":"London","method_for_datation":"The date is based on stylistic grounds, by comparison with dated textiles following the same patterns.","provenance":"Egypt, Cairo, Dar al-Kiswa","bibliography":"al-Mojan, M.H., *al-Ka‘bah al-musharrafah ‘imaratan wa kiswatan*, Mecca, AH 1426 (AD 2005).  \nNassar, N., “Dar al-Kiswa al-Sharifa. Administration and Production”, in Porter, V., and Saif, L. (eds), *The Hajj: Collected Essays*, London: British Museum, 2013: 175–83.","dynasty":"Ottoman","author":"Nahla Nassar","keywords":["calligraphy","Ceremonial object","Curtain","embroidery","hajj","Hijaz","ink","Ka'ba","Mecca","Ottoman textile","pilgrimage","Pilgrimage route","Religion","religious object","silk","silver","textile","travel","watercolour"],"materials":["4 drawings, in ink, pencil and watercolour on thick card, ghost-marked with a grid"]},"2efb58fe-14fe-59df-ad70-18b84374d4f5":{"name":"Edmund Count Szechenyi (1839–1922)","short_description":"Portrait of Count Edmund Szechenyi. He was born in 1839 in Bratislava and studied the work of fire brigades in London. In 1869 he founded in Budapest the first volunteer fire brigade, which was transformed into a professional fire brigade in 1870. From 1871–1874 he commanded the umbrella organisation of all fire brigades in Hungary. In 1875 he was sent by Emperor Franz Joseph to Istanbul to build up a fire brigade in the Ottoman capital. As head of the fire brigade he became the first Christian Pasha in the Ottoman Army and stayed in Istanbul until his death in 1922.","type":"Print","holder":"Austrian National Library","dates":"c.1880","location":"Vienna","copy_editor":"Daniel de la Vega"},"2f3824a9-9c37-59fb-a4fe-8281d4a0ea57":{"name":"\\[Red Cross\\] *Have you answered the Red Cross?*","short_description":"This English nurse symbolises the actions of the International Committee of the Red Cross, whose humanitarian mission is to protect the life and dignity of the victims of armed conflict and other forms of violence, and to bring them aid. Founded in 1863, the Red Cross won the Nobel Peace Prize in 1917.","type":"Poster","holder":"National Library of France","dates":"1914–1918","location":"Paris","artist_birthdate":"1875","artist_deathdate":"1934","translator":"Flaminia Baldwin","keywords":["Health","First World War","Red Cross"]},"2f387f4d-1ef9-59c3-bf8a-f4bf6e3f9be9":{"name":"*Varaždin Merchant, Joannes Friedrich, in his Shop*","description":"The print shows the cartouche-framed interior of the merchant, Joannes Friedrich’s shop, situated in Tomislav Square in Varaždin. Dressed in the Rococo fashion with a powdered wig, he is sitting at a desk holding a quill pen in one hand and a letter in the other. In front of him stands a customer in a long coat. Two Rococo windows and a row of shelves for merchandise and accounting books are in the background. A cartouche at the bottom of the picture reads “BARONE IOANNE DI FRIDRICO SENATORE ET MERCATORE DI VARASDINO”. (Baron Joannes Friedrich Senator and Merchant of Varaždin).  \nQuite a few members of the nobility were merchants who invested in the economy, an aspect that marks the beginning of capitalism and mass production.","short_description":"The print shows the cartouche-framed interior of the merchant, Joannes Friedrich’s shop, situated in Tomislav Square in Varaždin. Friedrich, portrayed serving a customer, was also Senator of the Varaždin Town Council.","type":"Copperplate print","holder":"City Museum, Varaždin","dates":"Mid-18th century","location":"Varaždin, North-West Croatia","dimensions":"H: 23.5 cm; w: 18.5 cm","method_for_datation":"Analysis of style.","bibliography":"Lentić-Kugli, I., *Obrt i trgovina u Varaždinu* (Crafts and Trade in Varaždin), Zagreb, 1977.  \nŠimunić, Lj, *Varaždinski trgovac Joannes Friedrich u svom dučanu* (The Varaždin Merchant, Joannes Friedrich, in his Shop), Zagreb, 1993.","author":"Ljerka Šimunić, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["drawing","economy","fashion","trade"],"materials":["Paper, copperplate"]},"2fd7dbb0-f684-52f4-93f3-b485ecf82f5e":{"name":"Postcard: *The Strait of Gibraltar in the Future*","description":"This curious postcard with a utopian vision of how the Strait of Gibraltar could become in the future was sent to the Marquis of Cerralbo by a friend, Gabriel Vich, but never received a stamp. Although it shows the address of the marquis, maybe it was posted inside an envelope or delivered, finally, on hand. This kind of ephemera was published by the fortnightly publication España en África (Spain in Africa), active in the first decades of the 20th century. The image represented is a beautiful commercial and geopolitical project that would have linked two continents with a 15 km bridge.","type":"Postcard","holder":"Cerralbo Museum","dates":"1902–1922","location":"Madrid","dimensions":"9,3 x 14 cm","provenance":"Spain","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Railways","Roads"],"materials":["Paper; colour print"]},"30f458b3-4363-5cf5-82c6-91c5e3c06c7e":{"name":"*Medjmouaï teçavir* (Collection de costumes)","short_description":"Postcard from Turkey showing the costume worn by various people, according to occupation, activity, etc. Intended for a relatively popular western market. Illustrates the social structures and costumes of the last days of the Ottoman empire. Great reformer Mahmud II in European-influenced dress.","type":"Postcard","holder":"The British Museum","dates":"c. 1900","location":"London","provenance":"Turkey","keywords":["costume","fashion","military wear","court life","Ottoman imperial symbols","travel","traveller","Orientalism"]},"31671ff1-195a-54da-8c1f-6f9b776bf0e8":{"name":"Statue of Cardinal Lavigerie","short_description":"On the 23 November 1925, the French resident-general in Tunisia, Lucien Saint, organised a solemn gathering to commemorate 100 years since Cardinal Lavigerie's birth. The municipality of Tunis also received a statue of him brandishing a cross by the sculptor Élie-Jean Vézien, which they chose to put in Place Bab el-Bhar (at the entrance to the medina), a place of great importance to Tunisians. This choice of location angered the Tunisian population and triggered a protest from the students of the Zaytuna University, who considered this act an attack on their religious beliefs (it was placed close to the Zaytuna Mosque) and their traditions. The statue stayed there until Tunisian independence, when it was removed by the Mayor of Tunis.  Lavigerie was the Archbishop of Algiers and Carthage, and the founder of the Pères Blancs in 1868.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["French protectorate of Tunisia","missionaries in Tunisia"],"materials":["Paper"]},"31b5f52e-c220-58fe-a02b-2b22d317bc2b":{"name":"*Description of the Arab monuments of Granada, Seville and Córdoba: the Alhambra, the Alcazar and the Great Mosque*","description":"The publications about the Spanish Muslim Antiquities, including monuments can be retraced to the end of the 18th century. Interest in these monuments is related to the interest in this unique heritage in Europe, as part of the Alhambresque and Neo-Mudéjar styles in Spain and Europe. The publication of the monument’s descriptions aided in their conservation.","type":"Book","holder":"National Museum of Decorative Arts","dates":"1885","location":"Madrid","dimensions":"378 pages; 22 cm","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Architecture","Alhambra","Orientalism","Neo-mudejar style"],"materials":["Paper, ink; printed"]},"31d6ea38-653b-5a59-a9cf-3d860d963ea6":{"name":"Early records of Mummies brought back to England from Egypt","short_description":"George Edwards' drawings of four Egyptian mummies were made in 1742. They had been collected by eminent physicians who had  travelled in Egypt and were studied in the College of Physicians in London.","type":"?","holder":"The British Museum","location":"London","provenance":"United Kingdom","keywords":["archaeology","Egyptomania","exploration","collection","collecting","tomb","museums","travel","traveller","science","medicine"]},"32533015-dfdb-5437-8c81-e020001b7470":{"name":"*The Suffragette 1d Weekly*","short_description":"‘The Suffragette’ was the weekly newspaper of the Woman's Social and Political Union (WSPU), the leading militant organisation campaigning for women’s suffrage in the United Kingdom. This wood block printed advertisement features the patron saint of the Suffragettes, Joan of Arc carrying the banner of the WSPU.  \n  \nHilda Dallas was a member of the Suffrage Atelier, which was formed in 1909 to encourage artists to promote 'the enfranchisement of women, by means of pictorial publication'. Its activities also included training non-professional artists in printing techniques. The low cost, low tech method of wood block printing, as used in this poster, was cheap, quick and easy to learn.","type":"Poster; colour lithograph","holder":"Victoria and Albert Museum","dates":"c.1914 (issued)","location":"London","dimensions":"Height: 50.5 cm, Width: 75.3 cm","provenance":"United Kingdom","author":"Victoria and Albert Museum","keywords":["Print","advertising","politics","propaganda","poster","women","suffragette","printing"],"materials":["Colour lithograph print"]},"32ae501a-15d6-534c-9b3c-572d30f5a223":{"name":"*Allegory of the Prosperity of Moravia under the Beneficent Reign of Leopold I*","alternate_name":"*Doctorial thesis of Karel Josef Roden*","description":"An allegory of Moravia: a map in the shape of the globe, i.e. the Moravian world, is surrounded by celestial powers, representative of the states (clergy, nobility, towns) and allegorical figures. The woman with a mirror kneeling on the left personifies *Prudentia* (deliberation or foresight), while *Fortitudo* (courage or resolution) is represented by a female figure with a massive column and a Heraclean lion-skin on her head, close to another female figure with an hourglass embodying *Moderatio* (temperance or self-discipline). The symbolically raised hand with the scales over Moravia belongs to *Justitia* (Justice). The dignified man with a wig, with one hand on a *fasces* (a bundle of white birch rods) and the other on a statue of Pallas Athene, may be interpreted as an allegory of *bonum consilium* – good advice – as well as education. The celestial powers testify to the prosperity of the land under Emperor Leopold I (1657–1705), whose monogram *LI* is the centre piece of the print. The fruit of his beneficent reign is indicated by cornucopias, as well as by the attributes of education, and stones with planetary symbols corresponding to silver and iron, the wealth of the country.  \nAt the centre, the imperial eagle supports a picture of the miraculous Virgin Mary of St. Thomas, accompanied by patron saints Cyril and Methodius on the left and St. Wenceslas on the right. The function of the celestial sphere carried by angels is specified by the words: “Divine power rules the celestial worlds” on a band. The peculiar manner of representation, with Moravia as a globe, is elucidated by the second part of the sentence, at the interface of the heavenly and earthly spheres: “and the emperor rules the Moravian world with fatherly, powerful care”. The print originated as part of an Olomouc University thesis. After taking exams, graduates had to participate in public debates, the theses of which were printed as announcements. Some of them were engraved after templates by Moravian painters in the renowned Augsburg workshops.","short_description":"The print originated as an Olomouc thesis. Some of these were engraved after templates by Moravian painters in the renowned Augsburg workshops. As well as the principal patron saints of the land, the print presents personifications of good government, considered to be a prerequisite of the country’s prosperity.","type":"Print","holder":"Opava Provincial Archive","owner":"Opava Provincial Archive","dates":"1704","location":"Olomouc, Moravia","dimensions":"h: 107.5 cm; w: 69 cm","place_of_production":"Olomouc","method_for_datation":"The original artist remains unknown. The print is signed by the Olomouc copperplate engraver Antonín Freindt (1664–1727). The print also features the name of the person who commissioned it and whose thesis is seen in the Latin text at the bottom section of the print.","obtention":"The print was a part of a collection of university theses from Olomouc University, established in 1573 as a Jesuit College. The collection was taken into the state archives in the 1950s.","bibliography":"Josef Válka, in Ivo Krsek – Zdeněk Kudělka – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku,* Prague, 1996, p. 18.  \nMilan Togner, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, pp. 86*–*88, cat. 3.","artist_birthdate":"1664","artist_birthplace":"Olomouc?","artist_deathdate":"1727","artist_deathplace":"Olomouc","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["constellation","eagle","education","Emblem, personification","incision","print","printing","university"],"materials":["Mezzotint"]},"3322889b-90a0-56de-acf0-715553f9bb35":{"name":"Map of Beirut as it appeared in 1841","short_description":"This map shows Beirut before construction works were taken to modernise the harbour. The coastline has changed significantly since then.","type":"Map","holder":"American University of Beirut","dates":"1841","location":"Beirut","author":"Hady El Hajj, Jennifer Harb, Cynthia Karaki","copy_editor":"Flaminia Baldwin","keywords":["Beirut","Mediterranean","Ancient harbour","Coastal geomorphology","Port","Coastline"]},"33430dbe-c0fc-5bb4-9845-6bce853a6ea6":{"name":"General Hullin's audience, provided by the Dey of Algeria","short_description":"In August 1802, irritated by the repeated pillaging of his ships by Algerian pirates, Napoléon I sent General Hullin and Consul Dubois-Thainville to the then Dey of Algeria, Mustafa Pasha, with a threatening message. This print is an example of Napoleonic propaganda, as it attempts to highlight the \"insolence\" of the bey, who stays seated on the sofa, and the \"bravery\" of the general who, with a sword on his side, makes his speech.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Diplomacy","France","Algeria","colonies"]},"339661cd-4f3b-50e8-ac7b-98082ee3d45c":{"name":"*The mule which carries the Qur’an to Mecca*","short_description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","Qur'an","Orientalism","travel","traveller","hajj","pilgrimage","Hijaz","Ka'ba"]},"340abb76-0aa3-53e7-b9ea-c4ebf5b8737b":{"name":"Pharaoh Rameses II in the act of killing enemies with his spear","short_description":"The print reproduces the drawing, today at the University Library of Pisa, realised by Giuseppe Angelelli. Angelelli’s painting is used for Table LXXXIII of the Historical Monuments which shows one of the engraved paintings from the southern wall of the temple of Abu Simbel, celebrating King Ramses piercing his enemy with a spear. This is a traditional scene that has been reproduced on numerous Egyptian monuments from early historic periods to show the supremacy of the Pharaoh above all foreign people. The enemies of the Egyptians are characterised by libic hair and dresses. An error was made by the copier in the spear used by Rameses, possibly reproduced within Angelelli’s painting because of the Director of the Commission wanted to correct the hieroglyphical text above.","type":"Print","holder":"Egyptian Museum (original drawing: Library of Pisa University)","dates":"1829 (original drawing)","location":"Florence (original drawing: Pisa)","dimensions":"Original drawing: 44.2 x 54 cm","provenance":"Egypt","copyright":"Copyright image: Su concessione del Ministero per i Beni Culturali e del Turismo - Museo Egizio di Firenze.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Campaign in Egypt","Egyptomania","archaeology","Leopoldo II","Charles X","scientific expedition","university","museums","collection","collector","Florence","Pisa","Egyptology","Nubia","languages","epigraphy","travelling artist","Italian painters","Thebes","botany"],"materials":["Original drawing; watercolour"]},"341be9d6-6bac-5978-aa0e-844e03633f92":{"name":"The port of Brăila","short_description":"In 1829, an annex to the peace treaty of Edirne, that was concluded after the Russo-Ottoman war of 1828-1829, concerned the Principalities of Wallachia and Moldavia. One of its provisions was that the Sublime Porte had to give back to Wallachia the three cities situated on the left bank of the Danube, which it had conquered in the 15h-16th centuries. Among these was Brăila, a port on the Danube annexed by the Ottomans at around 1540. After 1829 measures were taken by the local authorities for the modernization of Brăila. The port subsequently developed thanks to the growth of Wallachian commerce as a consequence of the fact that by the treaty of Edirne the Ottoman Empire granted the freedom of commerce to the Romanian Principalities. In 1838 Brăila was given the status of free port (with no or few customs duties).","type":"Engraving","holder":"National Museum of Romanian History","dates":"1880","location":"Bucharest"},"3461e5ef-930c-5a8d-8393-eeb23e8eaffa":{"name":"The female surgery division of the Italian hospital in Tunis","short_description":"Prior to the establishment of the French protectorate on Tunisia in 1881, Italian doctors operated in Tunisia. The Bey had frequently employed Italian physicians. Some were born in Tunisia, of Jewish families from Livorno, others had arrived in Tunisia as political exiles in the first half of the 19th century. The largest contingent of Italian doctors, however, migrated to Tunisia after 1881.  \nIn 1890, the Italian community opened a hospital with about 100 beds. Italian physicians worked in the hospital as volunteers and indigent patients were treated for free. The initial funding for creating and running the hospital came from the Italian community; the Italian state contributed to pay the expenses for the construction of a new facility in 1900 and partly subsidized the hospital activities.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"348c2a80-0242-562a-93bb-7572f6c98b1b":{"name":"Map of Beirut port","short_description":"This map shows Beirut port after its expansion in 1890.","type":"Map","holder":"Khalil Itani's Archive","dates":"1890","location":"Beirut","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Economy","Commerce","Expansion"]},"34ebe371-2a09-50f9-8e86-921fabe509cc":{"name":"*Portico of the Temple at Edfu, Upper Egypt*","short_description":"Considered the best preserved cult temple of ancient Egypt, Edfu temple was swamped with sand in Roberts’s days, and houses had been built on top. The French archaeologist Auguste Mariette eventually excavated it in the 1860s.This view shows the temple's portico, its  sand-filled façade supported by six monumental columns. The columns on either side of the centre have large lotus columns, those flanking them are made to resemble vertically rising date palm fronds. The outermost columns carry capitals derived from composite Theban palm tree designs. Beyond the columns of the facade, two further rows of capitaled columns form the inner area of the portico, or pronaos. Over the entrance of the portico and on the upper shafts of the columns, pharaonic imagery, emblems, cartouches and hieroglyphs are clearly visible.  The artist emphasizes the monumentality of both the portico and the masses of sand that have invaded it by introducing a group of dwarfed visitors resting on one of the sand dunes in the centre – utterly dwarfed by their surroundings.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1846","location":"Sharjah","dimensions":"605 mm x 427 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"35118a9c-ae87-5875-b6fd-694c3a29ac01":{"name":"*The Moroccan Embassy in Rome*","short_description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with gifts.  \nThe Ambassador was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered him a gala dinner.  \nIn these pictures one can see (from the top left): four captains who escorted Morocco’s Ambassador, his interpreter Lamfaddal Elkabbagi, the Ambassador on a carriage arriving at the King’s palace, Hamed (one of the Ambassador’s servants), Pà Nadan (another servant), and two children travelling with the Ambassador on the hotel’s terrace.","type":"Photo published in a journal","holder":"State Library of Modern and Contemporary History","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"351e4901-7c17-581f-9b15-8be1d6fc3458":{"name":"Au Palais Arabe. A furniture shop of the Italians Eugenio and Alfredo Coen in Tunis","short_description":"“Au Palais Arabe”, Rue de Rome, 3, Tunis, was once the most important shop in town for furniture and other household items. Eugenio Coen (born in Livorno in 1855, migrated to Tunis in 1885) and his brother Alfredo (born in Livorno in 1868 and migrated to Tunis in 1887) also ran a furniture factory that, in 1906, employed about 100 carpenters, cabinet makers and other workers, 80 per cent of whom were Italian.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"Photograph: first years of the 20th century; building: late 19th–early 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"351f1d5e-9300-5133-9200-12abc5718e8c":{"name":"*Mosque of Sidi Bu Madyan, Tlemcen, Algeria*","short_description":"The mosque adjoins the shrine of Sidi Bu Madyan, a twelfth century holy-man, and was built by the Marinid dynasty in 1339. Fabrizi's view shows clearly the richly carved stucco decoration framing the simple horseshoe arches; through one of these is seen the tiled mihrab (niche indicating the direction of Mecca) and the wooden minbar (pulpit). Fabrizi has captured the moment after the formal prayers when each worshipper makes a personal supplication to Allah, holding his hands out in a gesture to receive His blessing.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1881","location":"London","provenance":"Algeria","author":"Victoria and Albert Museum","keywords":["Orientalism"]},"3540af77-ea01-5e4b-bd04-3e31d3b139e4":{"name":"Poster for the International Exhibition of Milan, 1906, depicting the opening of the Simplon Tunnel","short_description":"Leopoldo Metlicovitz worked as a lithographer and an illustrator. Among his works are illustrations for the Milanese newspaper *La Sera*, opera librettos and some cover pages of *Corriere della Sera*. He also made posters for an auto exhibition, an insurance company and the opening of the Simplon Tunnel in 1906. The erotic male nude recalls Michelangelo’s figures. The poster was chosen by the Committee of the International Exhibition despite the fact the it was not submitted within the competition. The artist depicts the personification of Progress and Science ideally leading the convoy towards the light beyond the tunnel. The tunnel, almost 20 kilometres long, was started following an 1895 agreement between Italy and Switzerland. The works were finished after long difficulties and the railway was opened on June 1, 1906 and celebrated at the Universal Exposition in Milan.","type":"Photo from magazine","holder":"State Library of Modern and Contemporary History","dates":"1906","location":"Rome","provenance":"Italy","artist_birthdate":"1868","artist_birthplace":"Trieste","artist_deathdate":"1944","artist_deathplace":"Ponte Lambro (Como)","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Printing","celebration of science","Positivism","industrialisation","industry","communication","road","railway","tunnel","working class","rights of workers","social topics","post-unitarian Italian society","health","work","labour","poverty","life expectancy"]},"3549f5be-8ae2-53fd-9501-cb96736906e9":{"name":"Panoramic view of the city of Mecca, painted by Muhammad ‘Abdallah, the Delhi cartographer","short_description":"The view of Mecca is remarkable for its comprehensiveness and accuracy and, in the manner of contemporary topographers, brilliantly combines a plan of the city with a bird’s-eye view from about 60 degrees. Muhammad ‘Abdallah, whose grandfather, Mazar ‘Ali Khan was court painter to the Mughal ruler Bahadur Shah II, was commissioned by the Sharif of Mecca to depict the sacred monuments of his realm in the second quarter of the 19th century.  \n  \nThis is the earliest known accurated depiction of the Masjid al-Haram and the immediate vicinity. The painting is also unique among such representations in its inclusion of a ‘vignette’ of a man attending to his jars…","type":"Painting; panoramic view; watercolour","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"*circa* 1845 AD","location":"London","method_for_datation":"The painting is signed.","provenance":"Saudi Arabia, Mecca","bibliography":"Rogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.298, pp.260–61.","dynasty":"Ottoman","keywords":["Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["Ink and opaque watercolour on paper"]},"355b8a63-ea50-5b91-9873-7e2c8152cab8":{"name":"*Catholic mission to Brazzaville: Brazzaville mission school - Vive la France!*","short_description":"Evangelism and colonialism often went hand in hand, working together to Christianise local populations. The missionaries considered French society as the perfect model of Christian society, and the government thought missions would help consolidate colonialism. Schools were one of the places where this relationship is the most evident. This image clearly shows how the French instilled young African children with love for the French flag from a very young age.","type":"Photograph","holder":"National Library of France","dates":"1907","location":"Paris","translator":"Flaminia Baldwin","keywords":["Education","missionaries","confessional schools","Congo"]},"35b961a6-875c-5ccf-a80f-d6f917ccd48e":{"name":"Jozef Zachariasz Bem (1795–1850)","short_description":"Portrait of Jozef Zachariasz Bem as Turkish Pasha. Jozef Bem was born in the Austrian part of Poland. He fought as a Napoleonic officer against the Russians. In 1830 he participated in the Polish uprising against the Russians in Warsaw. In 1848 he was one of the leading Generals fighting with the Hungarian army against the Habsburg troops. After several defeats in 1849, he fled with 6,000 Hungarian-Polish soldiers to the Ottoman Empire. After converting to Islam, he became a Turkish General. In 1850 he suppressed an Arabic pogrom against the Christian population of Aleppo.","type":"Print","holder":"Austrian National Library","dates":"Before 1850","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Jozef Zachariasz Bem","Aleppo","Syria","Hungary"]},"36e1b6b4-30ae-5caf-b227-73b35b67c02b":{"name":"Fuad I, King of Egypt (1868–1936)","short_description":"Portrait of Fuad I, King of Egypt (1868–1936). In 1917 Fuad I succeeded his brother Hussein Kamil as Sultan of Egypt. In 1922, after Egypt had achieved independence from the Ottoman Empire, he became King of Egypt with the help of the British government.","type":"Photograph","holder":"Austrian National Library","dates":"After 1922","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Fuad I, King of Egypt","Hussein Kamil"]},"370bd873-8035-59b2-bc6d-9c176b57e9d5":{"name":"Ibrahim Pasha (1789–1848)","short_description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ibrahim Pasha","Syria","Greece"]},"3729e16c-4e7e-5f2a-ab2f-106e9ada1d33":{"name":"Postcard","short_description":"Postcard; printed paper; photograph showing a view across downtown Zarqa, Jordan.","type":"Photograph","holder":"The British Museum","dates":"1993 (circa)","location":"London, United Kingdom","dimensions":"Height: 10,3 cm; width: 14,8 cm","place_of_production":"Zarqa, Jordan","obtention":"Donated by Dr St John Simpson in 2013.","copyright":"This is an 'orphan work' in The British Museum’s collections. If you are the copyright holder and were not contacted, please reach out to Museum With No Frontiers at editing@museumwnf.net so that proper credit may be given on this website.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-1058?selectedImageId=1342839001","keywords":["Communication","Jordan","Street","Transportation","Zarqa"],"materials":["Paper"]},"374a32ae-e579-53c0-bfce-25a5e5c80764":{"name":"*Tuğra* of Sultan Osman III.","description":"The Sultan's official monogram or *tuğra* (tughra) is drawn in gold outlined with black ink on a blue ground. The areas between the letters in the lower part of the *tuğra*, the 'arms' of the *tuğra*, and its flaring bow are filled with floral decoration. These floral compositions show two different styles: one following the Chinese influence *hatayi*\\-style, and the other reflecting the appearance of baroque designs in Ottoman illumination under European influence. In the upper right-hand corner are depictions of the Ka'ba in Mecca and of Medina rendered in an oval frame. The paintings of Mecca and Medina resemble similar compositions in AH 11th–12th- / AD 17th–18th- century decorative arts, manuscript painting and tiles. In the lower left-hand corner is a medallion containing the signature of the artist who drew the *tuğra*, Karabağlı Kaptan-ı Derya Süleyman Pasha, phrased thus: 'The slave of the court, Süleyman Pasha, made the *tuğra* of the Sultan of the world'. The date AH 1270 (AD 1854) is also given. This is surprising and possibly incorrect for Kaptan-ı Derya (Grand Admiral) Süleyman Pasha does not appear in the historical sources for that year. He was promoted to that rank by Sultan Osman III in AH 1168 / AD 1754 and remained in that position until he was removed from it in AH 1171 / AD 1757. In the same year he was restored to his post by Sultan Mustafa III (r. AH 1171–87 / AD 1757–74) and remained in it until AH 1172 / AD 1759. Since the work has undergone much restoration in various periods, the date must be AH 1170 / AD 1756–7 rather than AH 1270 / 1853–4.  \n  \nSultan Osman III, who ascended the throne at age fifty-five, was the oldest Ottoman prince to become sultan, and his reign lasted only three years. The *tuğra* reads 'Osman Khan, son of Mustafa, ever-victorious'. The *tuğra* was a kind of signature of the Ottoman sultans, drawn by a special official of the Imperial Chancery (*Divan-ı Hümayun*) or under his instruction. Because of its size and the fact that it is executed so as to display in detail all the aspects of a *tuğra*, this example must have been made in the Imperial Chancery as a model with the aim of ensuring that *tuğra* copies could be made without any mistakes.","short_description":"*Tughras*, official monograms of the sultans, are one the first things to come to mind when Ottoman art or history is mentioned. The size of this *tughra* of Sultan Osman III makes it an interesting example and it has features peculiar to the art of the AH 12th / AD 18th century.","type":"Wood, watercolor, guilding","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Sultan Osman III (r. AH 1168–71 / AD 1754–57).","dates":"Hegira 1170 / AD 1756–7.","location":"Sultanahmet, Istanbul.","dimensions":"Height 125 cm, width 90 cm.","method_for_datation":"Dated according to the signature, in which the name of the Grand Admiral Süleyman Pasha appears; he was Grand Admiral during the reign of Sultan Osman III. (No other Grand Admiral by that name was found in the historical sources for reigns other than that of Osman III).","method_for_provenance":"Only the Imperial Chancery (*Divan-ı Hümayun*) was allowed to print the sultan's *tuğra*. Large examples like this one were prepared as models to ensure that the *tuğra* was drawn correctly when added to official documents. Thus, it must have been produced in the Topkapı Palace, Istanbul.","provenance":"Istanbul, Turkey.","obtention":"Transferred to the Museum in 1916 from the library of Kılıç Ali Paşa in Istanbul.","bibliography":"Ölçer, N., *et al, In Pursuit of Excellence: The Museum of Turkish and Islamic Arts*, Istanbul, 1993, p.43, pl. 22, 61.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Sevgi Kutluay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["gilding","painting","tughra","tuğra","watercolour","wood"],"materials":["Wood, watercolour and gilding."]},"377425e8-db47-571b-85e2-27702d394d1d":{"name":"Scroll with views of Mecca and Medina","short_description":"The text consists of Qur’anic verses, short prayers, invocations and numerous repetitions of the *basmala* and the *shahada*, the latter arranged into decorative shapes such as vases, flowers, a pagoda and *Dhu’l-faqar*, the bifurcated sword given by the Prophet to ‘Ali. In addition, there are depictions of the Masjid al-Haram at Mecca and the Prophet’s mosque at Medina (where the domed tomb is depicted on the wrong side). The last panel encloses the *hilya* of the Prophet Muhammad.","type":"Scroll; calligraphy; drawings; view of Mecca; view of Medina; *hilya*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated Hejira 1261 / AD 1845","location":"London","dimensions":"402 x 27cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"China; signed by Ayyub","dynasty":"Qing","author":"Nahla Nassar","keywords":["Basmala","China","Dhu'l-Faqar","Hijaz","Holy place","India","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","Shahadah"],"materials":["Ink, watercolours and gold on paper"]},"3854487a-c60c-5835-adc0-fa6fe0ed8d59":{"name":"Egyptian Furniture of the Italian Giuseppe Parvis Living in Cairo [Paris Exhibition, 1878]","short_description":"Giuseppe Parvis, who emigrated from Italy to Egypt, began extensive production of elegant furniture adapted to Arabian taste and decorated with mother-of-pearl and metal inserts. He won awards for his work at the Universal Exhibitions of Paris in 1867, Vienna and Philadelphia. Giuseppe Parvis is an example of successful businessman who successfully adapted to the Egyptian market. He was able to run laboratories with 50 workers and trained a large number of students in ebony furniture making. Over the span of 20 years he introduced and sold furniture to Arabian people who traditionally did not possess such furniture, using an Arabic style and taste and by using woods found in the East, Egypt and China.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["International exhibition","universal exposition","Exposition universelle de Paris","pavillion","social change","applied arts","model","Moorish style","house","middle class","market","trade","Italian craftsmanship","Italians in Egypt","artistic exchange"]},"390fed84-29b4-5b5f-8552-8a2d440391d6":{"name":"*Colonial Education*","short_description":"This article on the \"colonial education\" the youth received in France, published in a newspaper for the French community in Tunisia, has a didactic objective, encouraging and legitimising French economic colonialism in Tunisia, and thus also the migration of French youth to Tunisia.","type":"Press; newspaper","holder":"National Library of France","dates":"7 August 1898","location":"Paris","translator":"Flaminia Baldwin","keywords":["Immigration","trade","colonialism","Tunisia"]},"392f3d7f-32c6-5e59-aeea-0cf54fb842cc":{"name":"*The Victoria Nile - At Rionga's Island*","short_description":"People had been trying to find the source of the Nile since antiquity. However, interest in this increased significantly in the early 19th century, and lead to various scientific observations. These observations were published and illustrated with engravings, which allowed Europeans to better understand the African continent.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Explorations","Nile"]},"39c5d2fa-be8f-55e6-97ea-9cd4b0e30514":{"name":"*Constantinople et le Bosphore de Thrace*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"3a20e143-6e36-5c47-8630-b7694a01419b":{"name":"Jubbeh","short_description":"A 'Jubbeh'.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Shirwal","Clothes","Tradition","Fashion","Silk"],"materials":["The original was made of cotton and satin"]},"3a479e74-ad19-5334-a508-9d331c6ee9bd":{"name":"'Air force'","short_description":"In 1911, in Libya, the newly founded Italian Air Force carried out the very first aerial bombing of civilian targets in world history. Italian anti-colonialists vocally protested such practice, as Scalarini’s cartoon shows.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"1911","location":"Rome","artist_birthdate":"1873","artist_deathdate":"1948","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"3a6414c9-05eb-59ee-b5b1-43057ab8b195":{"name":"*Chateaubriand at the ruins of Carthage*","short_description":"This engraving of the French poet René de Chateaubriand shows him sitting on a hill facing the sea, surrounded by the ruins of Carthage. Fascinated by Didon's city and its glorious past, the poet visited Carthage in January 1807, and recorded his observations in his book entitled *Itinéraire de Paris à Jérusalem et de Jérusalem à Paris en Allant par la Grèce, en Revenant par l’Egypte*, published in Paris in 1811 by Lenormant, in three volumes.","type":"Engraving/Etching","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Chateaubriand","Carthage","archaeological site"]},"3b3c9b35-91d8-5460-af41-e16d0268e789":{"name":"Orient Express Poster","short_description":"The Orient Express, owned by the Wagon-Lits Company, connected Paris and Istanbul between 1883 and 1977. French, German, Austrian and Ottoman diplomats and civil servants were on board for its first journey. In the early years, the travellers stayed in different hotels in Istanbul but starting from 1895, passengers stayed exclusively in Pera Palace, which was bought by the Wagon-Lits Company. The Orient Express did not run during World War I, from 1914 to 1918.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1898","location":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["travelling","orientalism","İstanbul","exspress"]},"3c0de00c-d143-5139-b9fd-ae28536aadec":{"name":"Map of the Beirut–Damascus railway","short_description":"This map shows the railway line connecting Beirut and Damascus. The table on the right shows the distance between each city along horse tracks.","type":"Map","holder":"Khalil Itani's Archive","dates":"1910","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Railway","Transportation","Track Map"],"materials":["Hand drawn"]},"3cc5829d-ae99-58ec-bc85-707e431d5db4":{"name":"*Edward Jenner*, Marble Group by Giulio Monteverde","short_description":"Giulio Monteverde was an Italian sculptor who started carving wooden crucifixes and then moved on to sculpture during his years at the Academy of Fine Arts in Genoa. In 1865 Monteverde moved to Rome to study at the Academy of St. Luke. The sculpture of Edward Jenner (1749-1823) represents the British physician and naturalist inoculating for the first time, on his own son, the smallpox vaccine that he invented. This work was initially rejected by the Academy of St. Luke, entrusted with selecting works of art for the International Exposition in Vienna, and then exhibited in it thanks to an influential friend of the artist. The plaster cast of Jenner won the gold medal in Vienna. The engraving celebrates Monteverde's deeds. Chroniclers report that in 1878 the marble version of the group sculpture was awarded a huge prize at the International Exhibition in Paris: a gold medal and a hearty public welcome.","type":"Photo from Magazine","holder":"National Central Library","dates":"1878","location":"Rome","dimensions":"130 x 90 x 97 cm","provenance":"Italy","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Medicine","health","vaccination","epidemics","disease","life expectancy","social changes","scientific development","social topics","post-unitarian Italian society","Positivism","celebration of science","international exhibitions","universal exposition"],"materials":["Illustration from a magazine showing the marble group by G. Monteverde"]},"3cd5a4c9-7c30-53cb-877b-5bf9e71bca5b":{"name":"*One Thousand and One Nights: Arabic fairytales tanslated by Galland, illustrated by the best French artists…*","short_description":"The *One Thousand and One Nights* played an important role in bringing the East and the West closer together. Galland was its first French translator, translating with much liberty the tales that he had been able to understand in the early 18th century. The translated One Thousand and One Nights were extremely successful, and became the subject of a variety of art forms, both allowing Europeans to become better acquainted with the Arab world, but also forming the basis for lasting stereotypes.","type":"Poster","holder":"National Library of France","dates":"1875","location":"Paris","translator":"Flaminia Baldwin","keywords":["Middle East","Arabic"]},"3d30eac6-fec9-5efa-aa61-82d8011a50af":{"name":"Italian Workers Friendly Society (Tunis)","short_description":"The Italian Workers Friendly Society was only one of the many organizations that the Italian migrants set up in Tunisia, ranging from the Chamber of Commerce, to Masonic Lodges, to religious organisations, to cultural associations and political groups.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","copy_editor":"Anne Dowell"},"3dfa891b-481b-5a43-b37c-1a41ad7c72c1":{"name":"Resistance to the occupation at Oued Zarga","short_description":"This photograph shows Tunisians attacking the train station at Oued Zarga. The Tunisian resistance caused the French troops many problems as they advanced towards Tunis, where they hoped to force the bey to accept the French protectorate. The attack at the Oued Zarga station, a few hundred kilometres to the west of Tunis, is an example of this. The station itself, which was built by the French, became a symbol through which Tunisians attacked French interests.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["French protectorate","resistance","occupation"],"materials":["Paper"]},"3f21696b-6178-5310-a618-3b1cbb1ec3d6":{"name":"*Shéhérazade*","short_description":"George Auriol, the typographer renamed after his creations, was a multitalented artist, and thus in his work he reflected many different influences of the late 19th century. As an artist and musician, he was interested in the different graphic movements, as is clear from this image: the theme is clearly \"Oriental\", but the composition of the piece borrows characteristics from Japanese aesthetics and Art Nouveau.","type":"Print (coloured lithography)","holder":"National Library of France","dates":"1895-1897","provenance":"France","artist_birthdate":"1863","artist_deathdate":"1938","translator":"Flaminia Baldwin","keywords":["Orientalism","Art Nouveau"]},"3f284929-6dd8-5a5b-9540-23005e47ac6c":{"name":"Colonial school in Paris, project of M. Maurice Yvon","short_description":"In 1885, the French diplomat Auguste Pavie brought thirteen young Khmers to Paris so that they could see France. This \"Cambodian mission\" was soon transformed into a colonial school which accepted young students of French, Cambodian or African origins in order to train the future civil servants of the colonies. Over first two, then three, years the students studied a variety of languages, French law, and ethnology. in 1895 the architect Maurice Yvon, son of an Orientalist painter, was appointed as the architect for a specialist school on 2 Rue de l'Observatoire. Insipired by \"neo-Moorish\" architecture, the resulting structure became a key example of \"colonial art\".","type":"Printed and illustrated text","holder":"National Library of France","dates":"1828","location":"Paris","translator":"Flaminia Baldwin","keywords":["France","colonialism"]},"3f842425-2ace-59ff-ad9e-176b0b58c8f7":{"name":"*Société les Affréteurs Réunis* \\[…\\] *Weekly, individual direct services from Rouen and Bordeaux-Bayonne to Algeria and Tunisia, and vice versa.*","short_description":"In Algeria and Tunisia, the French colonisers developed viticulture, cereal farming, and the extraction of minerals for export to France. The transportation of these goods took place by boat. Various firms emerged specifically for the transportation of this type of product, providing specialised ships and regular shipments between North Africa and the major French Atlantic ports. This map indicates the ports in Tunisia and Algeria and the railway networks connecting them (Oranais network, etc.).","type":"Map","holder":"National Library of France","dates":"1913","location":"Paris","translator":"Flaminia Baldwin"},"401e4018-e1ee-5a6d-87f6-467eb15b5da9":{"name":"Oriental Festival at the Turin Exhibition, 1911","short_description":"In 1911 the city of Turin organized an International Exhibition in the Valentino park, on the banks of the Po River. Beyond the Isabella Bridge another huge park was built to house entertainment and attractions. One of the most popular attractions was the so-called \"Kermesse Orientale\", in which the public experienced the illusion of making a journey through the different parts of the Eastern world. Five new areas were built, according to photographs taken at the time. The first one represented Arabian, Egyptian, Tunisian and Turkish environments while the fourth area reproduced Japan and India. The park also showcased a harem, a mosque and a Moorish school and the visitors could enjoy belly dancing shows and walks on camelback.","type":"Photo from book","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Esposizione universale di Torino","industrialisation: exhibition building","pavillion","city","urban space","exhibitions and urban spaces","Moorish city","house","imagined Orient","Arabia","Egypt","Tunisia","Turkey","India","Japan","reproduction","model","book"]},"409e4adf-c1cd-577f-9523-9ffc50214d63":{"name":"'Ethnographic Exhibition' [Paris Exhibition, 1878]","short_description":"Colonel Le Clerc organized an ethnographic gallery inside his own museum of artillery for the International Exhibition of Paris in 1878. He arranged 72 examples of warriors coming from almost every part of the world in a three-room exhibit. These characters were modelled from actual examples and resembled Arabic, Australian, African and Indian people with costumes and features. The exhibition paid great attention to facial renderings and the physical appearance of the warriors.","type":"Photo from magazine","holder":"National Central Library of Rome","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["International exhibition","Exposition universelle de Paris","international exposition","photograph","anthropology","ethnology","war","ethnography","ethnographic exhibition","book","magazine"]},"40b694ae-445b-54d8-b559-e424f0a605c7":{"name":"*Alexander Karatheodori Pasha (1833–1906)*","short_description":"Portrait of Alexander Karatheodori Pasha. He was born in 1833 in the Greek quarter, Phanar, in Constantinople and served as leading diplomat (Premier Plénipotentiaire) of the Ottoman Empire at the 1878 Congress of Berlin. With the consent of the Ottoman government, Austro-Hungarian troops occupied Bosnia-Herzegovina.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"1878","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Alexander Karatheodori Pasha","Congress of Berlin","Bosnia"]},"40e07960-2c59-5c21-8ff8-0aa9645bf0eb":{"name":"Postcards showing Romanian tourists in Egypt","short_description":"In the 19th century, North Africa was mostly known to Romanians from geography schoolbooks and newspaper articles. However, starting from the middle of the 19th century there are information about wealthy Romanians who visited North African countries, some of them recounting in their memoirs their African experiences. For example, Romanian poet and politician Vasile Alecsandri visited in September-October 1853 the Moroccan ports of Tangier and Tétouan and published his impressions in a Romanian literary periodical. A bit more than half a century later, four Romanian students entered an international competition for travelling by foot 100,000 km. In July 1911 they reached Egypt, where they visited Cairo, the pyramids, the Valley of the Kings, Memphis, Luxor, Karnak, Aswan, the Abu Simbel temples.","type":"Postcards","holder":"National Museum of Romanian History","dates":"Beginning of the 20th century","location":"Bucharest"},"40ef2328-28fd-59f1-96b3-b75abf4e6c58":{"name":"*Bedouin of the Houran*","short_description":"The constant movement of large Bedouin confederations regularly impacted on the history of the Middle East, in particular when it intersected with settled societies and cities. The bedouins of Hauran lived in the Hauran plain in what is now SW Syria/ NW Jordan at the time. The Sheikh of the Hauran bedouins was employed by the Ottoman pasha of Damascus to collect tribute from all tribes in the area and help in its defence. Philip Meeder was a British wood engraver, who died in 1913. The image is taken from ’Picturesque Palestine, Sinai and Egypt’, Charles William Wilson ed., 1881. The accompanying text in the book reads: 'A bedouin of the Haurân. Bedouins occupy the north-west district of the Haurân; the plain is inhabited by peasants, and the Druses for many centuries have colonised the mountain range.","type":"Wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1881–1884","location":"Sharjah","dimensions":"195 mm x 243 mm","provenance":"New York","artist_birthdate":"Date of birth unknown","artist_deathdate":"1913","author":"Ulrike Al-Khamis","keywords":["Hawran","Hauran"],"materials":["Wood engraving"]},"40f40e78-356d-5bdf-a281-3045eb71b83b":{"name":"Hammam-el-Lif, Tunis. Seaside resorts and thermal springs","short_description":"Hammam el-Lif is a seaside town near Tunis. In 1750, Ali II Bey of Tunis had a pavilion built by the thermal springs, which Hussein II Bey then completed in 1826.","type":"Poster","holder":"National Library of France","dates":"1885","location":"Paris","translator":"Flaminia Baldwin","keywords":["Travelling","tourism","baths","cures","Tunisia"]},"412af98f-597f-5bd8-9bce-18aac056c045":{"name":"Jars from the Company of Glass and Mosaic of Venice and Murano [Paris Exhibition, 1878]","short_description":"“The Chronicle of the Universal Exhibition of Paris” of 1878 celebrates the city of Murano’s commercial success in glass production. A large number of these objects reside in the collection of the Museum of Industrial Arts in Rome (M.A.I.), now part of the acquisitions of the National Museum of Antique Art on display at Palazzo Barberini. M.A.I. was established in 1872 in Rome as a collection of manufacts (glasses, majolica, sculptures, materials, photographs, metals, casts and other) from antiquity to 19th century, and as a training school for specialising artisans, as part of the process of revaluation of the so-called \"minor arts\". Venetian glass has a long history, inherited from the Roman, Byzantine and Islamic tradition in the Middle Ages. These jars were manufactured by the famous glass company Salviati, founded in 1866 and established in Venice and Murano. In presenting these objects they claimed the rebirth of a long-forgotten antique art and the rebirth of glass industries in Italy. Tomb excavations brought to light a series of vases. New objects based on those excavated were made on the occasion of the International Exhibition in Paris in 1878.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Applied arts","minor arts","manufacture","craftsmanship","museums of applied arts","model","reproduction","decoration","motifs","collection","collector","glass","Murano glass","glasswork","Venice","Salviati","book","International exhibitions","market","trade"]},"416183bd-8afc-5737-8b32-4fcbb3e2e553":{"name":"Ali ben Ghedhahem's seal","short_description":"This seal, dating to 1864, belonged to 'Ali ben Ghedhahem, an educated man and the son of a qadi from the Kasserine region. He was one of the biggest figures in an insurrection triggered by the issuing of a decree to double taxes in Mejba, April 1864. The revolt started in the west, but quickly spread to the whole regency, with the exception of just a few coastal towns. However, it was soon qashed, and the violent suppression the people were subjected was not forgotten until the mid-20th century. The legendary hero 'Ali ben Ghedhahem was arrested and convicted.","type":"Photograph; stamp","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1861","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Ali Bin Ghedham","Kasserine region","1864 revolt"],"materials":["Paper"]},"41adce0c-3867-5629-8e66-064e9b952e0c":{"name":"Refugees' documents for refuge house after the population exchange","short_description":"The 1923 population exchange between Greece and Turkey was based upon religious identity, and involved the Greek Orthodox citizens of Turkey and the Muslim citizens of Greece. The \"Convention Concerning the Exchange of Greek and Turkish Populations\" was signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. These are refugees' documents for the Papoukidis family's stay at a refuge house.","type":"Historical document","holder":"Population Exchange Museum (The Foundation of Lausanne Treaty Emigrants)","dates":"1923–1924","location":"Istanbul","provenance":"Greece","copy_editor":"Daniel de la Vega","keywords":["migration","population exchange"],"materials":["Document"]},"42290171-ded6-5da8-9103-76fb7763204e":{"name":"*The Attack of the Enemy’s Cavalry at Shinaass January 2nd, 1810*","short_description":"This image, recorded by a British soldier, who participated in the campaign to destroy the Qawasim's economic hegemony in the Lower Gulf, shows a group of Arab fighters, those on horseback carrying lances, those on foot swords, engaged in fierce combat outside the fortress of Shinas, a Qawasim stronghold on the east coast the British turned to after destroying their bases in Ras al Khaimah and on the Persian coast. Seemingly endless rows of British artillery and infantry are approaching from the beach on the right, with the mast of the British frigates clearly visible at sea. For their attack on the east coast postions of the Qawasim, the British enlisted the support of Omani forces, and it is presumably them that are engaging the mounted Qawasim fighters in this image. British eye witnesses report that the Qawasim fought extremely bravely and obstinately, preferring death to surrender. Nevertheless, the overwhelming military machine of the British eventually took Shinas, with at least 400 Qawasim casualities.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","dimensions":"505 mm x 602 mm (framed); image: 215 mm x 358 mm","provenance":"London","artist_birthdate":"William Haines: 21/6/1778","artist_birthplace":"Bedhampton, Hampshire, England","artist_deathdate":"William Haines: 24/7/1848","artist_deathplace":"London","author":"Ulrike Al-Khamis","keywords":["Shinas"],"materials":["Coloured etching"]},"433df55d-0327-5977-a447-ca5420a7ce29":{"name":"Laënnec examining a patient at the Necker Hospital in 1816","short_description":"The 19th century saw a number of important advances in the medical field. René Laënnec (1781–1926) was a French doctor who invented the stethoscope, allowing him to improve medical diagnoses by listening to patients' chests. Doctors were thus able to analyse sounds inside the body, and link them to illnesses such as tuberculosis, which was very common in the 19th century.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","artist_birthdate":"1849","artist_deathdate":"1907","translator":"Flaminia Baldwin","keywords":["Health","medicine","Laënnec"]},"43466c72-e5b9-5030-8983-576a5a27f879":{"name":"Alexander I Obrenovic, King of Serbia (1876–1903)","short_description":"Portrait of Alexander I Obrenovic, King of Serbia (1876–1903) as a young man. Between the abdication of his father in 1889 and his proclamation as a king in 1893, his mother Natalija Obrenovic ruled as a regent. Being a close ally of Austria, he became Serbian King in 1893. In 1894 Alexander abolished the liberal constitution of Serbia. In 1900 he married Draga Masin, a former lady-in-waiting of his mother. This marriage was very unpopular and weakened the political position of the king. In 1903 he and his wife were murdered by a group of Serbian officers.","type":"Print","holder":"Austrian National Library","dates":"c.1914","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Edmund Count Szecheny","Budapest","Hungary","Istanbul, Ottoman empire","fire brigade"]},"43887649-28e4-5e71-ad7d-9a1cc8750dfc":{"name":"*Art exhibition at school, 12–25 June, 1904*","short_description":"The introduction of art as a primary school subject was a long and difficult process. Linear drawing was introduced first with a utilitarian objective. From 1879, teaching art became mandatory due to a standardization of teaching practices, and specialised teachers were recruited for this purpose. From the early 20th century onwards art became, supposedly, the art of depicting reality. Various organisations also pushed for the democratisation of art in schools. This poster shows a school student taking interest in famous paintings, such as those by Millet.","type":"Poster","holder":"National Library of France","dates":"1904","location":"Paris","artist_birthdate":"1859","artist_deathdate":"1927","translator":"Flaminia Baldwin","keywords":["Teaching","school","drawing","France"]},"441fd91e-6a8d-5ba0-b0fb-73ae59155d8a":{"name":"*Voyage Dans Le Levant*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1819","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"443b06f0-b14c-5ef9-9ab2-20b5d7d56003":{"name":"*Clothes for prisoners of war. Charitable organisation attached the French \\[Red Cross\\]. Donations both in cash and in kind should be delivered to the organisation's headquarters, at 63 Avenue des Champs-Elysées.*","short_description":"Throughout the First World War, many charitable organisations came to the aid of soldiers and civilian populations in occupied territories. They carried out poster campaigns or published appeals in the press to obtain donations. This poster depicts a military prisoner of war's sadness as he writes to his loved ones. The Red Cross supervised these charitable partnerships in order to ensure the safe arrival of the donations in \"enemy\" territory.","type":"Poster","holder":"National Library of France","dates":"1916","location":"Paris","artist_birthdate":"1852","artist_deathdate":"1931","translator":"Flaminia Baldwin","keywords":["Hygiene","Red Cross","First World War"]},"447b3071-8472-521a-b586-24ed31569284":{"name":"Official Hijaz Railway Postcard","type":"Postcard","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"early 20th century","location":"London","dimensions":"Height: 14,1 cm; Width: 9,1cm","provenance":"Germany","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/official-hijaz-railway-postcard-arc-pc-432/","keywords":["Construction","Muzayrib","photography","postcard","tunnel"]},"4543ccbf-dceb-5300-941b-8c2f10ba3b29":{"name":"The port of Galaţi","short_description":"After the Russian annexation of Bessarabia (the eastern part of Moldavia) in 1812 and until the restoration by Russia of Southern Bessarabia (1856), Galați remained Moldavia’s only port on the Danube. Understanding the city’s importance for Moldavia’s economy and wanting to ensure its development, prince Mihail Sturdza, who was appointed ruler of Moldavia by the Sublime Porte in 1834, issued in 1836 an act stipulating that Galați was to be a free port (with no or few customs duties) starting with March 1837. Also, a new neighborhood was to be built based on modern urban planning prescriptions and Galați received the right to organize annually five national fairs, during which traders from everywhere could sell any type of products.","type":"Lithograph","holder":"National Museum of Romanian History","dates":"First half of the 19th century","location":"Bucharest"},"454ea471-63b6-545e-9c35-ea8207b4746b":{"name":"*General View of the Erecteion* (Athens)","description":"View of the Erecteion in Athens. The drawing is part of the documentation of different monuments during the trip in the Arapiles frigate to Near East.","type":"Litography","holder":"National Archaeological Museum","dates":"c. 1871","location":"Madrid","dimensions":"24,60 x 32,20 cm","copy_editor":"Anne Dowell","keywords":["Exploration","Early European collection","Travelling","Greece"],"materials":["Ink on paper; engraving"]},"46069753-8d25-527b-8ca3-f62f78f6b3d2":{"name":"Algerian Shoemaker at the Trocadéro [Paris Exhibition, 1878]","short_description":"At the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion, as part of the reconstruction of a hypothetical typical neighbourhood. The characters shown here are Algerian shoemakers from the Trocadero area working under a tent.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"460ebced-3992-593a-a42e-32453e973f11":{"name":"*Mountain people from Mostaganem*","short_description":"The subjects of this piece, drawn from life, are men from the west of Algeria. Although we know that Chassériau's main source of inspiration in Algeria was the city of Constantine, he also spent some time in Algiers with his uncle the architect Frédéric Chassériau, who had been employed by Napoléon III to build up the city's seafront. The artist's keen attention to detail is highlighted by his authentic rendition of his subjects' dress and his occasional use of Arabic in his annotations.","type":"Drawing","holder":"Musée National des Beaux-Arts","dates":"1846","location":"Algiers","dimensions":"63,9 x 27,7cm","artist_birthdate":"1819","artist_birthplace":"Saint-Dominique","artist_deathdate":"1856","artist_deathplace":"Paris","author":"Dalila Orfali","translator":"Flaminia Baldwin","materials":["Graphite with chalk"]},"46d97a8f-bb71-5869-a2ce-ba8b09411232":{"name":"Bond of 100 francs issued by the Caisse Générale de Secours et de Bienfaisance Israélite de Tunis, in order to raise funds for the construction of a new synagogue in Tunis, and bought by Leone Moreno","short_description":"The construction of the Great Synagogue in Tunis had a long and complicated history. In 1883, the Bey granted a plot of land on which to build the temple to the Italian Jewish physician and president of the Alliance Israélite Universelle of Tunis, Giacomo Castelnuovo. However, the synagogue was ultimately built on a different lot, acquired thanks to a private donation. In the first years of the 20th century, different projects were discussed. The synagogue was finally built in the 1930s.  \n  \nLeone Moreno (Tunis 1852 – Tunis 1950) was a successful Italian entrepreneur. He belonged to a Jewish family that had migrated from Livorno (Tuscany) to Tunis around 1830. He was awarded honours both by the Italian King (Cavaliere dell’Ordine della Corona d’Italia) and by the Bey of Tunis (Nichan Iftikhar).","type":"Bond","holder":"State Archives of Livorno","dates":"12 November 1905","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"46e5760e-4ca7-5891-b293-149dd73cdb25":{"name":"*View of Jaffa*","description":"Travel illustrations in the 19th century, with their images of life, history and topography, had a great influence over Orientalism. This engraving appeared in a publication about the history of Turkey. Jaffa was a very important port in East Mediterranean.","type":"Print","holder":"National Museum of Romanticism","dates":"1840","location":"Madrid","dimensions":"17,4 x 27,2 cm","provenance":"France, Paris","artist_birthdate":"c. 1875","artist_deathdate":"10 January 1865","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell","keywords":["Egypt","Ottoman Empire","Haifa","War"],"materials":["Paper; ink; steel engraving"]},"47365132-f164-5764-a7d6-518e266d0b96":{"name":"*Arab Vase*","description":"Drawing of a vase known as \"The Alhambra vase\". The ceramic vase is a good example of the development of the Nasrid workshops. This vase came from the church of Nuestra Señora de la Asunción in Hornos (Jaén) and it was acquired by the National Museum of Archaeology in 1875. This type of vase is very rare and few of them have survived.","type":"Print","holder":"National Archaeological Museum","dates":"1875","location":"Madrid","dimensions":"44,70 x 31,5 cm","provenance":"Madrid","copy_editor":"Anne Dowell","keywords":["Spanish Muslim art","applied arts","Alhambra"],"materials":["Paper; lithograph"]},"477e3472-eb64-5968-9da0-4243b0453c73":{"name":"*The Great Hall of the Musée Assyrien in the Louvre*","short_description":"In May 1847, the world's first \" Musée Assyrien\" was opened at the Louvre. This was enabled by the arrival of 37 enormous bas-reliefs discovered by Paul-Émile Botta (1802–1870), the French consul in Mosul, at the site of Khorsabad. Botta, a diplomat, doctor, explorer and archaeologist, organised excavations in the hope of rediscovering Nineveh and its Assyrian monuments, and thus brought about the discovery of Khorsabad which in turn aided and accelerated the deciphering of Cuneiform in Mesopotamia. The \"Musée Assyrien\" pictured here was a great success and  attracted much attention on its opening in Paris in 1847.","type":"Print","holder":"National Library of France","dates":"1862","location":"Paris","artist_birthdate":"1824","artist_deathdate":"1870","translator":"Flaminia Baldwin","keywords":["Assyrian antiquities","Musée du Louvre"]},"478abce7-afc2-532d-82bd-fbecf067ac32":{"name":"*One Thousand and One Nights*: decorative sketch of the palace gardens. Façade of an","short_description":"The collection *One Thousand and One Nights* was translated into French in the early 18th century. The rise of Orientalism caused it to become extremely popular, appearing as the subject of numerous editions, adaptations, etc. In the 19th century, a tale from the collection was staged in one of Paris' most famous theatres (the Théâtre du Châtelet), and, as this image shows, the theatre was redecorated as an \"Oriental palace\" for the occasion.","type":"Print","holder":"National Library of France","dates":"1881","location":"Paris","translator":"Flaminia Baldwin","keywords":["Orientalism","one thousand and one nights"]},"47de166a-64f2-5809-807d-457eb735b800":{"name":"Stefan Petrovic Knicanin (1809–1855)","short_description":"Portrait of Stefan Petrovic Knicanin. The Serbian officer Stefan Petrovic Knicanin supported the Austrian Emperor during the 1848 revolution. In 1849 he returned to Serbia and fostered good relations between Serbia and Austria. He died in 1855 in Belgrade.","type":"Print","holder":"Austrian National Library","dates":"1849","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Stefan Petrovic Knicanin","Serbia"]},"483aa52a-ff95-52c4-b7ab-c693f1780161":{"name":"Map of the Red Sea by Jean Baptiste D’Anville, Paris, 1765","short_description":"The French geographer and cartographer Jean-Baptiste Bourguignon d’Anville was born in Paris in 1697 and died in 1782 and was well known for his significant contribution to European map-making. In 1754 he became an elected member of the l'Academie Royale des Belles-Lettres where he held the position of geographer and was appointed first geographer to the King of France in 1773.  \nThis large copperplate-engraved map of the Red Sea is entitled: ‘*Golfe Arabique ou Mer Rouge Par le Sr. d'Anville de l'Academie Royale des Belles-Lettres, et de celle des Sciences de Petersbourg, Secretaire de S.A.S. Mgr. le Duc d'Orleans, MDCCLXV*’. It marks: ‘*Le Caire*’ (Cairo), ‘*Medine ou Iatrib Iathrippa*’ (Medina), ‘*Mt Ohhud*’ (Mount Uhud), ‘*Giddah*’ (Jedda), ‘*La Mekke Maco-raba*’ (Mecca), ‘*Mt Arafat*’ (Mount Arafat) and a dotted line showing ‘*Limites du Territoire de la Mekke et de Medine*’ (the extent of the territories of Mecca and Medina).  \nD’Anville was a classical scholar and used ancient texts, including those in ancient Greek to help compile his maps; he was also certainly aware of some Arabic words and read Arabic literature in translation. In his important personal project entitled ‘*Mémoires sur l'Egypte ancienne et moderne, suivis d'une description du Golfe Arabique ou de la Mer Rouge*’ printed in 1766, d’Anville notes that *Maco-raba* is a term used by Ptolemy and he goes on (a year later than our map) to analyse the Red Sea in sixty pages. The reference to *Maco-raba* (Makoraba) to describe Mecca is indeed generally considered to be the classical name given to Mecca by Ptolemy in his *Guide to Geography*, although this is a contested attribution; d’Anville also uses the Ptolemaic ‘*Lathrippa*’ (Yathrib) to describe Medina. The Red Sea was of great interest during the eighteenth century, it being an opportunity to explore Egypt as well as the broader ancient world.","type":"Map; chart","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1765","location":"London","dimensions":"75.5x55.5cm","method_for_datation":"Map is dated MDCCLXV (1765)","provenance":"France, Paris","obtention":"Altea Gallery, London","bibliography":"Armitage, D., Bashford, A., Sivasundaram, S., (eds), *Oceanic Histories*, Cambridge: Cambridge University Press, 2018.  \nD'Anville, J., *Mémoires sur l'Egypte ancienne et moderne, suivis d'une description du Golfe Arabique ou de la Mer Roug, De l'Imprimerie Royale, à Paris, 1766*.  \nHaguet, Lucile, “J.-B. d'Anville as Armchair Mapmaker: The Impact of Production Contexts on His Work”, *Imago Mundi*, 63, 1 (2011): 88-105.","author":"Qaisra Khan","keywords":["geography","hajj","Hijaz","Hijaz Railway","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","Pilgrimage route","prayer","Prophet Muhammad","Religion","travel"],"materials":["Paper"]},"485d12ca-7825-5990-8b96-58cf495684ae":{"name":"*Drummer*","short_description":"Sheet from a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. *Köşcü*, the drummer who played the big drum (*köş*) in the Mehter band.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","music","Ottoman musical instruments","fashion","court life","travel","traveller","Orientalism","Ottoman army","Janissaries","Devşirme"]},"490493f4-f4d8-56c4-8bdc-7207e915de8b":{"name":"Travels in the Read Sea. *The Temple of Medina*","short_description":"*L'Illustration* was a weekly French magazine published between 1834 and 1944. The greatest artists and photographers were featured in its pages, which dealt mainly with current affairs, and offered a great variety of information to the French public. Pictured here is a view of the mosque of Medina and the many pilgrims who had travelled there.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1854","location":"Paris","artist_birthdate":"anonymous","translator":"Flaminia Baldwin","keywords":["Travelling","Egypt","Red sea","religious buildings"]},"4910bd38-cc21-5b54-81dc-f3e7ee09ef0a":{"name":"Qaftan","short_description":"The lavish garments previously worn by Lebanese emirs and *shaykhs* were swapped in the 19th century for more sombre items, such as this Qaftan.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Costume","Fashion","Clothes","Tradition"],"materials":["The original was made of silk, velour, cashmere"]},"4a2a96ac-fddb-5683-9208-73c5deb06b72":{"name":"The Italian-language newspaper *L’Unione* (1886–1943), printed in Tunis","short_description":"Italian immigrants in Tunisia gave life to a vibrant press. Between 1838 and 1956, 123 Italian periodicals of different type were published in the country. *L’Unione* was the most successful and politically influential among them.","type":"Newspaper","holder":"State Library of Modern and Contemporary History","dates":"19 September 1915","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"4acd8717-82fe-538c-b4c9-53b16ce962bb":{"name":"The plan of Haydarpaşa Train Station","short_description":"The original plan of Haydarpaşa Train Station, viewed from northern frontage. In 1871 Sultan Abdülaziz ordered a rail line to be built from Haydarpaşa to İzmit. Haydarpaşa station opened in 1872, and in 1888 the Anatolian Railway (CFOA) took over the line and the station. Since the station was built next to the Bosporus, freight trains would unload at Haydarpaşa and the freight would be transferred to ships. Haydarpaşa was chosen to be the northern terminus of the Baghdad Railway and the Hijaz Railway in 1904 and with rail traffic increasing, a new and larger building was required. The Anatolian Railway hired two German architects, Otto Ritter and Helmut Conu, to build the new building. They chose a neo-classical structure and construction started in 1906.","type":"Plan","holder":"Istanbul Railway Museum","dates":"Late 19th – early 20th century","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["architecture","railways","Haydarpaşa Train Station"],"materials":["Plan"]},"4b5e4dc3-5bd8-50b3-b3e3-72e9cb04670a":{"name":"*The Mandarin*","short_description":"A brief tale based on the knowledge of the Chinese fantasy that intersects with the Western imagination the figure of the devil, one of the characters of the text. The tale, in which the main character is a mandarin, is a short fictional narrative that can be read in one night.","type":"Book","holder":"National Library of Portugal, Digital Library","dates":"1880","location":"Lisbon","dimensions":"20 cm","artist_birthdate":"1845","artist_birthplace":"Póvoa Varzim","artist_deathdate":"1900","artist_deathplace":"Paris","author":"BNP","keywords":["Literature","China","Tale","Travel"]},"4ba698dd-340a-5068-ac6e-53bd809620f8":{"name":"*Old Oriental Gilt and Enamelled Glass Vessels extant in Public Museums and Private Collections*","short_description":"An illustrated publication by Gustav Schmoranz on the history of Mamluk enamelled glass and example from public and private collections. It was published with the sanction and assistance of the imperial Austrian Ministry of Education by the Imperial Handels- Museum of Vienna. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1899","location":"Athens","dimensions":"51 cm","provenance":"Vienna","author":"Mina Moraitou","keywords":["Collecting","Austria","revivial"],"materials":["Printed paper"]},"4bacddd8-1bf3-5cf7-ae4b-b8ebd6e26987":{"name":"Archaeological and topographic map of the Carthaginian ruins","short_description":"Having been invaded and destroyed many times, the city of Carthage was then subject to various sackings, and its ruins served as a quarry for nearby towns. The site was rediscovered in the 19th century and became fashionable following the publication of Flaubert's novel *Salammbô*. Archaeologists soon felt the need for the different sites to be mapped, and in 1833 a Danish marine, Falbe, put forward a proposal for the *Recherches sur l'Emplacement de Carthage*. Thanks to the maps drawn up by the army's geographical service and military engineers, by the end of the 19th century archaeologists were able to conduct more detailed work, particularly with regards to the division of land.","type":"Map","holder":"National Library of France","dates":"1907","location":"Paris","translator":"Flaminia Baldwin","keywords":["Phoenician, punic, roman ruins","archaeological excavations","Tunisia"]},"4bef9a7e-ee5d-50e6-bbc2-ad9258836fd3":{"name":"Carlo de Rossetti (consul of the Grand Duke of Tuscany) gives notice of a new ferry boat service between Alexandria (Egypt) and Constantinople operated by a Tuscan steamship","short_description":"The steamboat Il Generoso had three classes of service: the first-class ticket cost 42.5 Thalers and the second class one 30 Thalers; they both included meals. By contrast, the third-class ticket (12 Thalers) did not entitle one to meals. The trip lasted five days. According to the poster, the steamboat Il Generoso was equipped with “very confortable cabins and living rooms, including a special living room for ladies”.","type":"Poster (archival document)","holder":"State Archives of Livorno","dates":"Alexandria, 19 April 1838","location":"Livorno","author":"Cristina Francioli","copy_editor":"Anne Dowell"},"4bf6a5a2-2ef7-5efd-930f-e900942ddaa6":{"name":"*La Péri: thirteen costume sketches*","short_description":"*La Péri* is a fantastical ballet in two acts with the scenario written by Theophile Gautier and the music by Burgmüller. This ballet, first performed in 1843, brought the audience to a grand Egyptian palace. Théophile Gautier dreamt of visiting Egypt, where his friend Gerard de Nerval had been living and sending him details to help him make the ballet more realistic.","type":"Drawing","holder":"National Library of France","dates":"1843","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism"]},"4c695d43-f03d-5a2c-8f4d-af48b299d76b":{"name":"Map of the Network of Caravans","short_description":"This sketch shows the network of caravans in Egypt, North Eastern Africa and Western Arabia.","type":"Print; map","holder":"Austrian State Archives","dates":"1856","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Egypt","North Eastern Africa","Western Arabia","Caravans"]},"4c6c73fd-b2b8-5169-9f5b-defe03f3bbce":{"name":"*Bilder aus Mekka von C. Snouck Hurgronje*, published Leiden, 1889","short_description":"*Bilder aus Mekka* was published in 1889 by the Dutch orientalist Christiaan Snouck Hurgronje. Consisting of 20 collotype prints mounted on 18 leaves, it is one of the earliest photographic records of the Hajj, preceded only by photographs taken in 1881 by Muhammed Sadiq Bey. *Bilder aus Mekka*came one year after *Bilder-Atlas zu Mekka*. This was a collection of lithographs including images predominantly of Mecca and portraits of pilgrims, taken by Snouck himself on his research trip to Jidda and Mecca between August 1884–August 1885. Alongside this he published *Mekka*a work that focussed on the history of Mecca and the origins of Islam. Following on from the publication of these two volumes, and having not been able to photograph the hajj himself, Snouck used images taken by a Meccan physician named ‘Abd al-Ghaffar of the Hajj of August 1888 to publish *Bilder aus Mekka*.  \nSnouck met ‘Abd al-Ghaffar during his stay in Mecca in 1885, and although ‘Abd al-Ghaffar was already familiar with photography, Snouck is supposed to have helped refine his skills and he became Snouck’s photographic assistant during the six months he was in Mecca.  \nThe photographs include views of Mecca, Mina and Arafat, and depict the various stages of Hajj. Although traces of ‘Abd al-Ghaffar’s signature are still visible on the photographs, there is clear evidence of an attempt to erase them by Snouck. A summary text written by Snouck opens the volume and a list of plates precedes the images.","type":"Album; book","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1889","location":"London","dimensions":"36.5x27.5cm","method_for_datation":"The date and publication details are included within the book.","provenance":"Europe","bibliography":"Sheehi, S., *The Arab Imago: A Social History of Portrait Photography, 1860–1910*, Princeton: Princeton University Press, 2016.","author":"Qaisra Khan","keywords":["book","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","photograph","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["Collotype prints"]},"4c7b394a-e1a0-5aff-b896-8caf9feaef32":{"name":"Original sheet music of 'The Portugueza'","short_description":"Original sheet music of “The Portugueza”, initially a contest song against the British Ultimatum. It became the national anthem after the Republican Revolution.","type":"Sheet music","holder":"Centro República","dates":"Published in the supplement of the *Ocidente*, n. 405, 21 March 1890","location":"Lisbon","keywords":["Portugal","Republican regime","National Identity"]},"4c7e1862-a363-5135-ad52-ffdf9df7a680":{"name":"*The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, Volume 1, title page*","short_description":"This vignette depicts the façade of the Church of the Holy Sepulchre in Jerusalem, located on the spot where it is bellieved both the crucifixion of Jesus Christ and his burial took place. David Roberts, the prominent Scottish Orientalist painter(1796-1864) visited at Easter time, when the square in front of the church was crowded with pilgrims and traders selling their wares. Nevertheless, he shows the scene not with contemporary life milling around the church, but enlivened only with his usual repertoire of carefully staged, oriental types. Originally, the church was accessed by a flight of steps from the main street of Jerusalem, but in the 11th century, the entrance was moved its south side, where it remains to this day, including he double-doorway, its right section walled up since 1187. Only the original, carved lintels still recorded by Roberts had to be removed after an earthquake in 1927.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1842","location":"Sharjah","dimensions":"428 mm x 612 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"4c84389a-5e72-52a7-92f3-aa8604a09e9c":{"name":"Declaration by the Bey of Tunis assuring that in future wars with any European power prisoners will not be enslaved","short_description":"This declaration was an annex to a treaty between the King of Sardinia (who ruled over Piedmont, Genoa and Sardinia) and the Bey (who ruled Tunis), concluded by British Admiral Baron Exmouth, who lead a military expedition against the Berber states in 1816. The Bey declared that in case of future wars with any European power, “none of the prisoners made on either side shall be consigned to slavery, but treated with all humanity as prisoners of war, until regularly exchanged according to European practice”.  \nThe Exmouth expedition was aimed at stopping Barbary corsairs from raiding European shipping in the Mediterranean. At the time, privateering was considered a legitimate form of warfare by European and North African countries alike. Only in 1856 did France, the United Kingdom and other European powers (except from Spain) declare privateering illegal.","type":"Printed Treaty (archival document)","holder":"State Archives of Turin","dates":"Palace of Bardo (Tunis), 17 April 1816","location":"Turin","author":"Edoardo Garis, Giulia Barrera","copy_editor":"Anne Dowell"},"4ceec2b5-7808-56c2-b795-ced282fa861d":{"name":"*24 hour optical telegraphy presented to the minister by a marine officer and used by the coast signalling services* (1802)","short_description":"The telegraph was an important piece of technology for Napoléon I, as it allowed him to send information quickly from both land and sea during the War of the First Coalition. A huge network of telegraph lines was created during his reign.","type":"Print","holder":"National Library of France","dates":"1801","location":"Paris","translator":"Flaminia Baldwin","keywords":["Communications","telegraph","France"]},"4dcb750e-6c2b-5848-924b-43fb6905059d":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","short_description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega","keywords":["International Exhibitions","exposition","fair"],"materials":["Paper"]},"4e04768a-5d14-5f0c-94df-814f2d4400f7":{"name":"*The Exhibition!! The triumph of industry*","short_description":"Alfred Rodiba (1848–1926) was the artist of many dystopian works, a very fashionable theme at the time. Although he appreciated the 1889 Exposition Universelle (world fair), the cartoonist inside him also noticed a \"universal\" worship of industry which made everyone unaware of the pollution these inventions were producing.","type":"Periodical","holder":"National Library of France","dates":"1867","location":"Paris","translator":"Flaminia Baldwin","keywords":["World fairs","industry","France"]},"4e299372-2148-578c-ac70-4b781a5ad8ce":{"name":"*The First Train in Spain: Inaugurated 28 October 1848*","description":"The railway connecting Barcelona and Mataró was the first one to be inaugurated in Spain. This train connected two important industrial hubs of Catalonia, as an example of the industrial development of this area in the middle of the 19th century.","type":"Print; Painting","holder":"National Museum of Decorative Arts","dates":"1848","location":"Madrid","dimensions":"48 x 65 cm","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Railways","Spain"],"materials":["Dashboard; ink, watercolour"]},"4e2c253d-3f40-5817-ad41-b7fde8b9f4b8":{"name":"Confidential report related to the Iraqi State Railways and the Trans-Iranian Railway","description":"Report surveying the state of the railways and the gauges used by the Iraqi State Railways and the Trans-Iranian Railway between 1942 and 1944. The report is incomplete; 11 pages are related to Iraq (pp. 54-85), while 16 pages cover Iran (pp. 73-160). The typewritten text is accompanied by photomechanical prints and technical drawings of locomotives. The report might have been produced both by the British or the American intelligence. It includes The Second World War-era British military map showing regional railway networks (established or under construction) in the (ex) Ottoman Empire. Manuscript annotations highlight the geopolitical interests of various nations involved in their construction. The piece also has the stamp of the Survey Directorate, GHQ Middle East.","type":"Archival Material","holder":"Qatar National Library","owner":"QNL","dates":"1939-1944","location":"Doha","dimensions":"Height: 21 cm; width: 27 cm","place_of_production":"Great Britain","catalogue_holding_link":"https://elibrary.qnl.qa/iii/encore/record/C__Rb2711204__SHC.ARC.2016.0094-0004__Orightresult__U__X3?lang=eng&suite=def","author":"Moez Dridi","keywords":["20th Century","Middle East","Railways"],"materials":["27 folios and 1 map"]},"50134a0e-a943-5f25-a36c-43032ad0dd5e":{"name":"Bob Walter [veiled dancer]","short_description":"The \"serpentine dance\", invented by Mary Louise Fuller, was copied by many dancers, and even parodied. Like Fuller, these dancers also used veils and lighting effects, characteristics typical of the Art Nouveau movement.","type":"Poster","holder":"National Library of France","dates":"1898","provenance":"France","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism"]},"51be354a-b339-5d93-8690-4f26618ea9fb":{"name":"Tramway","short_description":"This railway carraige from the French Bône-Guelma company inaugurated, in April 1879, the opening of the first section of a 100 km long line which connected Tunis to Algeria. In 1800 it also acquired the Tuni-Sousse and Tunis-Bizerte lines, and thus gained a monopoly over the construction of railway lines in Tunisia, while the Italians bought the small Tunis-La Goulette-La Marsa (TGM) railway track.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 20th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Railway","tramway"],"materials":["Paper"]},"523087c9-9a15-54a0-b37b-745c43c2cb51":{"name":"An olive oil factory run by an Italian migrant in Monastir (Tunisia)","short_description":"According to a 1895 survey by the Italian Chamber of Commerce of Tunisia, 82 modern olive-oil industries operated in the country; 34 (41 per cent) were run by Italians, 24 by French nationals, 19 by Tunisians and the remaining five by persons of other nationalities.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"52e912d6-db07-5f7b-a1e2-6593559e25f6":{"name":"Illustrated guide and timetable for travelling in the Orient. Featuring description of Constantinople and the most important cities in Turkey, Egypt, Greece, etc.","short_description":"The growth of tourism entailed the production of travel guides, such as this one, which gave the potential tourist advice for travelling in \"the Orient\" - here meaning Greece, Turkey and Egypt.  This page provides a timetable for steam boats with timings which coincide with the international train lines, such as the Orient Express.","type":"Travel guide","holder":"National Library of France","dates":"1909","location":"Paris","translator":"Flaminia Baldwin","keywords":["Railways","travelling","boats"]},"52eaca9c-9b61-57ba-8d7c-426a9c33c3f1":{"name":"Lithographs after the panoramic photograph taken by Robertson and Beato, *Faust: Poligrafisch Illustrirte*, Zeitschrift, 1857, Vienna","short_description":"James Robertson is the first Istanbul photographer known to have taken 360 degree panoramic photographs of the city. The first panorama, which was taken in May 1854 from the War Ministry tower in Beyazıt, consists of twelve separate photographs. The most successful printed reproductions based on Robertson’s photographs curiously enough were produced in Vienna. Issues of *Faust* published during 1857 report fascinating bits of information as well as pictures that are important to the history of printing and visual arts in the Ottoman Empire. A plate published in *Faust* contained a panoramic view from the Istanbul Beyazıt tower that is made from Robertson’s panorama.","type":"Lithographs","holder":"Ömer M. Koç Collection","dates":"1857","location":"Istanbul","author":"Bahattin Öztuncay","copy_editor":"Daniel de la Vega","keywords":["Istanbul panorama","Faust","tower of War Ministry in Beyazıt"]},"5384029c-eb52-5179-984d-a80e0e272e8c":{"name":"*Illustrated dictionary of Tunisia: the people and things of Tunisia*","short_description":"Italian immigration to Tunisia in the 19th century was, quantitively speaking, extremely significant. This is evident from advertisements such as this one, where the headquarters, names and addresses of a Tunis-based firm are Italian.","type":"Publication","holder":"National Library of France","dates":"1912","location":"Paris","translator":"Flaminia Baldwin","keywords":["Immigration","trade","Tunisia"]},"5426a620-cbfc-5b20-bed9-14fa1801de7d":{"name":"*Medjmouaï teçavir* (Collection de costumes)","short_description":"Popular postcard from Turkey showing the costume worn by various people, according to occupation, activity, etc. At this time Turkish financial officials worked under European management.","type":"Postcard","holder":"The British Museum","dates":"c. 1900","location":"London","provenance":"Turkey","keywords":["costume","diplomacy","fashion","court life","economy","finance","Ottoman","Tercüman","travel","traveller","Orientalism"]},"544117f8-c7fb-5075-b36e-315986c47bec":{"name":"Transport plan of Beirut","short_description":"This map shows a plan of transport terminals in Beirut in 1891.","type":"Print","holder":"Khalil Itani's Archive","dates":"1891","location":"Beirut","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Transportation","Trade","Tracks"]},"54f861aa-1d28-5c1b-b3c3-07e65ff10862":{"name":"'Picture of the Tents of the Turks'. Photographer: H. A. Mirza & Sons","description":"This image shows the tents of the Ottoman Turkish troops at their camp at Medina. Despite the apparently secular nature of the subject, and the fact that the camp does not depict a stopping-off point on the hadj, the laudatory poetry and prose makes clear the relevance of the image to the experience of the hadj – that is, that the Turks, as ‘military people of the highest rank’ serve Islam by defending and enabling the passage to Mecca and Medina for other Muslims.  \n  \nAs with the other photographs in this album (Photo 174/1-13), whose subjects are architectural and landscape, the figures are not the subject of the image. However, a detailed examination of the image shows the soldiers going about their day-to-day activities, such as cooking and eating. The method by which the ground would have been prepared before a tent was erected is indicated by the empty low circular foundation in the lower left corner of the image. In the distance, in the right-hand background of the image, beyond the dry-stone wall delineating the camp, palm groves and permanent dwellings can be identified.","type":"Photographic print","holder":"Qatar National Library","owner":"QNL","initial_owner":"India Office","dates":"1907","location":"Doha","dimensions":"Mount (external): 35 x 44,6 cm; Mount (internal): 20,2 x 27,3 cm [landscape]","place_of_production":"India","provenance":"India Office","copyright":"Public Domain","catalogue_holding_link":"https://www.qdl.qa/archive/81055/vdc_100023483748.0x00000d","keywords":["Hijaz","Mecca","Medina","travel"],"materials":["Mottled blue-tinted window mount, card, gelatin silver print, indigo ink (printed), red ink (hand-painted)"]},"55244670-bd54-51f4-982e-13682dbb1443":{"name":"A map of Tunisia (1:1,600,000) showing Italian agricultural settlements, mines, coral- and sponge-fishing areas and boat lines","short_description":"The green rectangles on the map indicate Italian agricultural settlements; the number of settlers is indicated as well. In 1906 the majority of the Italian peasants had settled around Tunis and the Gulf of Hammamet. By contrast, few Italian peasants had settled in the South and in the interior of the country (the map indicated only 300 Italian peasants near Sfax and 400 near Kef).","type":"Map from a book","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"55d4b6d2-fc7e-5bc6-a971-7a640559de05":{"name":"*A Muslim man praying*","short_description":"One of the drawings by Fortuny, one of the most important European painters of the last quarter of the 19th century. He travelled to Morocco in 1863 and he was taken by the light, colour and characters of the country. He was an important collector of Islamic artworks, some of them depicted in his paintings.","type":"Drawing","holder":"Lázaro Galdiano Museum","dates":"1851–1875","location":"Madrid","dimensions":"17,6 x 21,8 cm","provenance":"Roma(?)","artist_birthdate":"11 June 1838","artist_birthplace":"21 November 1874","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Orientalism","Religion"],"materials":["Paper, ink; drawing"]},"562cd119-0bf1-544d-a90a-b4094899b356":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","short_description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"c. 1882","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Urabi","Arabi","Egypt"]},"563af385-75b3-5cc2-a71e-50f89ce6f746":{"name":"*Andalucía under Arab rule. Exposition of 1900*","short_description":"This exhibition on the Arab presence in Andalucía was featured in the 1900 Exposition Universelle (world fair), reflecting a fashion for the rediscovery of Spain's North African past. Recently, for example, buildings in Granada and Córdoba had been rebuilt to host dances and fantasias. The artist of this poster, Eugène Grasset, has combined his two principal sources of inspiration - curiosity towards the Arab world, and japonese-inspired aesthetics.","type":"Poster","holder":"National Library of France","dates":"1900","location":"Paris","artist_birthdate":"1845","artist_deathdate":"1917","translator":"Flaminia Baldwin","keywords":["World fairs","Orientalism","japan","north Africa"]},"5686a4e1-e33b-5ad7-8f7a-20b3b101f2ca":{"name":"Petar (Pezia) Petrovich (2nd half of the 19th century – 1900)","short_description":"Portrait of Petar (Pezia) Petrovic. He was Chief of the Albanian Mirdita tribes fighting against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"2nd half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"574d6f3c-2cbb-5d5b-9f00-e0dd275b71a9":{"name":"*Excavation of the Great Temple of Ramesses II at Abu Simbel*","short_description":"An intrepid and versatile Frenchman, Linant came to Egypt in 1818. In Cairo he adopted the life of an Ottoman Turk, but was known and consulted by European residents and visitors as well as by the Pasha of Egypt, Muhammad Ali. At various times his talents were employed as a geographer, explorer, engineer, cartographer and draughtsman.  \nHis first adventure was an expedition to Upper Egypt that Henry Salt, British Consul-General in Egypt , took to Abu Simbel in 1818-19. Although there were other artists in the party it is likely that this watercolour is by Linant and that it depicts Salt's attempts to clear away the ever encroaching sand from the facade of the Great Temple. Linant took part in several subsequent expeditions up the Nile, and was one of the first Europeans to reach the Pharaonic sites of Meroe and Musawarat.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1818–19","location":"London","provenance":"Egypt","author":"Victoria and Albert Museum","keywords":["Pasha","Salt","Suez"]},"574ec553-46f8-5bdf-871c-23a4e10a1779":{"name":"Bellino copy","short_description":"Hand drawing by Bellino of BM 22502. Bellino’s technique produced wonderfully accurate copies, despite the fact that cuneiform was not yet deciphered.","type":"Drawing","holder":"The British Museum","dates":"c. 1810–1820","location":"London","provenance":"Iraq","keywords":["Cuneiform","drawing","archaeology","exploration","collection","collector","museums","travel","traveller","inscription"]},"578a0774-be4c-5eb0-85a3-86bf64c69e71":{"name":"Palais du Bardo","short_description":"This postcard shows the throne room of the Palais du Bardo, with its rich furnishings and monumental chandeliers hanging from the ceiling. The bey's throne sits in the centre, surrounded by paintings of the princes of the Husainid dynasty, painted wooden ceilings, mirrors and console tables carved and painted with gold leaf, and with two great rooms on either side. From the 18th century onwards the Husainid beys continuously expanded and decorated the Palais du Bardo. The architecture and furniture all indicate a strong European, particularly Italian, influence.","type":"Photograph","holder":"Archives Nationales","dates":"19th century","location":"Tunis","provenance":"Palais du Bardo","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Palais du Bardo","beylical throne","European influences","Italian influences"],"materials":["Paper"]},"57ffa9ee-eaef-5f59-b4a3-2237ac46b63a":{"name":"The ivory trade","short_description":"Although banned in 1989, in the 19th century the ivory trade was flourishing. Many different objects, all marketed to a wealthy buyer, were made from this material: decorations, piano keys, knife handles, combs, fans, umbrella handles, and more.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1886","location":"Paris","translator":"Flaminia Baldwin","keywords":["Ports","ivory","Anvers","Africa"]},"58863077-c5fb-5b7d-bc4c-25779a9e566e":{"name":"*The Royal Palace at Buda as a University*","description":"At the end of the 18th century, the Hungarian aristocracy expressed a desire to turn the reconstructed Royal Palace at Buda back into a royal residence. Following reconstruction of 1750–1770, the palace was used only once by Queen Maria Theresia. From 1777, the University of Nagyszombat (Trnava) was located in Buda, and from this time up until 1784 the Royal Palace was used as the university. This is the only representation of the royal castle in Buda being used as the university during the 18th century.","short_description":"The engraving and etching is an excellent example of a Baroque *veduta* representing the Royal Palace at Buda, a building of outstanding importance, being used as university at the end of the 18th century.","type":"Print (Engraving/etching; *veduta*)","holder":"Budapest History Museum","dates":"1777","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 18.5 cm; w: 30.4 cm","method_for_datation":"On the basis of the signature","obtention":"Transferred from the Capital’s collection in 1945.","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.23.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","education","engraving","etching","Maria Theresia","Nagyszombat","school","Trnava","Tyrnau","university"],"materials":["Engraving and etching on paper"]},"58b9f9f7-6b17-532d-8f51-0f4b19d4fb8d":{"name":"*Vue d'Alger*","short_description":"These two original lithographs depict the city of al-Jaza'ir (Algiers) prior to the English bombardment led by Lord Exmouth on 26 August 1816. The regency was ruled first by the *Beylerbeys* (general governors) from 1518 to 1587, then by the Pashas from 1587 to 1659, the *Aghas* from 1659 to 1671 and the Deys from 1671 to 1830. The reign of the final Dey of Algiers, Hussein, lasted 12 years until the French conquest in 1830.","type":"Print; lithography","holder":"Musée National des Beaux-Arts","dates":"1816","location":"Algiers","dimensions":"52.9 x 48.8 cm","author":"Dalila Orfali","translator":"Flaminia Baldwin","keywords":["Regency","Ottoman","English","diplomacy"],"materials":["Colourised lithography"]},"59043927-aae8-5c23-9db7-2ff253833d51":{"name":"*The political refugee*","short_description":"The cartoonist Honoré Daumier (1808–1879) was one of the first to be interested in the theme of migration, and drew many cartoon strips which dealt with the difficulties of exile. He did some more comic drawings on this theme, which are harder to understand. In this image, published in a series on the theme of the \"Bohemian\" (an artistic community attempting to live without restrictions), he highlights the gaze of his contemporaries on the \"other\" or the \"stranger\". The image also mocks the suspicious young woman just as much as the asylum seeker.","type":"Lithograph","holder":"National Library of France","dates":"1841","location":"Paris","artist_birthdate":"1808","artist_deathdate":"1879","translator":"Flaminia Baldwin","keywords":["Political refugees","France","cartoon","caricature"]},"598fbe2f-0ba0-5a5a-92b7-3f83e20bded7":{"name":"*Mr Drovetti and his entourage measuring a fragment of the Colossus in Upper Egypt*","short_description":"Bernardino Drovetti (1776–1852) an Italian who joined the French army, was made a diplomat after having elicited Napoléon I's sympathy by saving his step-brother. Having been sent to Egypt as a consul, he then collected antiquities and thus portrayed himself as a defender of discovered treasures. He is pictured here with his team holding a plumb line in front of a colossus. Jean-Jacques Rifaud is leaning on the sculpture's head and dressed in an imitation of the local style. Dovretti later sold his collections to the Prince of Piedmont, to King Charles X of France and to the King of Prussia.","type":"Print","holder":"National Library of France","dates":"1819","location":"Paris","translator":"Flaminia Baldwin","keywords":["Egyptian antiquities","Egyptomania"]},"59eb8eb8-862f-5124-b1c8-abb0f2db5588":{"name":"Hydrographic map of Lower Egypt and part of the Suez isthmus, engraved at the Dépôt de la Guerre","short_description":"Louis Maurice Adolphe Linant de Bellefonds (1798–1883), artist and explorer passionate about Egypt, played a key role alongside Ferdinand de Lesseps in drawing and constructing the Suez Canal. He was given the title 'Bey' by the Egyptian viceroy, appointed director of Egyptian public works, and contributed to the irrigation of farmland. The map drawn in 1855 included the barriers; the outline of the Suez Canal and the railways were added in 1882.","type":"Map","holder":"National Library of France","dates":"1882","location":"Paris","artist_birthdate":"1799","artist_deathdate":"1883","translator":"Flaminia Baldwin","keywords":["Suez Canal","Egypt","irrigation"]},"5a482712-4636-5e5b-aa8a-6973d1c66d25":{"name":"*The Approach to Nablus (Shechem)*","short_description":"This image shows the approach to Nablus (at the time believed to mark the biblical Shechem, according to the Bible first capital of the Kingdom of Israel and situated in the vicinity of several important Abrahamic sites). The caption further explains that the view is taken through the olive groves on the eastern side of the city, and that 'the gate is shown beneath the minaret'. The artist who created this work, Josiah Wood Whymper, was a British watercolour painter, engraver, and illustrator, who apparently never left Britain, but provided a prolific body of engravings to publishers, in particular the Society for the Promotion of Christian Knowledge. This print originally appeared in Vol. 1, page 243 of Charles William Wilson's  'Pituresque Palestine, Sinai and Egypt', published between 1881 and 1884.","type":"Wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1881–1884","location":"Sharjah","dimensions":"172 mm x 240 mm","provenance":"England","artist_birthdate":"24/4/1813","artist_birthplace":"Ipswich, England","artist_deathdate":"7/4/1903","artist_deathplace":"Haslemere, England","author":"Ulrike Al-Khamis","materials":["Wood engraving"]},"5aea6a37-19f3-5c61-ac76-f38f3922c376":{"name":"Fraser Album Artist: *The Bullock-Drawn Carriage of Prince Mirza Babur*","short_description":"'The special chariot of the son of the spiritual preceptor of the horizons (Murshidzada-i afaq), Mirza Babur Bahadur'. Mirza Babur (b. 1796) was one of the sons of the penultimate Mughal emperor, Akbar II (reg. 1806–37), and the honorific title refers to the Emperor's role as a Sufi spiritual leader. Mirza Babur appears in a group portrait dated 1812 in the British Library, depicting Akbar II with three other sons (see J. P. Losty, M. Roy, *Mughal India: Art, Culture and Empire*, London 2012, pp. 209-10, fig. 150). 'Zana, bullock-cart driver, Ahir Jadubansi \\[of the cowherd caste of the Yadava race, descendants of Shri Krishna\\], inhabitant of Delhi'. The Fraser Album, which emerged from amongst the papers of the family of that name in Scotland in 1979, consists of more than ninety watercolours of high quality, and aside from their technical and aesthetic features provide an extraordinary portrait of life in and around Delhi in the early 19th century, an area which was relatively unknown to the British at that date, with Mughal control ceded to them only in 1803 and the Emperor nominally in power. James Baillie Fraser (1783–1856) and his brother William (1784–1835) came from Inverness. William went to India aged 16 as a trainee political officer in the East India Company; James arrived a year later in a commercial position in Calcutta. While James was a talented artist himself, publishing collections of views of the Himalayas and of Calcutta, when he joined William in Delhi in 1815 the two brothers commissioned local artists to depict servants, tradesmen and figures from the irregular military units, some of which were employed by the British, including Gurkha soldiers and the colourfully-attired troopers of bodies such as Skinner's Horse. More than one artist was employed on the paintings which go to make up the album: some are usually attributed to Ghulam ʽAli Khan, but it is likely that the rest were produced by other members of his family. The works date between 1815 and 1820. The three lots in the present sale capture the richness of ceremonial life in Delhi, and are also representative of the British fascination for types of transport and servants which appears in other more typical examples of Company School painting.","type":"Miniature painting","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1215-19 / c. AD 1815-19","location":"Kuala Lumpur","dimensions":"30.5 x 41.2cm","method_for_provenance":"\\- Private collection;  \n\\- Christie's, The Ismail Merchant Collection, 7th October 2009, lot 138;  \n\\- Sotheby's, Fine Oriental Manuscripts, Miniatures and Qajar Lacquer, London, 7th July 1980, lot 2.","provenance":"Delhi","bibliography":"Archer, M., and T. Falk, *India Revealed: the Art and Adventures of James and William Fraser 1801-35*, London, 1989: 108.","dynasty":"Mughal","materials":["Pencil and watercolour, heightened with bodycolour and gold, on paper"]},"5b43be53-1e86-5b15-9cc1-477c08fb7fbb":{"name":"Official Bulletin establishing the Post, Telegraph and Telephone Office (PTT.)","description":"An Official Bulletin, signed by the Sultan of Morocco Mulay Yusuf ibn al-Hasan I, which concerns the creation of the Post, Telegraph and Telephone Office. The establishment of this Office was part of an agreement between Morocco and the French authorities, to promote the telecommunications sector, and put a stop to attempts by Britain and Spain to capitalise from it. The text defined the functions and services of the Office and its organisation. After independence, the Office became the Ministry (*Makhzen*) of Post, Telegraph and Telephone.","type":"Official Bulletin; historical document","holder":"National Library of the Kingdom of Morocco","dates":"1914","location":"Rabat","provenance":"Rabat","keywords":["Postal service","post offices","Moroccan postal service","communication","routes","rakkas","delivery","French in Morocco","protectorate","postal network"],"materials":["Paper"]},"5cada7e5-c863-5bd3-ae0b-41ec4765404d":{"name":"*Grand Vizier*","short_description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","Orientalism","drawing","travel","traveller","fashion","court life"]},"5cdd4963-ab03-5834-84db-f850572ca208":{"name":"Maronite Benevolent Catholic Society of New York rule book","short_description":"A copy of the book of regulations for the Maronite Benevolent Catholic Society of New York, a charitable society aimed at helping the needy within the Maronite community. It provided financial support for the poor and free medication for the sick, and financially supported burial of the deceased. The book outlines the objectives, rules and structure of the association.","type":"Print; printed book; booklet","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"1895","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Society","Social institution","Association","Immigrants"],"materials":["Paper, ink"]},"5d280899-351f-5ef7-95bb-ed98a12d141d":{"name":"An open letter from the Tuscan community in Constantinople to the Chargé d’Affairs of Tuscany, protesting the detention of three Italian democrats exiled by Ottoman authorities","short_description":"Italian communities abroad actively supported the movement for Italian national unification known as “Risorgimento”. The Italian community in Constantinople raised funding to donate a cannon to the Kingdom of Sardinia, which in 1848 was at war with the Austrian Empire. After the Kingdom of Sardinia’s army was defeated, conflicts between the most moderate wing of the nationalist movement and the republicans (supporters of Giuseppe Mazzini) broke out and the Kingdom of Sardinia’s authorities started to persecute the latter.","type":"Archival document","holder":"State Archives of Livorno","dates":"Constantinople, 9 August 1848","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"5dc4fbc5-e8e9-52ae-aa62-690ee8359b41":{"name":"Lake d'Orta. Villa Crespi","short_description":"Cristoforo Benigno Crespi was a successful businessman active in the cotton industry. In 1879, he bought an estate near the lake d’Orta (Piedmont, Northern Italy), in order to build a vacation house in honour of his wife, Pia Travelli.  \nHe had fallen in love with the architecture of Baghdad, where he went to buy cotton, and asked architect Angelo Colla to build a villa in the Moorish style. Architect Enrico Combi designed the magnificent park.  \nThe villa features a 48-meter high minaret and has richly decorated interiors, made with marbles of great value, imported from several different countries. It required 12 year of works to be completed. The estate comprises a greenhouse, a wet dock, stables, a big fountain, an annex, and is surrounded by walls, with valuable wrought iron gates.","type":"Postcard","holder":"Private collection","dates":"First decades of the 20th century","author":"Ignazio Galella","copy_editor":"Anne Dowell"},"5dc7ada7-555b-5b55-b162-ac8e969fa698":{"name":"*A Place for Breakfast in the Algerian Pavillion* \\[Paris Exhibition 1878\\]","short_description":"Within the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion This scene shows a refreshing small space that the author used to depict the tradition of sharing a couscous with friends or work colleagues. The recreation of an – even only hypothetically - typical setting had to include also works and related activities.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"5e2b03cb-5bee-5604-be76-35ecf0de0e45":{"name":"*Valahian Caravan*","short_description":"In Wallachia and Moldavia transportation of merchandise by land was done similarly to the Arab and Ottoman world, but using big carts pulled by horses instead of camel caravans. Both the vehicle and a group of carts travelling together for commercial purposes were called \"chervan”, a term derived from the Turkish word \"kervan\", meaning \"caravan\". The lithograph, depicting a carriage drawn by 12 horses and followed by a second vehicle, was printed in Vienna and its legend (*Wallachian carriage*) is written below the image in German, Hungarian and French.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1869","location":"Bucharest"},"5e4318a5-d6ea-59f6-b209-38ea0cff4654":{"name":"Postal map","short_description":"The network of routes for sending messages and transporting troops and supplies was carried out with a relay system, established in the 16th century in the Ottoman Empire. The messengers, who conveyed dispatches throughout the country, were identified as the Tatars. Private or personal correspondence was not a part of that relay system; it was built to fulfil governmental needs. Because of this reason the *reaya* (public) created an alternative postal method by using caravans, pilgrims, and private couriers called *ulaks*. The *Tanzimat* Decree, which was the declaration of process included reformation, modernization and westernization in 1839, proved that the Ottoman Empire was focused on its policy of changing governing to be more like modern Western European-style administrative practices.","type":"Map","holder":"Istanbul Postal Museum","dates":"1911","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["architecture","Vedat Tek","postal service","communication"]},"5ec581f1-3f8e-5a5c-bdc5-c2d1b4b525e3":{"name":"A postcard advertising the Singer sewing machine and at the same time supporting Italian colonial expansion in Libya","short_description":"This postcard sends the message that the Italian colonisers brought modernity to Libya. Both the sewing machine and the plane in the background epitomise modernity. The soldier is sewing an Italian flag. The postcard’s message is at the same time political and commercial.","type":"Postcard","holder":"Enrico Sturani Private Collection","dates":"1910s","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"5f3b539e-1d3b-5ad6-9c3f-11df8f1f7e2f":{"name":"*Thebes. Hypogea. Pictures drawn after the covering of the mummies*","short_description":"During the Egyptian expedition (1798–1801), Napoléon Bonaparte brought with him a group of scholars, engineers and artists, charged with collecting as much scientific information as possible. This was then used in a publication (of exceptional quality and execution) entitled Description de l'Égypte, in which the observations and enquiries made by the military expedition in Egypt were collected. The collection comprises of 10 volumes of illustrations and 9 volumes of texts published betwen 1809 and 1826.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1809–1822","location":"Paris","translator":"Flaminia Baldwin","keywords":["Egyptian antiquities","Egyptomania"]},"5f76f108-6ffb-5c2b-8fe2-0ec05a6fae48":{"name":"Various hydraulic machines used in Egypt to water the land. The first method is constructed in a linear manner and provides the land with water whenever it is in need. Part of \"Dyke A\"","short_description":"The captain of the Danish Royal Marines Fréderic-Louis Norden (1708–1742) was sent to Egypt to draw monuments. His collection, *Voyage d’Égypte et de Nubie*, was published posthumously in 1755, and was added to in 1795 by the inclusion of scientific commentaries by Louis Langlès (1763–1824), founder of the École Spéciale des Langues Orientales and curator of oriental manuscripts at the Bibliothèque Impériale. This new edition, a product of Europen \"Egyptomania\", introduced some splendid new illustrations. In this particular page, the artist has focused on traditional hydraulic machinery.","type":"Engraving","dates":"1795","location":"Paris","translator":"Flaminia Baldwin","keywords":["Irrigation","dams","Egypt"]},"5f7be233-5b3b-542f-9b15-c37a25a0932f":{"name":"Plan of Jerusalem","short_description":"Plan of the area to the South of the Haram al-Sharif, Jerusalem, showing the location of the shafts dug by Lieut. Charles Warren, R.E., and his team to explore the topography of ancient Jerusalem. This work established the history of the development of the Old City of Jerusalem. While engaged in this work, Warren also carried out a major study of the economy of Jerusalem in the period 1867–1870, which was published in the SWP in 1884.","type":"Plan","holder":"The Palestine Exploration Fund (PEF)","dates":"1867","location":"London","provenance":"?","keywords":["archaeology"]},"5f941ae8-9023-5935-99ef-eaae452485b9":{"name":"Egyptian Pavilion of Chocolate and Cocoa Factories – Michele Talmone – Turin","short_description":"For the International Exhibition in Turin in 1911 the Talmone Company built an Egyptian Pavilion resembling an Egyptian temple. The architecture is a pastiche of ancient and oriental architectural elements. An interior stained-glass window shows a stunning view of the desert walked by a caravan.","type":"Postcard","holder":"The House of Antique Tin Boxes","dates":"1911","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Esposizione Internazionale di Torino","trade","trademark","commerce","Italian firms","nationalism","raw material","finished product","exoticism","popular culture","imaginary architecture","Italians in Egypt","exhibition building","exhibitions and urban spaces"],"materials":["Card"]},"5fa7cbde-981a-5031-afe4-3cc242fd75c7":{"name":"*Remains of the Garments of Prince Philip of Castile, son of Ferdinand III*","description":"Drawing of part of the garment of Prince D. Felipe, son of the King of Castile Ferdinand III. These garments are a good example of the rich silk textile from the Arab workshops of the Al-Andalus.","type":"Print","holder":"National Archaeological Museum","dates":"1878","location":"Madrid","dimensions":"44,70 x 31,5 cm","provenance":"Madrid","copy_editor":"Anne Dowell","keywords":["Spanish Muslim art","applied arts","Textiles","Trade"],"materials":["Paper; lithograph"]},"601e5d3a-e68f-587a-846c-d0f3657cf4f6":{"name":"*Dar al-Baladiyya, Damascus*","short_description":"Built between 1892 to 1894, the Dar al-Baladiyya was a prestigious edifice in stone. With its neo-classical elements and prominent middle projection, it was designed to display the power of the “new” state. The purpose of building the City Hall was functional, since the administrative workload, which rapidly increased after the reforms of the administrative system had to be accommodated.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1900","location":"Berlin","author":"Stefan Weber"},"60b297ce-03b5-5b81-8b64-abe6de2613c4":{"name":"The Various Ages of Woman","short_description":"The National Museum of Popular Arts and Traditions in Rome was founded by Lamberto Loria (1855–1913), an Italian ethnologist passionate about the need to record the agro-pastoral Italian culture that was disappearing to industrialization and the consequent migration from the countryside towards the cities. In 1911, 50th anniversary of Italian unification, or Risorgimento, Loria organized the Italian Ethnographic Exhibition in Rome. Through the help of a group of coworkers, Loria gathered over three-thousand objects from exhibition of 1911, which today form the principal nucleus of the Museum’s collections.","type":"Print","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"Beginning of the 20th century","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Popular traditions","ethnology","anthropology","post-unitarian Italian society","work","agriculture","pastoralism","ethnographic exhibition","exhibition","collection","collector","museum","woman","migration","internal migration","city","countriside","rural space"]},"60b8885d-3137-5d4a-a32b-9222e6ec69cb":{"name":"Two bills from Beirut port","short_description":"Two bills from Beirut port, both for a value of 22 Ottoman pounds. The bill on the right is dated to 1 September 1895 and the bill on the left is dated to 24 July 1899.","type":"Bills; bonds","holder":"Khalil Itani's Archive","dates":"1895–1899","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Stock","Currency","Deed","Economy"]},"61490dc8-89a2-5eeb-adc6-a5f3b1bd62aa":{"name":"*His Excellency Mirza Abulhassan Khan, Persian ambassador*","short_description":"Mirza Abulhassan Khan was sent to London by the Persian Shah in order to learn English. His visit, in the capacity of ambassador, attracted much attention from various European courts who did not know anything about Persia.","type":"Print","holder":"National Library of France","dates":"1817","location":"Paris","artist_birthdate":"1798","artist_deathdate":"1863","translator":"Flaminia Baldwin","keywords":["Diplomacy","Persia"]},"61c3f6f4-ae5b-5188-a071-b1ffe734cb27":{"name":"Messageries Maritimes's Istanbul-themed posters","short_description":"*Messageries maritimes* was a French merchant shipping company. When it began, it operated on routes to the Middle East. Its ships were used as troop transports during the Crimean War, and were so helpful for the army that the Emperor gave the company the right to operate on the Bordeaux-Brazil route as thanks. This was the first French transatlantic line equipped with steamers. The following year, the *Société générale maritime* (later called *Compagnie générale transatlantique*) received the North Atlantic lines. From 1871 to 1914 the shipping company, now called *Compagnie des messageries maritimes*, saw its Golden Age.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1909","location":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["travelling","orientalism","İstanbul","maritime travelling"]},"61dba05c-1c18-5736-85f3-727803bfc389":{"name":"*Housing in the Pierrefitte Chateau and Gardens* \\[…\\] *Payable in installments* \\[…\\] *\\[Epargne Foncière Immobilière des Quinze - Vingts\\]: open to visitors every day.*","short_description":"Pierrefitte-sur-Seine was still a farming village in the mid 19th century. The construction of the Paris-Lille railway line in 1859 brought in rich Parisians in search of country air. The town was transformed again in the 20th century, thanks to the construction of factories in the Saint-Demis plains and the arrival of people looking for cheaper housing. The first tramway was also built in 1901. This poster advertises housing in an area outside the tramway's reach, which had remained wooded and rural, and was equipped with the most modern technologies available, such as gas and telephone.","type":"Poster","holder":"National Library of France","dates":"1908","location":"Paris","translator":"Flaminia Baldwin","keywords":["Urbanisation","housing","France"]},"61eb1293-6209-599c-bd83-34f180e3bec2":{"name":"*The Port of Constanţa*","short_description":"The Black Sea port of Constanța underwent its first modernization while Dobruja, the province where it is situated, was under Ottoman control. In 1857, when the Ottoman government hired a British company to build a railway in Dobruja, the concluded contract also stipulated the reconstruction of the Constanța port. Completed in 1864, it was still a small harbor with a wooden dock, a dam and one cereals depot. After Dobruja was annexed by Romania, a law was issued in 1885 for the “improvement and augmentation” of the port. In 1896 its modernization was leased to a French enterprise but due to some disagreements, three years later the state took over the works, which were led by architect Anghel Saligny. Inaugurated in 1909, the new port had 3 dams, several docks, depots, silos, an oil basin, an electric plant.","type":"Postcard","holder":"National Museum of Romanian History","dates":"1906","location":"Bucharest"},"61ff0f1e-695e-5970-a8a9-44151ef0e284":{"name":"Traditional peasant attire","short_description":"Peasants and ordinary people's clothes did not change much over the centuries. It generally consisted of a shorter, narrower and darker coloured pair of baggy *shirwal* trousers for winter, and another pair in a lighter beige or khaki colour for the summer. This was paired with a cotton shirt or vest, called a *sudriye*, and a short embroidered *abaya*. A *keffiye*, a large scarf made of white cotton, was worn on the head with a *lebbede* or *'agal* on top.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Shirwal","Clothes","Traditions","Keffiye","Colour"],"materials":["The costumes were made of cotton and silk"]},"6215ebc8-8b3b-5484-8ac2-a702cc00efad":{"name":"Carol I, King of Romania (1839–1914) / Karl von Hohenzollern-Sigmaringen","short_description":"Portrait of Carol I, King of Romania (1839–1914) on horseback/ Karl von Hohenzollern-Sigmaringen. He was elected Prince of Romania on the recommendation of Napoleon III in 1866. In 1881, after achieving formal independence from the Ottoman Empire, Carol declared himself King of Romania.","type":"Print","holder":"Austrian National Library","dates":"After 1881","location":"Vienna","copy_editor":"Daniel de la Vega"},"6345c672-a66e-5ec9-a903-e3ddfbdcb159":{"name":"*Chiefs of nomadic Arab tribes in Syria visit the Abbot Desmazure, Latin father of the Saint-Sépulcre in the Convent of the Latin Fathers of Jerusalem, built on mount Gihon*","short_description":"Syrian tribal leaders visited the Abbot Desmazure in 1827, in the Convent of the Latin Fathers of Jerusalem. He happily volunteered to show Jerusalem to visitors passing through the city, and tried hard to find diplomatic solutions to the religious tensions within the Christian community.","type":"Print","holder":"National Library of France","dates":"1845","location":"Paris","translator":"Flaminia Baldwin","keywords":["Syria","Jerusalem","The Catholic Church"]},"637e27e9-204e-5721-869e-ad4380dc0140":{"name":"*The great celestial globe. 1900 Exposition Universelle.*","short_description":"A great celestial globe, measuring 50 metres in diameter and located near the Champ de Mars, was one of the proposed attractions for the 1900 Paris World Fair. A restaurant sat beneath it, and popular science activities inside the globe allowed the visitors to learn about astronomy. Other than the globe's colossal dimensions, the poster also foresees great crowds of people visiting the exhibit.","type":"Poster","holder":"National Library of France","dates":"1900","location":"Paris","translator":"Flaminia Baldwin","keywords":["World fairs"]},"63c94290-4824-5fcc-88ab-904bca42d8ca":{"name":"Hussein Kamil, Sultan of Egypt (1853–1917)","short_description":"Portrait of Hussein Kamil, Sultan of Egypt (1853–1917). On 18 December 1914 the British deposed the Khedive Abbas Hilmi II and declared Egypt to be a British Protectorate. They made the son of Ismail Pasha, Hussein Kamil, the Sultan of Egypt. Hussein Kamil died in 1917 and was succeeded by his brother Ahmed Fuad (King Fuad I).","type":"Print","holder":"Austrian National Library","dates":"1914","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Hussein Kamil, Sultan of Egypt","cartoon","caricature"]},"63e03fb2-ff4b-5263-b342-f74d2b6bdf14":{"name":"Damas - La Grande Gare du Hidjaz (The Grand Railway Station of Hijaz, Damascus)","description":"The Hijaz Railway Station building is one of several major public buildings established during the late Ottoman period under the rule of Sultan Abdülhamid II in Damascus. The construction was carried out under the supervision of Hüseyin Nazım Pasha, the Wali (Governor) of Damascus and chairman of the committee responsible for implementing the Hijaz Railway project. He oversaw the plan to construct the railway between Damascus and Medina from 1900 to 1908, mobilising conscripts and civilian labour to participate in its construction, while also benefiting from the expertise of German engineers and other foreign specialists who came to supervise the railway project.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c.1338 / AD c. 1920","location":"Berlin","dimensions":"Height: 9 cm; width: 13,7 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Al-Ash, Muhammad Bassam, *Damascus between the Past and the Present* , Damascus, 2006.  \n  \nAl-Diqn, Sayyid Muhammad, *The Hamidian Hijaz Railway* , Damascus, 1985.  \n  \nAga Khan Trust for Culture, *Historic Train Stations of the Al-Hijaz Railway Network* , Geneva: Aga Khan Trust for Culture, 2004.","dynasty":"Ottoman","copy_editor":"Danielle Morcom","keywords":["Building","hajj","pilgrimage","station","Syria"],"materials":["Paper, coloured printed postcard"]},"6466b53e-7366-59fb-b2d6-6c90c4bac6cd":{"name":"Italian translation of the decree by the French Civil Affairs Superintendent (intendant civil) of Algeria, Louis-André Pichon, regulating coral fishing along the coasts of Algeria","short_description":"This decree imposed a heavy tax on foreign ships that fished corals near Algerian shores, while exempting French ships. The decree was translated into Italian in Livorno, an active coral fishing port town that was badly affected by this ruling. Coral fishing was an important economic activity in the Mediterranean. Algeria was the main fishing area for corals, especially after the depletion of Sardinian coral.","type":"Decree (archival document)","holder":"State Archives of Livorno","dates":"3 March 1832","location":"Livorno","author":"Cristina Francioli","copy_editor":"Anne Dowell"},"64c7bc97-7cc3-58be-9d17-18bd4395053c":{"name":"Map of Beirut's water networks","short_description":"This map shows the water networks around Lebanon, set up by the Ottoman government.","type":"Map","holder":"Khalil Itani's Archive","dates":"1873","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Rita El Hachem","copy_editor":"Flaminia Baldwin","keywords":["Economy","Trade","Planning"],"materials":["Plot handwork"]},"6542d634-c357-5d32-8439-beffa72dfa02":{"name":"*The French Colonies. Book 26. M. de Brazza's Exploration 1875–79. His treaty with Makoko.*","short_description":"In September 1880, the explorer Pierre Savorgnan de Brazza signed a treaty with Makoko, the Chief of the Bateke (Anziku Kingdom) laying out the new borders of the Congo. The French government ratified this treaty in 1882. Savorgnan de Brazza was henceforth put forward by Jules Ferry's government as the perfect example of non-violent victory, contrasting him with England's Henry Morton Stanley, his rival in this region. Savorgnan de Brazza's image as a \"civiliser\" became a central theme of colonial propaganda, as we can see from this image.","type":"Print","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin","keywords":["Congo","France","colonies","Savorgnan de Brazza"]},"65c00b78-8201-5dbf-834d-9a831343be52":{"name":"The Battle of the Nile fought on 1–2 August 1798 in Aboukir Bay (Egypt), where the British fleet, headed by Admiral Horatio Nelson, defeated the French fleet","short_description":"The battle of Nile of 1798 between the French and the British fleets entrenched Britain as the dominant naval power in the Mediterranean.","type":"Map","holder":"State Archives of Naples","dates":"Constantinople, 10 Septembre 1798","location":"Naples","dimensions":"456 x 660","author":"Rossana Spadaccini","copy_editor":"Anne Dowell","materials":["Pencil, pen and watercolour drawing"]},"65da28a6-c1fa-5d24-a711-42488c8ec2ea":{"name":"*The Recapture of Buda in 1686*","description":"In 1686, two years after the unsuccessful siege of Buda, a renewed campaign began to enter the Hungarian capital. This time, the Holy League's army was twice as large with over 74,000 men, including German, Hungarian, Croatian, Dutch, English, Spanish, Czech, Italian, French, Burgundian, Danish and Swedish soldiers, along with other Europeans as volunteers, artillerymen, and officers.  \nBy the middle of June 1686, the siege had begun. A Turkish relief army arrived at Buda in the middle of August, but Abdurrahman Abdi Paşa shrank from the large-scale attack against the siege army, and on 2 September 1686 came upon the resisting *Generalsturm* (General's Tower) at the fortress. The commanders in chief were Charles Duke V of Lorraine (1643–1690) and Maximilan II Emanuel Elector of Bavaria (1679–1726).  Prince Eugene of Savoy and his dragoons were not directly involved in entering the city, but secured the rear of their army against the Turkish relief army, which could not prevent the city from being entered after 145 years in Turkish possession.  \nThis engraving by Romeyn de Hooghe represents the great explosion of 22 July 1686, the dramatic and decisive event of the attack, showing a partly fictitious topography of the city. The commanders in chief with their army are represented in the foreground Pest-side, while besides them in Pest and in Buda, are their camps and attacking battle corps, with the city of Buda on fire and in ruins, and Gellért Hill on the far left.  \nThe print was published with German and Dutch inscriptions. The following is from the Dutch inscription seen at the top: “Belegering der sterke stad, Buda of Offen, door de keyserlyke en geallierde machten. 1686.” (The siege of the strong city of Buda – aka Offen – by the allied, imperial forces. 1686.) The print is signed in the middle at the bottom: “R. de Hooge jnv: et fecit. 1686.”","short_description":"This print by Romeyn de Hooghe is the most famous of numerous representations of the recapture of Buda in 1686. It depicts a topographical, partly exact bird’s eye view, with a Baroque battle scene complete with representations of the commanders in chief in the foreground, and the castle and city of Buda on fire, in the background.","type":"Print (engraving/etching)","holder":"Budapest History Museum","dates":"1686","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 50.9 cm; w: 65.3 cm","method_for_datation":"On the basis of the signature","obtention":"Transferred from the Capital’s collection in 1945.","bibliography":"Rózsa, G., *Budapest* *régi látképei, Budapest* (*Old Vedute of Budapest: Budapest, 1963, No. 104*), 1963, cat. 104.  \nRózsa, G., *Romeyn de Hooghe und die Türkenkriege in Ungarn* (Romeyn de Hooghe and the Turkish Wars in Hungary), Oud-Holland, 1962, pp. 102–103, 107.  \nLandwehr, J., *Romeyn de Hooghe the Etcher. Contemporary Portrait of Europe*, Leiden, 1973, p. 129.  \n*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 17.","artist_birthdate":"1645","artist_birthplace":"Amsterdam","artist_deathdate":"1708","artist_deathplace":"Haarlem","author":"Terézia Bardi, Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Abdurrahman Abdi Paşa, Buda","Battle scene","Charles Duke V of Lorraine","Holy League","inscription","Maximilian II Emanuel Elector of Bavaria","Ottoman","Ottoman army","Prince Eugene of Savoy","Turkish wars","Turks","warfare"],"materials":["Engraving and etching on paper"]},"65fd829c-bfae-5827-bf9b-ed418624bfa6":{"name":"Ferdinand I, King of Romania (1865–1927) / Ferdinand von Hohenzollen-Sigmaringen","short_description":"Street Scene with King Ferdinand of Romania in Vienna. After the death of King Carol I, Ferdinand (as the nephew of the deceased king) ascended to the throne. In 1916 he joined the *entente* and declared war against Austria and Germany. After World War I, Romania gained Transylvania, Bukowina and the Banat from Austria, and Bessarabia from Russia. Ferdinand died in Romania in 1927.","type":"Photograph","holder":"Austrian National Library","dates":"1914","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ferdinand I, King of Romania"]},"66663408-45e1-58b4-b0d6-376f5a5a1dbb":{"name":"*The French Colonies: New Caledonia: Death of La Pérouse in Vanikoro*","short_description":"History teaching in 19th century French primary schools focussed on heroic acts that marked historic events. The key dates and figures of colonialism were also taught in this way.","type":"Print","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin","keywords":["Teaching","history","France"]},"66eb3d81-e848-51c4-9925-a840ecb8f574":{"name":"*The Egyptian Magician holding a seance with members of the European community in Cairo*","short_description":"Although this is the roughest of drawings, a composition sketch, or simply on the spot note-taking, it is important because it actually shows an Egyptian Magician, Shaykh Abd al-Qadir al-Maghrabi, in action, possibly in Lewis’s house. A séance was held there on the 8th December 1841, according to Sir Gardner Wilkinson who was present. The Shayk is clearly visible in the centre, and the huddled form in front of him indicates the young lad kneeling and staring at the drop of ink in his palm, answering difficult questions put to him by the onlookers. Although they are in Eastern dress, they are identified on an old label as prominent members of the European community in Cairo, including Henry Abbott, Joseph Bonomi and Colonel Barnett, British Consul-General in Egypt.","type":"Drawing","holder":"Victoria and Albert Museum","dates":"1846","location":"London","provenance":"Egypt","author":"Victoria and Albert Museum","keywords":["Cairo"]},"6708efb2-ba21-5a11-8ce4-cff3261576f5":{"name":"*Comic Map of Seat of War with Entirely New Features* (London: Rock Brothers and Payne, 1854)","short_description":"In the annex to the map, the authors made explicit their view on the international situation and the political message that they intended to promote. They portrayed Russia as “the Great Bear of Europe”: a tyrannical power, epitome of despotism and oppression, which used the whip against her own subjects. “The claws of the Bear, improperly extended to the Black Sea, are undergoing the process of being clipped by our brave fellows”.  \nTurkey, which was participating in the war on the side of Britain, was represented as a turkey. The authors argued that it was no longer the “sick bird of Europe”. With “head erect and again in good feather”, Turkey looked “its defiance to Russia”. England was described as “the old Lion of the World, majestic, strong and patient”.","type":"Map","holder":"State Archives of Palermo","dates":"1854","location":"Palermo","author":"Renata De Simone","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"67cb161d-180b-5b1b-8420-3bf9a2f55271":{"name":"*The Algiers-Oran line*","short_description":"This illustration, from around 1860 in a local Oran publication in the west of Algeria, *L’Algérie Comique et Pittoresque*, comments on current affairs with a distinctively Mediterranean style and sense of humour. Salomon Assus, the father of the famous painter from the Algerian school Armand Assus, was one of the newspaper's first cartoonists.","type":"Newspaper","holder":"Musée National des Beaux-Arts","dates":"1884","location":"Algiers","dimensions":"50 x 32 cm","artist_birthdate":"1850","artist_birthplace":"Alger","artist_deathdate":"1919","artist_deathplace":"Alger","author":"Dalila Orfali","translator":"Flaminia Baldwin","keywords":["cartoon","caricature"],"materials":["Reprinted and colourised"]},"67e5b11f-f92f-508e-b6d5-a9460fac4852":{"name":"Asaf Khan Wearing a Portrait Miniature","short_description":"Asaf Khan (d. 1641) was an important individual at the Mughal court. His father was Jahangir’s *wakil* (prime minister); he was the brother of Jahangir’s favourite wife Nur Jahan; his daughter was Mumtaz Mahal, Shah Jahan’s favourite wife and the woman for whom he built the Taj Mahal; and he served as Shah Jahan’s *wakil*. Jahangir was fond of giving his nobles portrait miniatures of himself which they wore, as does Asaf Khan in this drawing, as a mark of his affection but also as a sign of their loyalty to him. The upper portion of the drawing is more highly finished than the rest of it in order to draw attention to the figure’s head, and for this same reason the white of the eye is the only bit of the drawing that has been coloured.","type":"Single-page drawing","holder":"The Chester Beatty Library","dates":"Hegira c. 1023–24 / AD 1615","location":"Dublin","dimensions":"16.1 x 7.5 cm","provenance":"India","dynasty":"Mughal","keywords":["Portrait","portraiture"],"materials":["Brush drawing"]},"680c8cb0-7e03-52b8-988d-a7e74dbb89fa":{"name":"*L'Égyptienne*, military operetta in three acts and 11 scenes.","short_description":"Egypt became the subject of choice across the theatrical arts as a symptom of \"Egyptomania\", a phenomenon which spanned the length of the 19th century. This military operetta, written by de Chivot, Nuitter and Beaumont (with music by Charles Lecocq) is set in Egypt during the arrival of the Napoleonic troops.","type":"Print","holder":"National Library of France","dates":"1890","provenance":"France","translator":"Flaminia Baldwin","keywords":["Operetta","Orientalism"]},"6810a977-0fac-5c5e-a9a2-56e6c3bc3a3a":{"name":"Italian and Tunisian miners at work","short_description":"According to the book where this photo was published, in 1906 the largest number of Italian miners in Tunisia worked in El Kef (2,000) and in Gafsa (1,200). The most important mineral resource in Tunisia were phosphates, but the country also had mines of copper, manganese, iron and lead. One could find Italian miners in all these mines.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"6865c8bb-97f7-50ee-addb-18169728d2a9":{"name":"*View Looking across the Hall of Columns, Karnak*","short_description":"Roberts' viewpoint across the Great Hypostyle Hall, in the Precinct of Amon-Re, at the Temple Complex at Karnak, captures in great detail the physical features of the monument as it appeared in his day. At the same time, he used exaggerated proportions to convey the structure’s imposing scale, which impressed him deeply. In his diary he writes: ’Karnak is even more astonishing than Luxor. Its magnificence is unimaginable. Trying to describe rationally what I have seen would be ridiculous’. In the 19th century,, the Karnak temple complex became one of the most famous ancient Egyptian sites visted by artists and archaeologists. During his travels up and down the Nile, Roberts captured over 300 monuments and ruins in his unprecedentedly detailed and precise works, many of them before excavation or restoration.  In his work, Roberts also drew on the pioneering scholarship of scholars like Champollion. The final depictions subtlely contributed to the Orientalist discourse on Ancient Egypt, which Europe increasingly saw as their right to appropriate.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","dimensions":"484 mm x 326 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"686e2212-e7f1-527b-a985-4e1c54e9ef94":{"name":"*Arab horseman*","short_description":"This piece, drawn in 1846, is a study for the portrait of 'Ali bin Ahmed, the Bey of Constantine, on horseback. The portrait is currently held in the Musée de Versailles. The artist has concentrated on his posture rather than his face, which is sparse on details. The artist came to Constantine in May 1846 and said: \"This is the only truly Arab city left in this country\". In 1844 he was summoned by the Bey Ahmed, who he met in France, and was commissioned to paint his portrait on horseback surrounded by his beylical guard. The prints cabinet at the Musée National des Beaux-Arts contains the final sketch for this painting, which was exhibited at the Louvre in 2003.","type":"Drawing","holder":"Musée National des Beaux-Arts","dates":"1846","location":"Algiers","dimensions":"29.8 x 22.9cm","artist_birthdate":"1819","artist_birthplace":"Saint-Dominique","artist_deathdate":"1856","artist_deathplace":"Paris","author":"Dalila Orfali","translator":"Flaminia Baldwin","materials":["Pencil"]},"68b5b5d0-76d3-5f73-81cd-d9ccc51a6475":{"name":"Cartoon","short_description":"Titled \"Une maxime opportuniste\", this cartoon by Alfred le Petit condemns the French invasion of Tunisia and points to business and French capital's blame. The poster shows a man bent over under the weight of a sack, full to the brim with silver, whilst a first quadrant on the right shows soldiers going to war, and another on the left shows a man depositing his money. Beneath, the striking line, \"(Tunisia's) affairs are the money and blood of others\".","type":"Photograph; cartoon","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["French protectorate","resistance","occupation","cartoon","caricature"],"materials":["Paper"]},"6996faf2-9ef0-57f8-8ffd-b45d86af0d67":{"name":"Third-grade pupils of the Italian state-funded Giovanni Meli primary school in Tunis","short_description":"In 1831, siblings Pompeo and Ester Sulema, political refugees from Livorno, opened the first Italian school in Tunis. By the end of the 19th century, there were 21 Italian state schools in Tunisia: 13 in Tunis, three in La Goulette, three in Sousse and two in Sfax. Five of them were pre-schools, eleven were primary schools and five were secondary schools.  \nThe Italian State could run schools in Tunisia thanks to the treaty signed by Italy and Tunisia in 1868. In 1881, Tunisia became a French protectorate and in 1896 Italy and France signed a treaty over the status of Italians in Tunisia: the Italian state could continue to run schools in Tunisia but could not open new ones. So, classes became very crowded, as shown in this photo.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"699fbe74-5142-545f-991c-73824a07527f":{"name":"Author Tevfik Fikret and his book of poetry *Rübab-ı Şikeste*","short_description":"Tevfik Fikret, who published his first book of poetry *Rubab-ı Şikeste* (broken instrument), dealt with love, piety, nature and a worldview that was self-enclosed to the environment. His poems influenced other Turkish poets and he is considered a pioneer of contemporary Turkish poetry. His work also has some seeds of the social opposition of the future.","type":"Photograph; book","holder":"Aşiyan Museum","dates":"1900","location":"Istanbul","copy_editor":"Daniel de la Vega"},"69c68c59-f8ea-58f9-8d04-9f7f7e1327d4":{"name":"In the Sicilian Sulphur Mines","short_description":"Sicilian sulphur mines at the end of the 19th century employed children as young as seven and eight years old to carry the crude ore up from the mines to the surface.  \nIn Italy, the first piece of law regarding children’s work dates back to 1886. It forbade employing children under the age of nine in factories and mines. It also dictated that children under the age of 12 could not work at night. Such provisions indicated the extremely hard situation of children workers at the time. Particularly appalling were the working conditions of children in the Sicilian sulphur mines. Their plight was highlighted by the Italian writer Giovanni Verga in his short story *Rosso Malpelo*, and by Nobel laureate Luigi Pirandello in his *Ciàula scopre la Luna*.","type":"Journal","holder":"State Library of Modern and Contemporary History","dates":"29 August 1899","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"6acad3a4-63f3-5160-bf8e-60081e141ee0":{"name":"Street map of Beirut","short_description":"This map of Beirut was drawn in in 1902 under the reign of Sultan 'Abd al-Hamid II. The table on the left contains a numbered list of shops and important landmarks, whereas the table on the right lists the name and location of Beirut's railway and maritime companies.","type":"Map","holder":"Khalil Itani's Archive","dates":"1902","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Commerce","Map","Streets","Shops","Railway","Maritime"]},"6b2642e7-7a75-5343-8798-9e4bf21929a4":{"name":"Luca Petrovich (2nd half of the 19th century – 1900)","short_description":"Portrait of Luca Petrovic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"c.1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"6b3e84b4-acb3-5d73-a5b0-e7455c527cf6":{"name":"Map of the different types of housing in East Beirut","short_description":"This map indicates the different types of housing found in the East Beirut with a system of coloured dots.","type":"Map","holder":"*Maisons traditionnelles de Beyrouth: Typologie, culture domestique, valeur patrimoniale. Le secteur de Rmeil-Médawwar* (Book)","dates":"1850","location":"Rmeil","provenance":"Lebanon","author":"Jeff El-Msanne, David Andos","copy_editor":"Flaminia Baldwin","keywords":["Sector","Typology","Architecture","House"]},"6b87d037-edfd-580b-a728-429fe7822c7b":{"name":"Map of Beirut","short_description":"This map dates to 1876 and was drawn by the acting Danish Consul, Julius Loytved for the Sultan 'Abd al-Hamid II. Loytved was a map-maker, an archaeologist, and the director of various Anglo-Syrian schools. This detailed survey map includes 12 districts of Beirut: 1 - The Old City and the *suq*; 2 - Al-Zaytuna; 3 - Ras Beirut; 4 - Msaytbe; 5 - Mazraat al-Arab; 6 - Ras el-Naba'; 7 - Al-Bashura; 8 - Achrafieh; 9 - St. Dimitri; 10 - Mimas; 11 - Rmeil; 12 - Al-Saifi. The roads to Damascus, Saida and Tripoli are all clearly indicated by emphasis on the edge of the map. The map also indicates 47 other points of interest, including 91 consulates, military posts, government buildings, educational and health institutions, public parks, private gardens, cemeteries, archaeological sites, and sand and rock hills.","type":"Map","holder":"American University of Beirut, Jafet Library, Archives and Special Collections Department","dates":"1876","location":"Beirut","author":"Hady El Hajj, Jennifer Harb, Cynthia Karaki","copy_editor":"Flaminia Baldwin","keywords":["Expansion","Map","Districts","Consulates","Routes","City","Beirut"]},"6b95b4dd-912b-59ba-93e0-00f63bedc323":{"name":"SWP Geological Map","short_description":"This was the first ever geological map of Palestine, drawn up in the late 1880’s by Edward Hull. It enabled, for the first time, the accurate assessment of the geological resources of the country, and potentially their exploitation to the benefit of the local economy, as well as revealing the history and structure of the landscape.","type":"Map","holder":"The Palestine Exploration Fund (PEF)","dates":"1880’s","location":"London","provenance":"?","keywords":["mapping"]},"6bbbfdcd-9af2-5577-92d7-ef4e14938379":{"name":"*Description de l'Egypte*: frontispiece","short_description":"During the Egyptian expedition (1798–1801), Napoléon Bonaparte brought with him a group of scholars, engineers and artists, charged with collecting as much scientific information as possible. This was then used in a publication (of exceptional quality and execution) entitled Description de l'Égypte, containing all the observations and enquiries made by the military expedition in Egypt. The collection comprises of 10 volumes of illustrations and 9 volumes of texts published betwen 1809 and 1826.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1821–1830","location":"Paris","translator":"Flaminia Baldwin","keywords":["Egyptian antiquities","Egyptomania"]},"6c0ec863-e0e7-5b08-9c07-4fe22fc9d7ae":{"name":"*Oriental perfumes*","description":"This advertisement shows that the influence of Orientalism was telegraphed to the public as a synonym for exotic places, buildings and dresses. This advertisement also could be related to the Russian ballets of Sergéi Diágilev.","type":"Advertesiment","holder":"National Museum of Decorative Arts","dates":"1900–1930","location":"Madrid","dimensions":"174,5 x 114 cm","provenance":"Madrid?","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Women","Graphic art","Communication"],"materials":["Paper; gouache"]},"6c58855f-349e-59d4-b95b-645e69fbce46":{"name":"Illustrations from *Voyage en Nubie et en Abyssinie entrepris pour découvrir les sources du Nil*","short_description":"People had been trying to find the source of the Nile since antiquity. However, interest in this increased significantly in the early 19th century, and lead to various new scientific observations. These observations were published and illustrated with engravings, which allowed Europeans to better understand the African continent.","type":"Engraving","holder":"National Library of France","dates":"1790","location":"Paris","translator":"Flaminia Baldwin","keywords":["Explorations","Nile"]},"6c6f6415-19dd-5136-9ef7-3e7a144c2f66":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","short_description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega","keywords":["International Exhibitions","exposition","fair"],"materials":["Paper"]},"6d1c8ebf-40bc-511a-925c-b1e167d60a3d":{"name":"Memo on the profits of the Suez Canal Company","short_description":"An important memo on the profits of the Suez Canal. It shows that the increase in average load during the last 25 years is met with an increase in net profits which are estimated to be less than five Francs per ton, although the navigation fees were much more than that amount during the period stipulated in the document. This is due to the increase in company expenses, and the company’s decision to decrease navigation fees.","type":"Document","holder":"Bibliotheca Alexandrina","dates":"1 January 1928","location":"Alexandria","copy_editor":"Daniel de la Vega","keywords":["Suez Canal","Profits of the Suez Canal","Future of the Suez Canal"]},"6dbf6cf4-1732-5bea-bb96-c766474a0193":{"name":"*Clock tower, Beirut*","short_description":"In the Ottoman provinces, clock towers became part of the urban space in the 19th century. These monuments allowed a certain control of time and symbolized \"modernity\". But they also functioned as imperial monuments. Beirut’s clock tower was for instance built near the Grand Serail to celebrate the anniversary of the Ottoman Sultan Abdülhamid’s [`Abd al-Hamid II]accession to the throne. So clock towers might be the most telling symbol of the presence of a new political order in the wake of the Tanzimat. Designed by Youssef Aftimus, the tower is 25 m tall, which made it the tallest piece of architecture in Beirut at the time of its completion.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1900","location":"Berlin","author":"Stefan Weber"},"6e13aca8-8a19-574f-8378-12aea190e022":{"name":"File 3142/1903 'Hedjaz Railway'","description":"This volume contains copies of correspondence between British officials regarding the construction of the Hedjaz \\[Hijaz\\] Railway. The correspondence discusses a number of different aspects of the railway including its route, the progress of its construction and donations made towards its construction by members of the Muslim community in India.  \n  \nA limited amount of the correspondence in the volume is in French, including a copy of a letter sent by Paul Cambon, the French Ambassador in London, to Sir Edward Grey, the Foreign Secretary (folio 15).  \n  \nThe volume contains a number of reports and related information about the railway. Of particular interest are the following:  \n  \nA report on the Hejaz Railway by Major Francis Richard Maunsell, dated July 1907 (ff 56-69)  \nA memorandum respecting German influence on the Hejaz Railway by George Ambrose Lloyd, 1906 (ff 95-96)  \nA list of the principal stations on the Hejaz Railway with approximate distances between Damascus and each station (f 100)  \nA map of the Hejaz Railway with list of stations (f 106)  \nA report by Mr Teofani Loiso, Vice-Consul at Mersina, based on information provided to him by his son who was employed as an engineer on the railway (ff 105-107)  \nA report by Herr Otto von Kapp Kohlstein, a German engineer who inspected the Haifa-Damascus branch of the route and worked on the construction of the Damascus-Maan branch (ff 107-109).  \nIn addition, the volume contains cuttings (and translations) of press articles related to several aspects of the railway and its construction. Also included are two maps. The Turkish (Ottoman) language material consists of the second of these two maps.  \n  \nThe volume includes a divider which gives the year that the subject file was opened, the subject heading, and a list of correspondence references contained in it arranged by year. This divider is placed at the front of the volume.","type":"Written Document","holder":"Qatar National Library","owner":"QNL","initial_owner":"East India Company, the Board of Control, the India Office, or other British Government Department","dates":"1901-1908","location":"Doha","dimensions":"1 volume (242 folios)","place_of_production":"India","provenance":"British Library: India Office Records and Private Papers.","copyright":"Open Government Licence","catalogue_holding_link":"https://www.qdl.qa/en/archive/81055/vdc_100000000365.0x0003d1","keywords":["documentation","Hijaz","India","Railway construction"],"materials":["Paper"]},"6f001e78-8dfc-56a6-bec2-b6b68344cfd8":{"name":"*Tsar Nikolai II enters Paris, 6 October 1896*","short_description":"Tsar Nikolai II's visit to France in October 1896 was front page news. The French government, hoping to highlight the importance of this day, marked the occasion by giving students the day off, stopping all special train services, and meticulously preparing the path the imperial couple would take once arriving at Cherbourg Port. The true purpose of the trip was to preserve the precious Franco-Russian alliance signed in 1893 with Aleksandr III. Pictured in this image are the Tsar and his wife, accompanied by the President of the Republic Félix Faure, and greeted by a crowd of almost half a million on the Champs-Élysées. The popular imagery contributed to the success and immortalisation of the event.","type":"Print","holder":"National Library of France","dates":"1896","location":"Paris","translator":"Flaminia Baldwin","keywords":["Diplomacy","France","Russia","Nicholas II","Paris"]},"6f83b69e-bc0a-5955-8a8f-46818fc39f26":{"name":"*Chechia maker*","short_description":"This copy of a beautiful watercolour from Charles Lallemand's book *Tunis et ses Environs* shows a Tunisian artisan making a chechia. Before the competition of European industry arose in the 19th century, Tunisian artisans had been the main suppliers of the Middle East.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Souk","Chechias"],"materials":["Paper"]},"6faa2e57-f95c-52d9-a61f-402154b53322":{"name":"Organ Made in Tunis by the Italian Firm Cesare Trionfo and Exhibited in Milan","short_description":"Cesare Trionfo was a child when he migrated with his family to Tunisia from Livorno in 1855. He became a trader, and in 1886 he started trading musical instruments. In Tunis, he later also started a shop that made musical instruments such as this organ. Trionfo promoted the construction of the theatre Politeama Roissini, which he co-owned.  \nThis organ was exhibited in Milan for the 1906 international exhibition. The organ is a traditional Italian musical instrument. This one has decorative elements taken from Arab architecture.","type":"Musical instrument","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"6fb5d317-b1c7-55c6-a5a1-452d17f4b70a":{"name":"*10 cents an issue. Le Télégraphe. Morning Newspaper. Special connections with the whole world.*","short_description":"Claude Chappe's invention of optical telegraphy was a turning point in the development of telecommunications. Built high up (e.g. on a hill or a roof), the mechanism consisted of a pole with movable arms, visible from a distance, which transmitted a code. Telegraphy became a very popular mode of communication during times of war, and was adopted by the National Convention of the First Republic in 1793. Even Napoléon I, who had shut down the French telegraph lines for fear of political troubles, had them reopened and extended to Europe in order to fight the anti-French Coalition. Telegraphy was an increasingly used mode of communication in the 19th century.","type":"Print","holder":"National Library of France","dates":"1886","location":"Paris","artist_birthdate":"1836","artist_deathdate":"1932","translator":"Flaminia Baldwin","keywords":["Communications","telegraph","press","France"]},"703206c7-1fe3-5807-91ec-e3c954824bfa":{"name":"*Egypt. Plan of the remains of an existing circus, near Alexandria.*","short_description":"During the Egyptian expedition (1798–1801), Napoléon Bonaparte brought with him a group of scholars, engineers and artists, charged with collecting as much scientific information as possible. This was then used in a publication (of exceptional quality and execution) entitled Description de l'Égypte, in which the observations and enquiries made by the military expedition in Egypt were collected. The collection comprises of 10 volumes of illustrations and 9 volumes of texts published between 1809 and 1826.","type":"Drawing","holder":"National Library of France","dates":"19th century","location":"Paris","artist_birthdate":"1752","artist_deathdate":"1850","translator":"Flaminia Baldwin","keywords":["Egyptian antiquities","Egyptomania"]},"70ae613d-6258-52dc-8ef3-3c83dcfa4fb0":{"name":"*Turkish café, Smyrna, 9 November 1837*","short_description":"Denis-Auguste-Marie Raffet (1804–1860), sketcher and painter, travelled to Southern Russia, Crimea and Turkey with the Prince Demidoff in 1837. He brought back with him a few hundred illustrated pages, which were published in *Voyage en Crimée*. This image, depicting a café in Smyrna (Izmir), the \"Little Paris\" of the Ottoman Empire, is an excellent example of Orientalist drawing.","type":"Lithograph","holder":"National Library of France","dates":"1848","location":"Paris","artist_birthdate":"1804","artist_deathdate":"1860","translator":"Flaminia Baldwin","keywords":["Travelling","exploring","Russia","Turcomania"]},"70b437a4-41c0-50dd-839c-7f248f97ae34":{"name":"*Theatre of Djemila, ancient Cuicul*","short_description":"In August 1840 and again in 1848 Delamare visited the ruins of Cuicul, an ancient Roman colony founded by Nerva and Trajan at the end of the first century. He brought a number of sketches back from these visits, with the most important of these currently kept at the Cabinet du Livre in the old library at the Sorbonne. This drawing, kept at the Musée des Beaux-Arts, accurately reproduces of the ruins of the theatre, built in the second century beyond the city walls.","type":"Drawing","holder":"Musée National des Beaux-Arts","dates":"1840","location":"Algiers","dimensions":"28.4 x 42.5 cm","artist_deathdate":"1861","author":"Hayet Touaibia","translator":"Flaminia Baldwin","materials":["Pencil"]},"70b73c8c-526f-5ae3-901a-f7ef4dbf4ea8":{"name":"Arabs listening to a story in their camp","short_description":"Horace Vernet (1789–1863), the official painter of both Napoléon III and Louis-Philippe, was tasked with painting the \"discovery\" and conquest of Algeria. Various images of Algeria were published in the illustrated press in order to acquaint the French with Algeria and feed the narrative of a peaceful conquest. This idyllic painting of a group storytelling was very popular in the Salon des Beaux-Arts in 1834, and was reproduced by the engraver Jean-Pierre Marie Jazet in order to ensure its wider diffusion in the national press.","type":"Print","holder":"National Library of France","dates":"1835","location":"Paris","artist_birthdate":"Jazet: 1788; Vernet: 1789","artist_deathdate":"Jazet: 1871; Vernet: 1863","translator":"Flaminia Baldwin","keywords":["Travelling","Arabs"]},"70c03f94-1563-5fc4-9b32-84ea00fd8d52":{"name":"A Letter from the State Bank of Morocco","description":"Correspondence between the State Bank and Moroccan central government from the archive of Muhammad al-Muqri, the Grand Vizier of Finance under Sultan Mulay ‘Abd al-Hafiz al-Hasan I.","type":"Document","holder":"Private archives","dates":"1908","location":"Rabat","keywords":["Economy","finance","banking","French in Morocco","credit","protectorate"],"materials":["Paper; ink"]},"70c34b29-b413-5cf3-ba1c-bd2773093060":{"name":"Clothing, sheets and blankets distributed by the Students’ Benevolent Fund to destitute Italian children in Tunis","short_description":"The Dante Alighieri Society – created in Italy in 1889 and still in existence ‒ is aimed at promoting Italian language and culture abroad; its Tunisian branch was established in 1893. In Tunisia the Dante Alighieri Society devoted its energies to promoting schooling and supporting school attendance. One should consider, in this regard, that the Italian community at the time was composed of workers, miners, and labourers and included several destitute members. The students’ benevolent fund of the Società Dante Alighieri (Patronato scolastico) was created in 1898 and was aimed at supporting school attendance of destitute children by providing free books and clothes.","type":"Chart from a book","holder":"Italian Geographical Society (SGI)","dates":"c. 1905","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"70df1938-c4b1-5bed-9f24-8054cc85bf48":{"name":"Karl I, Emperor of Austria (1887–1922)","short_description":"Portrait of Karl I, the last Austrian Emperor. The Austrian and the Ottoman Empires disintegrated after World War I. Karl I had to flee from Austria and died in exile on the island of Madeira.","type":"Print","holder":"Austrian National Library","dates":"c. 1916","location":"Vienna","copy_editor":"Daniel de la Vega"},"712ff58d-128f-55d5-aad2-b4bc62cf22ab":{"name":"*Le Petit Tunisien. Voice for French interests and communities in Tunisia.*","short_description":"Italian migration to Tunisia in the 19th century was, quantitively speaking, extremely significant. The French government had to bear in mind, however, that there remained significant population who had hoped Tunisia would become an Italian colony. Some French newspapers, such as *Le Petit Tunisien*, responded to this by emphasising their French-Italian links.","type":"Press; newspaper","holder":"National Library of France","dates":"21 July 1889","location":"Paris","translator":"Flaminia Baldwin","keywords":["Immigration","trade","Italy","Tunisia"]},"718961a1-beb1-58c3-8832-5f8a278c1682":{"name":"The young ladies of the telephones: a view of a Parisian telephone exchange","short_description":"The French telephone network was not automated at the beginning of the 20th century. Young unmarried women were often employed to take paying members' calls, and connect them to their requested number.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1904","location":"Paris","translator":"Flaminia Baldwin","keywords":["Communications","telephones","Paris","cartoon","caricature"]},"71bafc31-de50-5515-8301-3411a7a0be01":{"name":"*A market in Bucharest*","short_description":"Wallachia and Moldavia's contacts with the Ottoman Empire also influenced the aspect of Romanian cities. For example, marketplaces, as known from 19th century paintings and lithographs, were similar to Turkish bazaars and represented, just like in the Ottoman Empire, the commercial centre of a city. The watercolor is part of an album with reproductions after 15 of Amedeo Preziosi’s paintings that depict scenes from Bucharest. Maltese painter Amedeo Preziosi met Carol of Hohenzollern, ruler of Romania, in Istanbul in 1866. Invited by the prince to come visit his country, Preziosi was in Romania between June-July 1868 and May-July 1869. He is the author of more than 250 works inspired by Romanian landscapes, cities and people.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1869","location":"Bucharest","provenance":"Romania","artist_birthdate":"2 December 1816","artist_birthplace":"La Valetta, Malta","artist_deathdate":"27 September 1882","artist_deathplace":"Yesilköy, Turkey"},"71d240aa-d335-59ff-8b64-aa4539d24c3b":{"name":"*The Grand Mosque in Constanţa*","short_description":"The Grand Mosque of Constanţa, the biggest in Romania, was built between 1910–1913 for the Muslim community of the city, on the initiative of king Carol I. It was erected on the place of a 19th century mosque, whose minbar (pulpit from where the imam delivers sermons) was preserved. The monument, a mixture of Byzantine-Egyptian and Romanian architectural elements, is the work of architect Victor Ştefănescu, who before designing it travelled to Istanbul to get acquainted with Islamic architecture. The mosque was inaugurated on 31 May 1913 in the presence of Romania’s king and queen and of Romanian and Ottoman officials. The envoy of sultan Abdul Hamid II brought a Persian rug for the mosque and awarded the orders of “Medjidie” and “Osmanieh” to Victor Ştefănescu and the city’s may.","type":"Postcard","holder":"National Museum of Romanian History","dates":"Beginning of the 20th century","location":"Bucharest","provenance":"Romania"},"71d76fc5-c9ad-524d-9391-c2dd24da5ac5":{"name":"Alep -Chemin de fer, Postcard (Aleppo Railway Station)","description":"This composite postcard presents Aleppo’s earlier railway complex, generally identified as Damascus Station, together with a separate building labelled Pavillon militaire. Located in the Jamiliyeh district of Aleppo, the station served the French-operated railway Damas, Hama et Prolongements (D.H.P.), linking Aleppo southward through Hama and Homs with Damascus. The Hama–Aleppo extension entered service in 1906. The upper image shows a restrained two-storey masonry station with a long covered platform, regularly spaced windows and numerous chimneys, reflecting its combined passenger, administrative and possibly staff functions. The lower image records the military pavilion, with a raised entrance, deep tiled roofs and an ornamental timber porch distinguish it from the station building.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1323 / AD c. 1905","location":"Berlin","dimensions":"Height: 13,8 cm; width: 8,5 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Kurd Ali, Muhammad, *Khitat al-Sham*, Vol. 5, Damascus: al-Matbaʿah al-Hashimiyyah, 1925–1928.  \n  \nDigital Historical Documents House, “Aleppo’s Damascus Railway Station in 1902”, *Digital Historical Documents House*, February 4, 2020, Arabic. (The stated 1902 date should be treated cautiously because it conflicts with the documented 1906 opening of the Hama–Aleppo line.)","dynasty":"Ottoman","copy_editor":"Danielle Morcom","keywords":["Aleppo","Communication","Damascus","Syria","Transport"],"materials":["Paper, coloured printed postcard"]},"727ea8ec-c6ff-5c30-91b3-9e087af62768":{"name":"*Interior of a Harem*","short_description":"Preziosi probably used models to recreate this harem scene which as an infidel Frank he would not normally be allowed to witness. However, there is nothing in this decorous interior which is impossible or unlikely and it may be based on a visit to the house of one of his Turkish friends. The furniture and fittings show western European influence, particularly in the curious rococo wall bracket and the fringed sofa in place of the traditional raised wooden platform covered with carpets. By the middle of the 19th century French style in interior design was fashionable in Turkey, especially a degenerate form of the rococo. A version of this composition, dated 1852, is much less restrained, its details deliberately pandering to the popular western idea of a harem, based on Arabian Nights imagery.","type":"Painting","holder":"Victoria and Albert Museum","dates":"1851","location":"London","provenance":"Turkey","author":"Victoria and Albert Museum","keywords":["costume","coffee","tobacco","rococo","Ottoman Baroque","Orientalism","women","Ottoman interior decoration","fashion"]},"7281683b-fda9-593c-917d-2afe6e08c7b6":{"name":"Building a bridge near Haifa","description":"This album of 39 images documents the construction of the Hijaz Railway. It photographs two important stretches of the network: the route between Damascus and Maʿan, and the line connecting Daraʿa with Haifa. Its photographs record the remarkable engineering achievements required to negotiate difficult and varied terrain, while also illustrating the railway’s role in strengthening connections across the empire. Alongside tunnels, bridges and stations, the images capture the engineers, officials and labourers whose work made the project possible.","type":"Photographic print","holder":"The Nasser D. Khalili Collection of Hajj and The Arts of Pilgrimage","dates":"AH 1318-1323/ AD circa 1900-1905","location":"London","dimensions":"Height: 10 cm; width: 14,4 cm","place_of_production":"Turkey","method_for_datation":"The Hijaz Railway was constructed between 1900 and 1908.","dynasty":"Ottoman","author":"Qaisra Khan","keywords":["bridge","Communication","Construction","engineering","labour"],"materials":["Photographic prints bound in an album"]},"72dcc4dd-aa26-5a94-9c71-96445ad78087":{"name":"*The Crisis in Egypt – Panoramic View of Cairo 1882*","short_description":"This expansive, panoramic engraving focuses of the Citadel of Cairo with the majestic Ottoman-style mosque erected by Muhammad Ali Pasha in memory of his son Tusun at the centre. The view is taken from high up in the Moqattam range, allowing the viewer to appreciate a panorama that takes in the wide expanse of the city of Cairo beyond the fortress, all the way to the river Nile. In composing the image, dated to 1882 CE - the year of the Anglo-Egyptian war, the artist H. W. Brewer most probably drew on contemporary photographs. Little is known about this British illustrator who specialised in depictions of cities viewed from the air.The print was issued as a supplement to The Graphic 1882. The Graphic was a British weekly illustrated newspaper, first published on 4.12.1869 by William Luson Thomas’s company Illustrated Newspapers Limited. By 1882, it had over 1000 employees. The Graphic’s influence on the art word was considerable, its readers including Vincent van Gogh.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1882","location":"Sharjah","dimensions":"510 mm x 1500 mm x 25 mm (framed)","provenance":"London","artist_birthdate":"1836","artist_birthplace":"London?","artist_deathdate":"1903","artist_deathplace":"London?","author":"Ulrike Al-Khamis","materials":["Engraving"]},"72e135bf-f1d2-56f9-a08f-ae59b081701d":{"name":"'The War on Trial'","short_description":"This booklet describes an imaginary trial against Giovanni Giolitti, the Italian Prime Minister who directed the colonial conquest of Libya in 1911-12. The judge asks Giolitti:  \n– ‘Why did you get into other people’s home?’  \n– ‘In order to defend our interests.’  \n– ‘Good! And what about the slaughtering of women and children, the massacre of elderly people, and the hanging of men?’  \n– ‘You see, your excellence, we needed to uplift Italian prestige.’  \n– ‘And what about the thefts, the burnings and the planes that bombed huts?’  \n– ‘It was our civilising mission.’ \"","type":"Book","holder":"Gramsci Institute Foundation","dates":"1913","location":"Rome","artist_birthdate":"1873","artist_deathdate":"1948","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"7348dd0d-ce53-5539-9f72-098f52664a78":{"name":"*Ali Bey (Domingo Badia y Leblich), Traveller*","description":"Ali Bey, a pseudonym used by Domingo Badia (1767–1818), was a Spanish explorer and spy. He travelled to the Ottoman Empire and North Africa under the identity of a Syrian prince. He published his experiences in different books. His travel descriptions had success in Europe and were translated into several languages. The descriptions reveal his admiration and respect for the Arab world.","type":"Print","holder":"National Museum of Romanticism","dates":"c. 1816","location":"Madrid","dimensions":"29,2 x 15,5 cm","provenance":"Italy","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell","keywords":["Spies","Portrait in Oriental dress"],"materials":["Paper; ink; stipple engraving; pencil-manner engraving"]},"736d9205-4e1c-5817-bc04-427dac8d02d2":{"name":"*Constantinople et le Bosphore de Thrace*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"737d2ad8-e855-5e34-9a89-714f0aed6dff":{"name":"The Stele of Mesha, Hebrew inscription from 896 BC. 1/16 of original size.","short_description":"Following the work of Champollion, decoding texts and archaeological discoveries became some of the main interests of popular science journals. Graphic items also begin to feature in the late 19th century, adding to the pedagogical side of these articles.","type":"Drawing","holder":"National Library of France","dates":"1873","provenance":"France","translator":"Flaminia Baldwin","keywords":["Biblical archaeology","Orientalism","religious missions"]},"742e675b-2783-5254-a6e4-abd2e2dc3cd3":{"name":"*Monument commemorating the installation of the Hijaz-Damascus telegraph connection, Beirut*","short_description":"This monument is a well-known benchmark, which remained the symbol of the municipal administration until a few years ago. The bronze column in the middle of the Merje Square was erected in commemoration of the Istanbul-Damascus-Mecca telegraph link. It was the line with the sultan’s Islamist policy, acting as a symbol of the Ottoman claim to leadership over Muslims. The monumental telegraph column is crowned by a model of the Istanbul Hamidiye Mosque, where every week the Sultan ‘Abdülhamid [`Abd al-Hamid II] had his visit to the mosque for Friday prayers celebrated with an imperial march-past- a demonstration of the concentrated political power of the Sultan.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1910","location":"Berlin","author":"Stefan Weber"},"74e93f42-b022-5056-9d51-bed2d2eb0ca5":{"name":"*Map of Algeria's commercial routes to the \"Pays des Noirs\"* \\[Guinea\\]","short_description":"Having conquered Algeria, France launched several expeditions in order to open up new trade routes from North Africa to Guinea. Europeans had great difficulty in using the internal trade routes, which were controlled by indigenous African kingdoms, so were instead limited to coastal routes.","type":"Map","holder":"National Library of France","dates":"1850","location":"Paris","translator":"Flaminia Baldwin","keywords":["Exploration","trade","Algeria"]},"7503191f-13bf-5090-a965-b30a2948d2bd":{"name":"Ibrahim Pasha (1789–1848)","short_description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ibrahim Pasha","Syria","Greece"]},"750a06a9-2d0d-5ed4-96b6-1e5b28d3634e":{"name":"Plan of the park Bibescu","short_description":"In 1898, Nicolae Romanescu, the mayor of Craiova (a city in Wallachia), hired French landscape architect Edouard Redont to lay out two parks in Craiova. One of them, called park Bibescu, was completed in 1903. It was built on a terrain bought by the city hall of Craiova in 1853 from Iancu Bibescu, brother of Wallachian prince Gheorghe Bibescu. The park occupied a surface of 100 ha, among which 4 were represented by water. Some of the attractions of the park included: a luxuriant vegetation, two lakes, a waterfall river, several springs, a replica of a medieval castle, a suspended bridge, a zoo. There also existed restaurants and cafes, a library, an exhibition hall, a ceremony hall, a hippodrome, a velodrome and a pier. In 1900 the plan of park Bibescu was awarded a gold medal at the universal exposition of Paris.","type":"Architectural plan","holder":"National Museum of Romanian History","dates":"1900","location":"Bucharest","provenance":"Romania","artist_birthdate":"1862","artist_birthplace":"Champigny","artist_deathdate":"1942","artist_deathplace":"Reims"},"75891604-fdb8-540e-af25-a6509a9103f7":{"name":"*Cairo: houses and gardens in the French quarter.* Flaubert in the foreground.","short_description":"The writer Gustave Flaubert lived in Egypt for three years from 1849 to 1851 with his friend Maxime Du Camp. He saw and experienced many new things during this time, travelling to Egypt, Beirut, Jerusalem and Damascus. Although Gustave Flaubert did not like being photographed, Maxime du Camp was able to take this snap of him in Cairo.","type":"Calotype","holder":"National Library of France","dates":"1852","location":"Paris","artist_birthdate":"1822","artist_deathdate":"1894","translator":"Flaminia Baldwin","keywords":["Orientalism","Egypt","Cairo","Flaubert"]},"76457a6e-00a0-52e0-a869-4eec84837b92":{"name":"Photograph of the Old Railway Station in Skopje","short_description":"The first railroad in Macedonia was the track running from Thessalonica via Skopje to Belgrade. Its construction was financed with foreign investments and began in 1871. The track to Skopje was finished in 1873. The Skopje-Mitrovica railway line was completed in 1878. In 1888, it was connected to Serbian railways at the border crossing Zibevche near Vranje.","type":"Photograph","holder":"Museum of the City of Skopje","dates":"Early 20th century","location":"Skopje","author":"Zoja Bogdanovska, historian, Museum of the City of Skopje","copy_editor":"Daniel de la Vega","keywords":["Railroad","railway","railway station","Ottoman Balkans"],"materials":["Paper"]},"76c35457-f8ff-5bff-9a85-a95ba8087f82":{"name":"Advertisement from the International Exhibition in Rome 1911","short_description":"During the International Exhibition of Fine Arts in 1911, in a green area near the Tiber river within Rome’s boundaries, exhibitions of regions and ethnography were staged. This show was meant to celebrate ethnography as a new science and, at the same time, to highlight the habits and customs of the different regions of Italy, especially on the occasion of the 50th anniversary celebrations of the unification of the Italian state. A consequence of the exhibition was an enlargement of the city of Rom and massive urban growth. At the same time, upon the Rassegna Illustrata dell’Esposizione commercial pavilions were destined to later become restaurants, shops and pubs. All of them were clearly inspired by the popularity of orientalism.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Universal exposition","Esposizione universale di Roma","art exhibition","magazine","anthropology","ethnography","exhibitions and urban spaces","city","social change","internal migration","urban space","rural space","post-unitarian Italian society","popular traditions"]},"7756c7b9-3b65-5af3-92f0-bce2be93d3c9":{"name":"*Partium Regni Sclavoniae et Croatiae*","alternate_name":"Geographical-historical map of the northwest region of Croatia in 1673","description":"A map depicting the northwest region of Croatia with inscriptions and dates that detail the most important battles against the Ottoman Turks in the 15th, 16th and 17th centuries.  \nThere is a letterpress dedication to Martin Borković, Bishop of Zagreb from 1647 until 1667, and to Count Nikola Erdödy. A signature on the bottom right in a cartouche reads “*per R.P. STEPHANVM GLAVACH” and* “*NOVA hactenus ... SCLAVONIAE et CROATIAE ... Confiniumque Descriptio ... Professorem 1673”.*  \nThe map is an announcement of the Croatian Counter-Reformation and the beginning of the Baroque style. Made by the Jesuit, Stjepan Glavač the first teacher of logic at Zagreb Jesuit Academy and professor of philosophy, exegesis and controversy at Graz University, its production was the incentive of the Bishop of Zagreb Martin Borković, and the Croatian *ban* (viceroy) Nikola Erdödy.  \nThe map shows the “remnants of the remnants” of the former Kingdom of Croatia after Ottoman expansion ended. Drawings, made by Glavač while he travelled throughout Croatia accompanied by soldiers and Krajina officers as consultants, decorate the map. The map presents a rare example of decoration in the spirit of the Society of Jesus, shown particularly in the drawings of Mars in armour and the female figures of *Fidelitate constanti* and *Catholica Fide*.","short_description":"A geographical-historical map of northwest Croatia in 1673, it was drawn by the Jesuit Stjepan Glavač, a teacher at the Zagreb Jesuit Academy and at Graz University. Glavač spent several years travelling through dangerous and inaccessible regions of Croatia accompanied by soldiers and Krajina officers who acted as consultants. The map, showing the “remnants of the remnants” of the former Kingdom of Croatia, and decorated solely with Glavač's drawings, is a rare example of decoration in the spirit of the Society of Jesus.","type":"Print, map","holder":"Metropolitan Library, Valvasor Collection of prints and drawings","owner":"Archdiocese of Zagreb","initial_owner":"Johann Weichard Valvasor","dates":"1673","location":"Zagreb, North-West Croatia","dimensions":"Plate: h: 83.3 cm; w: 84.5 cm","place_of_production":"Croatia","method_for_datation":"The print is dated.","provenance":"From the Johann Weichard Valvasor Collection","obtention":"Purchased in 1690 from Johann Weichard Valvasor by the Archdiocese of Zagreb Baron J. W. Valvasor, a Slovenian polymath and collector, had a museum in his mansion in Bogenšperg. Towards the end of his life, due to financial difficulties, he sold some of his exceptionally valuable holdings. In 1690, the Bishop of Zagreb, Aleksandar Mikulić, purchased Valvasor’s collection of prints and his library.","bibliography":"Marković, M., *Descriptio Croatiae. Hrvatske zemlje na geografskim kartama od najstarijih vremena do pojave prvih topografskih karata* (Croatian lands on Geographical Maps from the Oldest Times to the Appearance of the First Topographical Maps), Zagreb, 1993.  \nPelc, M., *Iconotheca Valvasoriana, VII. svezak*, Janez Vajkard Valvasor Foundation, Zagreb Archdiocese, Ljubljana, 2004.","artist_birthdate":"1627","artist_birthplace":"Varaždin","artist_deathdate":"1680","artist_deathplace":"Trnava","author":"Mirna Abaffy, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["academy","chart","Christian themes","collection","collector","Jesuit","Map","mithology","north-west Croatia","Ottoman","personification","symbolism","university"],"materials":["Paper, copperplate, etching, letterpress"]},"7799c614-d39a-57bf-8c89-ac0c4d03ec70":{"name":"The Promotional Exhibition of the Alsace and Lorraine Society in the Algerian Section [Paris Exhibition, 1878]","short_description":"Paris, International Exhibition, 1878. In one of the streets in the Trocadero Pavilion buildings were constructed based on those built in Algeria after the French-Prussian war (1870–71) by the Society Protecting Alsatian and Lorenese People for refugees coming from France. The interior shows all the territories donated to the Protecting Society and in the lower part the villages of Hanssonvillers and Bacckhalfa.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine","French architecture"]},"779c654a-aa90-53f1-a122-5dbb8e302070":{"name":"*Interior of a school, Cairo*","short_description":"In this scene depicted by Lewis, the Hoja or teacher is listening to his assistant rhythmically reciting the Quran (while beating time), as some children pay attention and others not. Some commentators have regarded the presence of a young girl as inauthentic, but young girls were able to attend Quran schools, according to the artist Charles de Tournemine, the scholar Edward Lane and the translator Richard Burton. Certainly not all women were illiterate, and some female descendants of the prophet were noted for their ability to read and recite the scriptures.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1865","location":"London","provenance":"United Kingdom","author":"Victoria and Albert Museum","keywords":["education","school","teaching","children","childhood","kuttab"]},"77e11861-c38b-50a8-8fb9-b72467f69e2b":{"name":"Algerian Pavilion in the Trocadéro Park [Paris Exhibition, 1878]","short_description":"At the International Exhibition in Paris, 1878, the Algerian Pavilion was designed by the architect M. Wable, who was appointed by General Chanzy. The building represents one of the greatest proofs of French colonisation policy. The front-door, four metres wide, is a copy from the ‘Ubbad Mosque of Sidi Bumadyan in Tlemcen, and is richly decorated with enamelled majolica and arabesque decorations. The decorations of the minaret echo the tower in ruins from the mosque of Mansoura, 1,200 square metres wide. The pavilion was meant to show the productive potential of the colony to the French capitalists.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"78482946-b8d7-5fca-913f-fd0e2dc38b4a":{"name":"Map (*la Barbarie*)","description":"A 19th-century map of the Moroccan Empire and the states of Algiers, Tunis and Tripoli. Its toponyms are written in French. As the original was monochrome, evidently the *Atlas*’s original owner manually embellished the borders between countries and administrative boundaries.","type":"Map","holder":"National Library of the Kingdom of Morocco","dates":"1843","location":"Rabat"},"794483b6-f573-5ea4-9de3-b7a65c779566":{"name":"Coronation of His Majesty King Charles X, in Rheims,  29 May 1825","short_description":"Charles X was Louis XVI's younger brother. During the revolution, Charles (then the Count of Artois) emigrated in search of support from other European royal courts. He disapproved of Louis XVIII's pragmatism, and following his death advocated a return to the Ancien Régime. He had himself crowned in Reims, like his ancestors, although the cost of this grandiose ceremony was the subject of great controversy.","type":"Print","holder":"National Library of France","dates":"1825","location":"Paris","translator":"Flaminia Baldwin","keywords":["Monarchy"]},"79791fd6-4a63-5950-8b88-e5b802feebd3":{"name":"Research on the location of Carthage (with 15 illustrated pages)","short_description":"Christian Théodore Falbe, captain of a Danish ship and explorer, was the Tunisian consul before becoming  delegate for the Société pour l'Exploration de Carthage. Fable dedicated himself to developing a new map of Tunis, which required the use of newly developed techniques. He had to use his cunning to be able to draw these plans, as he had aroused the suspicion of the Tunisian population, and ended up doing many of them from the roofs of neighbouring consulates. His pioneering work on Carthage should be seen as part of a greater international movement which had recently taken great interest in this destroyed and long-forgotten city.","holder":"National Library of France","dates":"1833","location":"Paris","artist_birthdate":"1791","artist_deathdate":"1849","translator":"Flaminia Baldwin","keywords":["archaeological excavations","Tunisia"]},"7a02499c-fb97-5223-b10c-18ecc783aeae":{"name":"*Map to illustrate the Route of David Roberts Esq. R. A. in the Holy Land, Petrea and Syria*","short_description":"This map shows the areas visited by the Scottish artist David Roberts (1796-1864) during the 11 months he spent travelling between Egypt, the Sinai, Jordan and Palestine in 1838/39. Roberts subsequently became famous for his meticulous lithographs of Egypt, the 'Holy Land' and other Near Eastern regions, hardly touched as yet by British artists at the time. Maps like this one were provided with each complete set of his lithographs later to help trace the locations Roberts visited and sketched.Roberts' depictions were to become extremely important tools in popularising the ‘Holy Land’ in 19th century British imagination, thus encouraging ever more people to visit, map and survey it. His work also helped to underpin the aspirations and objectives of the Palestinian Exploration Fund, founded in 1865.","type":"Coloured steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","dimensions":"505 mm x 350 mm","provenance":"London","author":"Ulrike Al-Khamis","materials":["Coloured steel engraving"]},"7a241c8e-d68e-5a99-8f6d-768433eb938e":{"name":"Map of the Kingdom of Lombardy-Venetia","short_description":"This map of Lombardy-Venetia from 1827 shows postal routes and information concerning the costs of travelling with the post coaches.","type":"Map","holder":"Austrian State Archives","dates":"1827","location":"Vienna","dimensions":"52 x 35 cm","copy_editor":"Daniel de la Vega"},"7a9b5caa-c0ca-5b9c-a54b-4f65a9d0be8e":{"name":"*Palais de l'Industrie. July to November 1890. International Exhibition of the Industrial Arts and Sciences*","short_description":"The Palais de l'Industrie et des Beaux-Arts was built in Paris in 1855 with the purpose of hosting the first French Exposition Universelle (world fair). Its great glass and metal structure, the \"galerie des machines\", was a symbol of industrial progress. This building, unlike others of its kind, was used for the same purpose right up until 1896, when it was destroyed to make space for the Grand Palais and the Petit Palais for the Exposition Universelle of 1900. For 40 years it hosted a variety of exhibits, all aimed at promoting recent technological innovations.","type":"Poster","holder":"National Library of France","dates":"1890","location":"Paris","translator":"Flaminia Baldwin","keywords":["Universal expositions","industry"]},"7ab5bd97-3948-5e4a-9db2-309afc5b078e":{"name":"A lithographed postcard showing the “Sharif al-Makka al-kabir Aun ar-Raba\"","description":"The figure is Sharif ʿAwn al-Rafiq Pasha, who served as Sharif and Emir of Mecca from 1882 until his death in 1905. Institutional catalogues of his surviving portrait consistently identify him by this name and term of office. The title, “Sharif of Mecca”, referred to the Hasanid descendants of the Prophet Muhammad who governed Mecca. Sharifian government in the city developed from the tenth century and remained one of the most important institutions of western Hijaz politics for centuries. As a member of the Hashemite ʿAwn household, he governed the holy city, exercised authority connected with the Hajj, and negotiated his position with the Ottoman administration, whose recognition remained essential to the sharifate. The Arabic heading was intended to identify him as شريف مكة الكبير عون الرفيق (“ʿAwn al-Rafiq, Grand Sharif of Mecca”), but the name is irregularly and inaccurately written on the card.","type":"Photographic postcard","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1323 / AD c. 1905","location":"Berlin","dimensions":"Height: 12,9 cm; width: 8,8 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Qatar Digital Library, “‘Aun èr-Rafīq, Grossscherif von Mekka’”, Photograph by Christiaan Snouck Hurgronje. Collotype, 1888. *British Library, India Office Records and Private Papers.*  \n  \nSweis, Sami Jiryis, “Hashemite Household Anxieties: The Amirate of Mecca, Arabism, and the Arab Revolt, 1880–1919”, PhD diss., University of Chicago, 2020.","dynasty":"Ottoman","copy_editor":"Danielle Morcom","keywords":["government","Mecca, Saudi Arabia","Portrait","sharifate"],"materials":["Paper, coloured postcard"]},"7ae3021e-1734-5ae1-8790-803fdcd56e67":{"name":"Façade of the Foreign Sections in Palace of the Champ de Mars [Paris Exhibition, 1878]","short_description":"Paris, International Exhibition, 1878. The facade of the foreign sections of the palace in Campo Marte is an example of the forced and unnatural union of different styles into an example of architectural \"pastiche\", typical of Universal Exhibitions.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine","French architecture"]},"7b582bf3-4e6a-5626-8f57-513177ccb1d0":{"name":"*St. Andrew*","description":"Figure type and a diagonal X-shaped cross identify the subject of the work as St. Andrew, a fisherman from Galilee and Christ's first disciple. The elongated figure, with an S-shaped body and one foot forward, is sketched in light outline. The artist's attention is dedicated to the modelling of body volumes and the rendering of a system of draperies in an elaborate network of parallel and crossing lines of varying density and intensity.  \nJosef Winterhalder Sr. came from a family of sculptors in Schwarzwald. After studying at the Vienna Academy he settled in Moravia, in Olomouc and Znojmo. At the beginning of the 1740s, shortly after a trip to Dresden, where he studied sculptures by Balthasar Permoser, he obtained a large commission in Náměšt nad Oslavou. Between 1740 and1744 he created a series of 20 larger-than-life statues of saints and angels in shell limestone for the Náměšt Bridge, one of three of the kind surviving in the Czech Republic. Winterhalder invited the sculptor Alexander Jelínek, member of a renowned family of sculptors from Velké Meziříčí, to collaborate with him. Winterhalder produced several drawings associated with the commission, three of which are preserved in the graphic art collection at the Moravian Gallery. The drawings represent St. Joachim, St. Andrew and St. Michael. Brilliant specimens of Baroque drawings for sculpture they demonstrate the essential part the artist Paul Troger played in shaping Winterhalder's drawing style. Similar drawings have also survived for the decoration of the Dominican Church in Brno.  \nThe drawings of Josef Winterhalder Sr. significantly contributed to the further dissemination of Paul Troger's influence among artists active in Moravia. Winterhalder employed his drawings, for example, in the training of his nephew, the future painter Josef Winterhalder Jr. Winterhalder's drawings were also used by other artists, such as Johann Lucas Kracker.","short_description":"The drawing refers to the decoration of the bridge in Náměšť nad Oslavou, one of the few of its kind to survive. Josef Winterhalder came from a family of sculptors in Schwarzwald. After studies at the Vienna Academy he settled in Moravia, first in Olomouc and later in Znojmo.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Josef Winterhalder Jr.(?)","dates":"1740–1744","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 21.5 cm; w: 15.7 cm","place_of_production":"Vienna? / Moravia?","method_for_datation":"The drawing probably comes directly from the estate of Josef Winterhalder Sr. Its style corresponds with the sculptor’s manner of work.","provenance":"Private owner, Brno","obtention":"The drawing, acquired as early as 1863, is part of a series possibly passed directly from the estates of Josef Winterhalder Sr. and his nephew, painter Josef Winterhalder Jr. In all probability, the series later came into the property of the sculptor Andreas Schweigl and later the archivist Jan Petr Cerroni, Moritz Wilhelm Trapp and Emil Kořistka, all of whom were curators at the Brno museum.","bibliography":"Jiří Kroupa, *Rakouská a moravská kresba 18. století,* Brno, 1985, p. 10, cat. 35.  \nMiloš Stehlík, in Ivo Krsek – Zdeněk Kudělka (ed) – Miloš Stehlík – Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, p. 379, cat. 131.  \nPavel Preiss, *Österreichische Zeichnung des 18. Jahrhunderts. Ausgewählte Werke aus böhmischen und mährischen Sammlungen*, Prague, 1996, p. 71, cat. 32.  \nMonika Dachs, Josef Winterhalder der Ältere und Paul Troger, Definitionsversuch eines Zeichenstils, *Kunstjahrbuch der Stadt Linz* 1996/97, Linz, 1998, pp. 134, 138.   \nLubomír Slavíček, in Jiří Kroupa (ed), *Dans le miroir des ombres. La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 252, cat. 94a.   \nMartin Pavlíček, *Josef Winterhalder st. (1702–1796),* Brno, 2005, p. 152.","artist_birthdate":"1702","artist_birthplace":"Vöhrenbach","artist_deathdate":"1769","artist_deathplace":"Vienna","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Christian themes"],"materials":["Pen and Indian ink on paper"]},"7b607aac-e5db-517f-aaf5-04ce4eb5e62c":{"name":"*Project for a Garden or Park*","short_description":"This project for a park with fountain, covered, possibly, with tiles decorated in Neo-Mudéjar style. The development of urban design was an important subject from the mid-19th century onwards. The Neo-Mudéjar style was selected by the architects for important buildings such as theatres or bull rings or urban spaces as the International exhibition of Barcelona 1888. One of the characteristics of this style is use of brick and tile decoration in the buildings’ interiors and façades.","type":"Drawing","holder":"National Museum of Decorative Arts","dates":"End of the 19th century","location":"Madrid","dimensions":"48 x 74 cm","provenance":"Madrid (?), Segovia (?)","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Architecture design","Parks","Urban facilities","Neo-mudejar style"],"materials":["Paper; ink, watercolour"]},"7b6c2e8c-8a34-50a4-8b04-8c9aeafdbdd9":{"name":"*The Laboratories of the Istituto delle Scienze of Bologna*","alternate_name":"*The Visit of Frederick Christian of Poland to the Istituto delle Scienze of Bologna*","description":"The *Insignia degli Anziani Consoli*, housed in the Archivio di Stato, of Bologna, are documents on parchment commissioned every two months, from 1530 to 1796. These bound 16 volumes celebrate the eight Anziani Consoli and the Gonfaloniere di Giustizia, a group of ruling magistrates. From the end of the sixteenth-century the names of the magistrates were written flanked by their coats of arms and a depiction of a significant event that took place during the bimester of their charge. These manuscripts provide an extraordinary visual chronicle illustrating more than two centuries of the city's history with six pictures a year. This picture, refers to the last bimester of 1739, shows the inside of the Istituto delle Scienze of Bologna during the visit of prince Frederick Christian of Poland. The prince is sitting examining a fortress plan. In the background are visible from the left: the anatomy room, the school of the nude, and the Institute library. On the top is the coat of arms of the eight Anziani Consoli and in the middle, that of the Gonfaloniere di Giustizia.","short_description":"This illumination shows the Istituto delle Scienze of Bologna during the visit of Prince Frederick Christian of Poland. In the middle of the scene, the prince is examining a fortress plan; in the background it is possible to see the rooms of the Istituto.","type":"Illumination","holder":"Archivio di Stato","owner":"Italian State","initial_owner":"Anziani Consoli of the town of Bologna","dates":"November/December 1739","location":"Bologna, Emilia-Romagna","dimensions":"400 x 530 mm","place_of_production":"Bologna","method_for_datation":"The date of the illumination (1739, last bimester), the subject depicted and the patronage (the Anziani Consoli of Bologna) are inscribed in the caption, below the picture.","provenance":"Archive of the Bolognese Senate","obtention":"This illumination, like the whole series, has always been housed in the archive of the Bolognese senate, inside the municipal palace. It was transferred to the Archivio di Stato in 1874, when it was created.","bibliography":"Plessi, G. *Le Insignia degli Anziani del Comune dal 1530 al 1796. Catalogo-Inventario*, Rome, 1954.  \nMatteucci, A. M. “La cultura dell'effimero a Bologna nel XVII secolo”, *Barocco Romano e Barocco Italiano. Il teatro, l'effimero, l'allegoria* (eds. M. Fagiolo and M. L. Madonna), Rome, 1985, pp. 159-173.  \nZanni Rosiello, I. “Le Insignia degli Anziani: un autoritratto celebrativo”, *Società e storia:* 52, 1991, pp. 329-362.  \nCrespi, L. *Vite de' pittori bolognesi*, Rome, 1769.  \nCavazza, M. *Settecento inquieto. Alle origini dell'Istituto delle scienze di Bologna*, Bologna, 1990.","workshop":"Eighteenth-century Bolognese illuminator and engraver","artist_birthdate":"1684","artist_birthplace":"Bologna","artist_deathdate":"1773","artist_deathplace":"Bologna","author":"Massimo Giansante","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["anatomy","coat of arms","Frederick Christian of Poland","Gonfaloniere","Heraldic","illumination","Institute of the Sciences","medicine","science","surgery"],"materials":["Illumination on parchment"]},"7bdd779c-2cc5-578c-a095-d2093ad30ce0":{"name":"*Ornements turcs: Recueil de dessins pour l' art et l' industrie*","short_description":"A large portofolio on the ornament of the Turks as seen by potter Eugène Collinot and the designer Adalbert de Beaumont. The illustrations concern architecural details as well as building interiors, fountains and gates. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1883","location":"Athens","dimensions":"65 cm","provenance":"Paris","author":"Mina Moraitou","keywords":["revival","collecting","book"],"materials":["Printed paper"]},"7bed9553-212c-5af6-83dd-ee400becb038":{"name":"*Rysul Khyma from the SW and the situation of the Troops at ½ past 2 pm, November 13th, 1809*","short_description":"In this image, the artist - a soldier with the British forces attacking and devastating Qawasim strongholds in 1809/10, records the wholescale devastation of Ras al Khaimah on the afternoon of November 13th, 1809. Looking at the town from the southwest, he records in graphic detail the inferno British troups visited on both the town and the Qawasim's majestic dhows. Both are seen being consumed by a firewall of flames, the smoke billowing densely above. A large contingent of inactive British troops is seen standing along the perimeters of the town, unconcerned by the devastation behind them. In the foreground on the left, a group of workers is instructed by British officers to remove  things from a burning builiding, which - interestingly - is marked with a large cross on its side wall. Eye witnesses to this event record that the town was cannonaded since the day before, while troops stormed strategic positions. By 4 pm on the 13th, all the Qawasim's vessels were burning, together with their naval stores and houses, most of which were looted by the British forces.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","dimensions":"505 mm x 602 mm (framed); image: 215 mm x 358 mm","provenance":"London","artist_birthdate":"William Haines: 21/6/1778","artist_birthplace":"Bedhampton, Hampshire, England","artist_deathdate":"William Haines: 24/7/1848","artist_deathplace":"London","author":"Ulrike Al-Khamis","keywords":["dhow"],"materials":["Coloured etching"]},"7c890fcb-159c-520c-b75f-6a2a5003b92c":{"name":"I. Rosellini, *Egyptian and Nubian Monuments*, Pisa, 1832–43: title page","short_description":"Back from the Franco-Tuscan expedition (1828-29), Francois Champollion and Ippolito Rosellini worked on publishing drawings and notes collected during the voyage in Egypt. Unfortunately Champollion died in 1831 (he was only 41 years old) and Rosellini had to carry on the huge project on his own, publishing the texts and also the atlas plates in folio. The original materials for the publication are preserved today at the University Library of Pisa.","type":"Book","holder":"Egyptian Museum","dates":"1842–43","location":"Florence","provenance":"Pisa","artist_birthdate":"1800","artist_birthplace":"Pisa","artist_deathdate":"1844","artist_deathplace":"Pisa","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Campaign in Egypt","Egyptomania","archaeology","Leopoldo II","Charles X","scientific expedition","university","museums","collection","collector","Florence","Pisa","Egyptology","Nubia","Thebes","languages","hieroglyph","epigraphy","Orientalist","travelling artist","botany"]},"7d43c91a-0a38-5919-877a-0cdcb651d523":{"name":"Le Esposizioni del 1911: Roma, Torino, Firenze Milan: F.lli Treves Editori, 1911. Book about the Italian international exhibitions","short_description":"Luigi Bompard (Bologna 1879-Roma 1953) designed the cover for the collection of the magazine dedicated to the International Exhibition of 1911, celebrating the expansion of electric lighting in the city of Turin.","type":"Book","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["International exhibition","universal exposition","Esposizione universale di Roma","progress","celebration of progress","industrialisation","technical innovation","electricity","social change","urban space","city","magazine","book"]},"7d5e25dc-ec5c-5066-946b-cebbacb4f214":{"name":"Napoléon III stands on a bleeding dragon and Napoléon I, descending from the heavens on the back of an eagle, crowns him as the crowds and the army cheer.","short_description":"This print was dedicated to Napoléon III's coronation. Louis-Napoléon, Napoléon I's great-nephew, came to power legally in the elections of 1848. He became emperor in 1852, after a coup d’état in 1851. This print was produced as propaganda, and depicts the French people as overjoyed at having the great-nephew of Napoléon I as their emperor.","type":"Print","holder":"National Library of France","dates":"1852","location":"Paris","translator":"Flaminia Baldwin","keywords":["Empire","propaganda"]},"7dae83ae-6b0d-5576-abbb-164119eb3171":{"name":"*Tunis au XIXe Siècle: Aquarelles et Textes de Charles Lallemand*","short_description":"Book cover. Charles Lallemand's watercolours and drawings of Tunisia in the 19th century remain a vital reference to daily life in 19th century Tunisia to this day.","type":"Book","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Charles Lallemand","waterolours","Tunis","drawings"],"materials":["Paper"]},"7deda599-b0dc-5a5b-a9a1-e34b87edc4f8":{"name":"*The Battle of Abukir 1799*","short_description":"During the French occupation of Egypt, in fact three battles centered on the area around Abukir (Abu Qir), a town on the Mediterranean northeast of Alexandria. The first, in 1798, was a naval battle in which the French were defeated devastatingly by the British navy under the command of Rear Admiral Horatio Nelson. The second battle – shown here – marked a decisive confrontation between Ottoman troops under the command of Sayyid Mustapha Pasha, shipped to Egypt by the British navy, and the occupying French forces led by Napoleon Bonaparte. On the 14th of July 1799, the Ottomans stormed Abukir’s harbor and briefly took control of the city, only to be rebuffed and decisively defeated by the French eleven days later. The scene here appears to mark the moment of surrender. Napoleon Bonaparte, seated on a white horse and surrounded by his officers  is supplicated by Ottoman figures, while fighting still goes on and the smoke of battle continues to billow all around. At sea lie the ships of the British navy – unable to intervene.  The last battle fought near Abukir in 1801 between the French and British helped to prepare the ground for France’s final expulsion from Egypt.","type":"Print","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published around 1820","location":"Sharjah","dimensions":"Image height 253 mm x length 379 mm, overall size 303 mm x 471 mm","provenance":"Published around 1820 by Carle Vernet in his Album *Campagnes des Francais sous le Consulat et L´Empire*","artist_birthdate":"Francois Dequevauvillers: 1745","artist_deathdate":"Francois Dequevauvillers: 1807","author":"Ulrike Al-Khamis","keywords":["Abukir","Abu Qir","Horatio Nelson","Sayyid Mustapha Pasha","Napoleon Bonaparte"],"materials":["Engraving Watercolour"]},"7e0532db-5a04-5c77-87da-7c475f950138":{"name":"Magnetism I - IV (Photogravure), 2012","short_description":"This limited edition of four etchings by Ahmad Mater was published by EOA Projects in 2012. Using iron filings scattered around two magnets (with only one visible), this installation entitled '*Magnetism*' evokes the attraction pilgrims feel towards the Ka‘ba. Ahmed Mater is a doctor and an artist who lives and works in Saudi Arabia. He is widely considered as one of the most important artists in Saudi Arabia and is notable for his particular interest in the development of Mecca.","type":"Photogravure; print; etching","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"2012","location":"London","dimensions":"42x63cm; sheet size: 62x81cm","method_for_datation":"Signed and dated by the artist.","provenance":"Saudi Arabia","obtention":"Acquired at Auctionata, 4 December 2015, lot 83","bibliography":"Mackintosh-Smith, Tim, *Magnetism*, in Ahmedmater: [https://www.ahmedmater.com/magnetism](https://www.ahmedmater.com/magnetism) (last accessed 08-07-2019)","dynasty":"Saud","author":"Qaisra Khan","keywords":["hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["Photogravure etchings on Somerset paper, in Solander Box (set of four)"]},"7ecaa27d-f3a4-5a6b-941d-8b655a5c543d":{"name":"*Ewer in Turkish style*","short_description":"Illustration from C. Lützow (editor), *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, 1875, p. 219.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Photograph from the World Trade Exhibition 1873 in Vienna","location":"Vienna","copy_editor":"Daniel de la Vega"},"7ef4da57-b989-5c8a-b7bd-e74673870ad0":{"name":"Aqueducts around Jericho No.7","description":"An original plan from the survey of Western Palestine showing the aqueducts bringing water from the wadies Fara, Kelt and Nuwayimeh into the Jericho oasis. These aqueducts date from the Hellenistic era onwards, and were used and added to for centuries well into the Islamic era. Note in particular how they feed into the Umayyad period Khirbet al Mafjar, a huge agricultural estate and palace, and the Mamluk period sugar mill, Tawaheen es Sukkar.","type":"Manuscript map, elevation drawings","holder":"Palestine Exploration Fund (PEF)","owner":"Palestine Exploration Fund","initial_owner":"Palestine Exploration Fund","dates":"AH 1290 / AD 1873","location":"London","place_of_production":"Palestine","method_for_datation":"Recorded dates of the survey","method_for_provenance":"Palestine Exploration Fund project","provenance":"Palestine, Survey of Western Palestine field drawing","obtention":"Created for the PEF during the survey of Western Palestine, 1872–1878","bibliography":"Warren, C., *The Survey of Western Palestine-Jerusalem*, London: Legare Street Press, 2022.","workshop":"Palestine Exploration Fund (PEF)","dynasty":"Ottomans","author":"Felicity Cobbing","copy_editor":"Judy Harter","keywords":["Photography, Jericho, aqueduct, sugar mill, Mamluk"],"materials":["Paper, pencil, pen and ink"]},"7f0ad603-e425-5eba-b58f-51c6cd6ff38d":{"name":"*View of Mecca*","short_description":"View of Mecca by Austrian orientalist, Andreas Magnus Hunglinger.","type":"Print","holder":"The British Museum","dates":"1803","location":"London","provenance":"Germany","keywords":["Mecca","Orientalism","hajj","Ka'ba","Hijaz","pilgrimage","pilgrimage route"]},"7f3328c0-a8f7-54b7-800a-d0938adac602":{"name":"Pop-up view of the Masjid al-Haram","short_description":"This pop-up view of Mecca was illustrated by Vojtěch Kubašta and published by Artia in Prague. Vojtěch Kubašta was born in Vienna in 1914 and spent much of his life working as an illustrator, creating children’s books and cards. Having studied architecture but unable to practice during the war, his knowledge of structure is evident particularly in this pop-up view of Mecca. The view made in 1955 illustrates the haram with pilgrims and the Kaˋba at its centre, surrounded by buildings which were removed after the 1960s, for example, the Bani Shayba gate and the building which dispensed Zamzam water. The depiction is very accurate, which suggests that it was likely to have been copied from a photograph. The gateways into the mosque are all labelled and small details such as the roof of the Kaˋba have not been left out. The cover illustrates a man with his hand on the Black Stone and six views on the back include photographs of the main sites of Hajj (e.g. Mina, the Jamarat and Muzdalifa). Artia also published a series of Kubašta’s works in Farsi for the Iranian market.","type":"View; card; memorabilia","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1955","location":"London","dimensions":"Closed: 32.3x23cm; open: 32.3x45.7; height: 14.3cm","method_for_datation":"Vojtěch Kubašta's own privately printed bibliography lists the date of this view as 1955.","provenance":"Europe","bibliography":"Rubin, E., *Pop-Ups, Illustrated Books, and Graphic Designs of Czech Artist and Paper Engineer, Vojtech Kubasta (1914-1992)*, Fort Lauderdale, FL: Bienes Center for the Literary Arts, 2005.","author":"Qaisra Khan","keywords":["Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","photograph","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["Printed paper"]},"80bf7d8a-befa-587f-8452-207110b874a9":{"name":"Map of the Sykes–Picot Agreement and Historical Note","description":"The lines drawn on the map and the lines drawn in the portrait bear the marks of the same authority: both the border and the identity are shaped by the tip of the pen. During the First World War, Britain and France secretly agreed, with Russia’s approval, to divide the Ottoman Middle East. With a few strokes of the pen, new frontiers were drawn across the lands once linked by the Hijaz Railway. These lines silenced local voices, fragmented communities and reshaped territories. Decisions made behind closed doors by imperial powers set the political, social and cultural course of the region for generations to come.","type":"Map","holder":"Bibliothèque nationale de France (BNF)","dates":"1916","location":"Paris","dimensions":"80 x 72 cm"},"81c828fc-8155-513b-b95f-cf8966747f0a":{"name":"*The Romanian pavilion at the world exhibition of 1867*","short_description":"In 1865, the United Principalities of Wallachia and Moldavia were invited by France to participate in the universal exhibition of 1867, that was to take place in Paris. The Romanian government appointed Alexandru Odobescu to negotiate with the Imperial Commission for the Organization of the Exposition the location of the Romanian pavilion. Although the Principalities were under Ottoman sovereignty, the Commission agreed to offer the Principalities their own pavilion next to that of the Ottoman Empire. Odobescu hired French architect Ambroise Baudry, who had been to Romania in 1864 for an archeological mission, to build the Romanian pavilion, which was a combination of architectural elements characteristic of famous Romanian monuments (e.g.: the Stavropoleos Church in Bucharest, the Curtea de Argeș monastery).","type":"Drawing","holder":"National Museum of Romanian History","dates":"1867","location":"Bucharest"},"81c95e16-5933-5305-af8a-2c4021985089":{"name":"*The so-called Rhodian Pottery*","short_description":"A  book on the Iznik pottery of the Ottoman period by the Greek collector and amateur scholar Chr. Nomiko. It contains a dedication by the author to Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1919","location":"Athens","dimensions":"24 cm","provenance":"Alexandria","author":"Mina Moraitou","keywords":["Collecting","book","Greeks","Iznik"],"materials":["Printed paper"]},"81ebd0c7-807d-5447-9cf3-c2bec3c89a89":{"name":"*Matériaux pour un Corpus inscriptionum Arabicum*","short_description":"One of a number of volumes on Arabic epigrapphy by the scholar Max van Berchem (1863-1921) who studied inscriptions from a number of areas in the Middle East.","type":"Book","holder":"Benaki Museum","dates":"1894","location":"Athens","dimensions":"33 cm","provenance":"Paris","author":"Mina Moraitou","keywords":["Book"],"materials":["Printed paper"]},"823a405a-b8cf-5eeb-af76-1bb8e28081d7":{"name":"First issue of *Al-Ahram*","short_description":"*Al-Ahram* was founded in Alexandria in 1875 by two Lebanese brothers, Bishara Takla and Salim Takla. It began as a weekly newspaper published every Saturday. Its first issue appeared on 5 August 1876. The paper was relaunched as a daily newspaper in January 1881.  \nIts headquarters was in Alexandria until November 1899 when it was moved to Cairo. The newspaper was distributed in Egypt and the Levant. The religious innovators Muhammad Abduh and Jamal al-Din al-Afghani were early writers of the newspaper. Upon the death of Bishara Takla, Dawud Barakat, a Lebanese journalist, was named editor of the daily in 1901.","type":"Newspaper","holder":"Bibliotheca Alexandrina","dates":"5 August 1876","location":"Alexandria"},"825ea881-372b-5499-bcbe-096246ecd917":{"name":"Import/export activities between Egypt and Venice in 1868 and the first six months of 1869","short_description":"The items imported from Egypt were cotton, natron (a hydrous native sodium carbonate, used in chemical industry; Egypt had a rich deposit of it in Wadi el-Natrun), coffee, hides, fruit, copper and tamarind roots. The items exported to Egypt included wood and pieces of furniture, fruits and vegetables, butter, bricks and tiles, glass beads, lime, wine, cloth, medicaments, books, and various other products.","type":"Publication","holder":"State Archives of Venice","dates":"1869","location":"Venice","author":"Andrea Pelizza","copy_editor":"Anne Dowell"},"82a512d3-aced-55a2-b8b4-370dfafb5ffc":{"name":"*Théâtre de l'Opéra. \"Aida\". The banks of the Nile (act 3). Set by Jean-Louis Chéret*","short_description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"82ced29b-1974-5648-8a77-a399212ae4e2":{"name":"The horses presented by the Sultan of Morocco to the King of Italy on the occasion of the official visit to Italy by a Moroccan delegation","short_description":"In 1890, the Sultan of Morocco sent Hagi El Maati el Mazamizi as an Ambassador to Italy. The Ambassador landed in Naples on June 7th and arrived by train in Rome on June 13th. At the railway station, he was received by the Mayor or Rome, the Prefect, and other authorities. A military band was playing and military men in high uniform were paraded in the station to greet the Ambassador.  \nOutside the station, three of the King’s gala carriages were waiting for the ambassador and a military unit was paraded in his honour. Some carabinieri in high uniform escorted the ambassador to the hotel.  \nHagi El Maati el Mazamizi presented the King with gifts, including some superb horses that the King immensely appreciated. The King presented the Ambassador with a magnificent small gold and diamond box, and a hunting rifle and gave gold watches to the members of his escort.","type":"Photo published in a journal","holder":"State Library of Modern and Contemporary History","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"82f533fb-66d6-5753-8d34-97a1b983f107":{"name":"Scharf lecture","short_description":"Lecture by George Scharf at what was to become Queen’s College, London. He made large drawings of important objects for the purpose.","type":"Drawing","holder":"The British Museum","dates":"1852","location":"London","provenance":"United Kingdom","keywords":["Assyrian revival"]},"83ca2754-e506-5404-be99-4dd9fa3be1e5":{"name":"Information for Passengers: Beirut, Tripoli, Alexandretta","description":"This advertisement for the Nairn Transport Company, founded in the 1920s, promotes its six-wheeled Pullman buses crossing the desert between Damascus and Baghdad. With timetables linking Haifa, Beirut and Iraq, the service carried both mail and passengers. More than transport, it symbolised modern mobility under the Mandate system, replacing older caravan and railway routes while reflecting new borders and colonial influence in the Middle East.","type":"Printed monograph","holder":"Bibliothèque nationale de France (BNF)","dates":"1932","location":"Paris"},"8452667b-dc79-566c-8b23-9d0b6af62bc0":{"name":"An illustrated album of architecture, including views of Mecca and Medina","short_description":"This large-format volume, entiled *Entwurf einer historischen Architectur in Abbildung unterschiedener beruehmten Gebaeude des Alterthums* (Project for a History of Architecture through pictures of various important buildings from antiquity and foreign people), by Johann Bernhard Fischer von Erlach (1656–1723) was published in 1725, a few years after his death. Fischer was an Austrian architect and in 1705 he was appointed imperial court architect for Joseph I.  \nThe book is considered one of the first to attempt an architectural history of the world. It includes nine Islamic buildings amongst its listing of thirteen ‘*foreign*’ buildings. The line drawings of the Iranian and Ottoman buildings are known to have been sourced from illustrated travellers’ accounts, but the addition of the View of Medina and the View of Mecca are remarkable for their originality. Underneath each picture is engraved explanatory text in German and French and they may be the first representations of Mecca and Medina in a European work.  \nThe plan of Mecca contains some of the known buildings in the *haram*, which are identified by a key, but there is still much confusion about what they are, and although the general plan must have been taken from Ottoman images available at the time, there is much which is incorrect perhaps in an attempt to exoticise the drawings. The view of Medina on the other hand is almost entirely inaccurate and may have been compiled from oral accounts.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1727","location":"London","dimensions":"41.2x57.5cm","method_for_datation":"The date and publication details are included within the book.","provenance":"Europe","bibliography":"Grabar, Oleg. “A Preliminary Note on Two Eighteenth Century Representations of Mecca and Medina”, in *Islamic Visual Culture, 1100-1800: Constructing the Study of Islamic Art*, vol. 2, Hampshire: Ashgate Publishing Limited, 2006. (First published in *Jerusalem Studies in Arabic and Islam*, 25 (2001): 268-74).","author":"Qaisra Khan","keywords":["architectural perspective","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Qur'an","Religion","travel","Traveller"],"materials":["leather binding","Paper"]},"84d4fca3-e4d2-596e-bea2-0a5eda7a5ccf":{"name":"Traditional dress for a *shaykh* or *shaykha*","short_description":"Featured here is the traditional dress for the *shaykh* and *shaykha* of the Keserwan district. The *kubran* is an embroidered jacket (with or without sleeves) made of silk or velvet. The *gumbaz* is a long dress or coat embroidered with gold or silver and sometimes adorned with semi-precious jewels. It consisted of three panels and was split on either side of the body, beginning from the hip area. Other components of this traditional attire were a *mentiene* (blouse), the *shirwal* baggy trousers, a velvet or satin cape with gold or silver embroidery, and a long belt called a *shamle* or *zunnar* made of silk or cashmere depending on the season, and which was wrapped around the waist or hips.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Clothes","Tradition","Luxury","Fashion"],"materials":["The original were made of silk, velvet, gemstones, cashmere, satin, gold, silver"]},"84d5ec45-7bab-5d25-96f2-a48ed1fe7a85":{"name":"*Entrance to Damascus*","short_description":"This coloured engraving by W. H. McFarlane shows the entrance to Damascus by the new French-built road through the Merj, or meadow, west of the city. Most probably this is the carriage road that had been established between Beirut and Damascus in 1863, at a time when most other connecting arterties were mere mule paths. French firms also built railways and ports in Syria during the later 19th century. The Ottoman style building in the background on the right is the Tekkiye Mosque Complex, built on the banks of the Barada river at the orders of Suleiman the Magnificent between 1554-1560 and incorporating a mosque, accomodation, a soup kitchen and a hospice.","type":"Wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1881–1884","location":"Sharjah","dimensions":"192 mm x 233 mm","provenance":"Published in New York","artist_birthdate":"19th century","artist_birthplace":"Unknown","artist_deathdate":"19th century","artist_deathplace":"Edinburgh?","author":"Ulrike Al-Khamis","keywords":["Tekkiye Mosque","Damascus"],"materials":["Wood engraving"]},"85128cd9-af17-5141-b661-afa4f41e6438":{"name":"*Kusejr Amra*","short_description":"An early illustrated publication on the Umayyad Qusayr Amra in Jordan by the Austrian Alois Musil and drawings by the artist A.L. Mielich.","type":"Book","holder":"Benaki Museum","dates":"1907","location":"Athens","dimensions":"41 cm","provenance":"Vienna","author":"Mina Moraitou","keywords":["book","Austria","travels"],"materials":["Printed paper"]},"854b0143-ae03-59b2-a467-18c4378eee8e":{"name":"*Kahveci başı*","short_description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. Chief of the coffee-makers whose task it was to make coffee for the Sultan.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","coffee","Orientalism","travel","traveller","fashion","court life"]},"8590f3c9-9d8b-54dd-b2b2-fadea483c89c":{"name":"*In the year 2000: The tennis lawn; the eaglet hunters; on the road to London (Pas-de-Calais)*","short_description":"The many technological advances of the 19th century stimulated the imagination of contemporary artists. Here, the various possibilities the invention of wings would have offered man are imagined, such as games, fighting and simplified travel.","type":"Lithograph","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Inventions","transports' technical challenges","cartoon","caricature"]},"863f2655-60dd-5322-acff-d958595ed2e2":{"name":"*Società d'Esplorazione Commerciale in Africa*","short_description":"This map shows Italian commercial expeditions in Africa, particularly in Tripolitania and Cyrenaica, between the years 1881 and 1882. In the search for a colonial empire Italy particularly targeted Libyan territory, for political and economic reasons, as well as for its proximity and the fact it once belonged to the Roman Empire.","type":"Map","holder":"National Library of France","dates":"1884","location":"Paris","translator":"Flaminia Baldwin","keywords":["Colonies","economy","Italy","Libya"]},"868c8876-a63c-5812-a3d6-8c1fbf7d0e19":{"name":"*Panoramic view of the Isthmus of the Suez, tracing the canal between the two seas*","short_description":"Between 1859 and 1869, the Compagnie Universelle du Canal Maritime de Suez built a canal joining the Red Sea to the Mediterranean, thus opening up a strategic trade route towards the Indian subcontinent. This panoramic image was drawn by Louis Maurice Adolphe Linant de Bellefonds (1798–1883), artist and explorer fascinated with Egypt who played a key role, alongside Ferdinand de Lesseps, in the planning and construction of the Suez Canal.","type":"Panoramic view","holder":"National Library of France","dates":"1855","location":"Paris","artist_birthdate":"1799","artist_deathdate":"1883","translator":"Flaminia Baldwin","keywords":["Suez canal","Egypt","Ferdinand de Lesseps"]},"868e1d9c-d782-5ab4-a356-d8e849b96e6c":{"name":"*Description de L'Egypte: Antiquités Planches*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. The *Description de l'Égypte* was a series of publications, appearing first in 1809 and continuing until the final volume in 1829, which offered a comprehensive scientific description of ancient and modern Egypt as well as its natural history. It is the collaborative work of about 160 civilian scholars and scientists, known popularly as the savants, who accompanied Napoleon's expedition to Egypt in 1798 to 1801 as part of the French Revolutionary Wars, as well as about 2000 artists and technicians, including 400 engravers, who would later compile it into a full work.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1809–1829","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Egypt"],"materials":["Paper"]},"86f5889a-6b8e-56da-8202-c0ca7f73045b":{"name":"Algerian Corkmaker [Paris Exhibition, 1878]","short_description":"At the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion, as part of the reconstruction of a hypothetical typical neighbourhood. The making of cork-taps was moved from Europe to Algeria to take advantage from the numerous Algerian forests. Taps were both made by hand and by machines and were brought to Europe from Trocadero.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"870e10a2-491d-5ec7-881d-703d19098570":{"name":"*The Babylonian Marriage Market*","short_description":"Print after Edwin Long’s famous painting. Well informed by archaeological discoveries, but based on a story in Herodotus of Mesopotamian life, laced with Orientalist fantasies.","type":"Print","holder":"The British Museum","dates":"1889","location":"London","provenance":"United Kingdom","keywords":["Orientalism"]},"87e70362-8746-56dc-8457-3ebaaa0bc58a":{"name":"Ottoman map of the Romanian countries","short_description":"This is a map of Moldavia and Wallachia dating from after 1812, when following the Russian-Ottoman war of 1806-1812 Russia annexed the Eastern part of Moldavia, thereafter called Bessarabia (which used to be the name by which southern Moldavia was known). The red line marks the new border that the peace treaty of Bucharest (1812) established between the Ottoman Empire and Russia. The light blue line marks the border between Moldavia and Wallachia, the yellow one that between Austria and the Ottoman Empire and the thick blue line represents the border between Bulgaria and Wallachia. The green line marks the frontiers of the Ottoman Empire.","type":"Map","holder":"National Museum of Romanian History","dates":"Beginning of the 19th century","location":"Bucharest"},"8824c22c-0cd4-502b-8da0-b722a3dd6846":{"name":"*Izzedin Yusuf Effendi (1875–1916)*","short_description":"Portrait of Izzedin Yusuf Effendi (1875–1916). He was the heir to the throne. In 1916 he committed suicide.","type":"Print","holder":"Austrian National Library","dates":"1916","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Izzedin Yusuf Effendi"]},"887bfe33-59d1-51d9-bdbb-0669dffbc312":{"name":"*Nebamun tomb paintings*","short_description":"'A study in the Egyptian Antiquity department of the British Museum, London, Published December 1st 1861 by Day & Son, Lith [ogrphers] to the Queen - H[enry S[tacey] Marks'.","type":"Print","holder":"The British Museum","dates":"1861","location":"London","provenance":"United Kingdom","keywords":["archaeology","Egyptomania","exploration","collection","collecting","wall painting","museums","travel","traveller","printing"]},"88e039ef-da59-59a2-bb4a-56259bea2878":{"name":"*French conquest of Tunisia - the battle of Jebel Hadada. 26 avril 1881*","short_description":"Published in a colonial newspaper, this image was intended to highlight the strength of the French army in the face of the Tunisian resistance, which seems unable to hold them back. It depicts one of the episodes which preceded the Treaty of Bardo and took place on the Algerian-Tunisian border near the town of Kef. Zouave troops can be seen at the front of the French troops.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1881","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["Popular resistance","insurrection","occupation"],"materials":["Paper"]},"88f4e317-6501-5591-b5b3-41a03b3515d2":{"name":"*Strike fund*","short_description":"\"Strike funds\" were established during strikes, collecting money which they received from donations and subscription fees. These funds are able to financially support strikers, who no longer received their salaries and therefore had no means of survival. This drawing emphasises the anxiety on the faces of the workers and their families, who relied wholly on this solidarity for their food and lodgings. It also mocks the role of the Minister of the Interior, who was sending in military troops instead of funds. Indeed, many strikes were interrupted by the arrival of military forces between 1899 and 1901.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1901","location":"Paris","artist_birthdate":"1859","artist_deathdate":"1923","translator":"Flaminia Baldwin","keywords":["Strikes","solidarity","France","cartoon","caricature"]},"890b6eec-1fed-550a-92ce-3942e2797947":{"name":"Calligraphic Panel (*Levha*)","short_description":"From the 16th century, calligraphic panels were highly popular in the Ottoman Empire. This one was written by Hüsni in 1877. The style of writing used is *celi sülüs*, or *thuluth*. This style was widely used for inscriptions on buildings and other objects, and a number of individual sheets and large calligraphic panels were also written using this style. Beautifully illuminated religious quotations, written on large panels, were used to decorate mosques. Some of these panels were intended to be painted on tile and were first drafts before the designs were recreated on the tiles.  \nThe manuscript is inside a golden frame decorated with flowers, which help balance the composition. In Arabic, it reads, \"surrender to the command and desire of God and submit to the fate determined by him.\"","type":"Calligraphy","holder":"MKG Museum for Applied Arts","dates":"Hegira 13th century / AD 19th century","location":"Hamburg","dimensions":"Height: 10.5cm, Length: 39.5cm","method_for_datation":"Signed and dated by Hüsni in 1877.","method_for_provenance":"Purchased from Dr. Friedrich Spuhler, Berlin.","provenance":"Turkey","obtention":"Purchased in 1990.","bibliography":"Deroche, F. and von Gladiss, A., *Buchkunst zur Ehre Allahs: Der Prachtkoran im Museum für Islamische Kunst*, Berlin: Museum für Islamische Kunst, 1999.  \nFarhad, M. and Rettig, S., *The Art of the Qur'an : Treasures from the Museum of Turkish and Islamic Arts*, Washington, D.C.: Arthur M. Sackler Gallery, 2016.  \nKarolewski, J. and Köse, Y., \"Wunder der erschaffenen Dinge: Osmanische Manuskripte in Hamburger Sammlunge,\" *Manuscript Cultures*, 9 (2016): 175-190.","dynasty":"Ottoman","copy_editor":"Caitlin Link","keywords":["calligraphy"],"materials":["Marbled paper, ink"]},"892929c1-c076-5866-8b6c-b938d759084c":{"name":"La Marche de la Caravane du Grand Caire pour la Mecque","description":"‘The march of the caravan from Cairo to Mecca’ is an illustration (page 130 ) from volume II of Troisième voyage du sieur Paul Lucas, fait en M.DCCXIV, & c. par ordre de Louis XIV dans la Turquie, l’Asie, la Sourie, la Palestine, la Haute et la Basse Egypte, & c., by Paul Lucas. It is the earliest printed European depiction of the mahmal procession.","type":"Illustration","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"1719","location":"London","dimensions":"Height:16 cm; Width: 35,7cm","place_of_production":"Printed in Rouen, France","catalogue_holding_link":"https://khalilicollections.org/collections/hajj-and-the-arts-of-pilgrimage/khalili-collection-hajj-and-the-arts-of-pilgrimage-la-marche-de-la-caravane-du-grand-caire-la-mecque-arc-pt171/","materials":["Engraved print"]},"898f2296-ee1f-5e48-a6ee-73f0b9a210a9":{"name":"*Head of the Great Sphinx, Pyramids of Geezeh July 17th, 1839*","short_description":"Roberts depicted the Sphinx some twenty years after Giovanni Battista Caviglia had excavated at Giza in 1817 and had cleared masses of sand away from the monument, which up to that point had been buried right up to its neck. Subsequently, he succeeded in clearing the whole front of the Sphinx. At the point of Roberts’ visit, the sphinx was visible from the top of the head to the floor of the temple between its paws. After its initial discovery, the Sphinx soon became one of the foremost fascinations for early European Egyptologists, including Auguste Mariette, the founder and first director of the Egyptian Museum in Cairo, Gaston Maspero, who conducted a survey  of it in 1886, and the British scholar E. A. Wallis Budge.It also proved fascinating for Orientalist artists and artisans all over Europe. In Roberts' artwork, the stone-cut monument is rendered in great detail, carefully recording also the far-reaching damage to the Sphinx’s face, the cause of which had already given rise to much discussion and speculation at the time. The Pyramids in this view are that of Cheops, or the Great Pyramid, seen on the right, and on the left, that of Cephren, also known as the Second Pyramid.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1846","location":"Sharjah","dimensions":"337 mm x 533 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Rpberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"89a137fb-7ff4-50b4-b635-4fb544d4dd2a":{"name":"*Winters in Algeria*","short_description":"Between 1872 and 1873, the famous American Orientalist painter Frederick Arthur Bridgman went on a long trip around North Africa, travelling from Tangier to Algiers, via Tlemcen, Oran, Constantine and Biskra. This trip was the inspiration for his book *Winters in Algeria*, which contains many of his works depicting Algerians' daily lives in the late 19th century.","type":"Book","holder":"Musée National des Beaux-Arts","location":"Algiers","artist_birthdate":"1847","artist_birthplace":"Tuskegee [Alabama]","artist_deathdate":"1927","artist_deathplace":"Lyons-la-Fôret [Eure]","author":"Leila Zeghmi","translator":"Flaminia Baldwin"},"89f4e566-e82c-56e3-b94a-d8bd68a1f680":{"name":"*Tercüman*","short_description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. *Tercüman*, the interpreter of a diplomatic mission.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","Orientalism","travel","traveller","fashion","court life"]},"8a101d28-6d11-5832-8d73-47c11308f989":{"name":"Letter from Father Joseph Yazbek to the Maronite Patriarch Yuhanna el-Hajj","short_description":"A small but growing Maronite community settled in the Chinatown area of Boston in the 1890s. In 1893, the Archbishop of Boston, John Williams, assigned F. Gabriel Korkemaz as the first Maronite priest. He was succeeded by his cousin, F. Stephan Korkemaz, two years later, and shortly afterwards by F. Joseph Yazbek. At the time, the hundred-or-so families that formed Boston's Maronite community worshiped at the St. James' Church on Harrison Avenue. Father Yazbek later bought a four-storey building on Tyler Street, which he remodelled to include a chapel, social hall, and priest's residence. This letter is a copy of a letter sent by Father Yazbek to the Maronite Patriarch Yuhanna el-Hajj, inviting him to the ceremony dedicating the Syro-Maronite chapel to Our Lady of the Cedars of Lebanon.","type":"Print; letter; correspondence","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"24 December 1898","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Letter","Church dedication","Immigrants"],"materials":["Paper, ink"]},"8a229227-3cb6-53ea-978a-a63f9f557d11":{"name":"Patent for the invention of the fountain pen with a replaceable ink cartridge","short_description":"Pedagogue, engineer and mathematician Petrache Poenaru was the first Romanian inventor to obtain a patent. After 1821 he studied in Germany and then in France. While in Paris, he invented the fountain pen with a replaceable ink cartridge, a pen devised to ensure a constant flow of ink, preventing ink leaks, and to allow the replacement of some of the component parts. On 27 May 1827 the Manufactures Bureau within the French Ministry of Internal Affairs granted him for this invention a patent with a validity of five years. Although his invention did not become known at the time and was not commercially exploited, Poenaru is considered to be the first inventor to receive a patent for a fountain pen.","type":"Document","holder":"National Museum of Romanian History","dates":"25 May 1827","location":"Bucharest"},"8a58f4f9-1644-5ff0-8f2d-9e17a9b86098":{"name":"Bills from the Beirut Tramway and Electricity company","short_description":"Two bills from the Beirut Tramway Company. The first is for the value of 22 Ottoman pounds, and is dated to 1 February 1896. The second is for the value of 11 Ottoman pounds and is dated to 1 November 1990.","type":"Print; bill; document","holder":"Khalil Itani's Archive","dates":"1896; 1900","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Tramway","Commerce","Transportation","Bills","Economy"],"materials":["Paperwork, print, handwrite"]},"8a70de1b-8f52-5be5-84b2-f02ae35a3ab5":{"name":"‘Abd-al-Hamid (Abdülhamid) II (1842–1918)","short_description":"Portrait of 'Abd-al-Hamid (Abdülhamid) II (1842–1918). He was born in 1842 in Istanbul. In 1876 he became Sultan and after the lost war with Russia in 1877, he was forced to agree to the 1878 Congress of Berlin. The signatory powers of the congress allowed Austria to occupy Bosnia-Herzegovina, which belonged to the territory of the Ottoman Empire. In 1888 he had to accept the occupation of Tunisia by France. He tried to modernize the Ottoman Empire with the help of Germany, but in 1908 a revolution of Turkish officers forced him to abdicate. He died in 1918 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"After 1876","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["'Abd-al-Hamid (Abdülhamid) II","Congress of Berlin","Bosnia-Herzegovina","Tunisia"]},"8a730c5e-8120-5c99-a9fa-3fffc09ae06e":{"name":"*Théâtre Impérial du Châtelet. Aladdin and the magnificent lamp; the genies of the lamp (ballet).*","short_description":"The tale of Aladdin became very popular following the rise of Orientalism in the 1820s, and became the subject of multiple adaptations for opera and for theatre. In 1863 Adolphe d'Ennery and Hector Crémieux also transformed it into a \"féerie\" (fairy play). This féerie, a genre which chose great legends as its subject and spanned many different mediums (ballet, on-stage special effects) was extremely popular in 1860s France.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1863","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera","dance","theatre","Orientalism"]},"8ab890a6-368e-5ae9-b93d-cadc7d747a78":{"name":"*Rusul Khyma with the attack of the Honorable Company's cruisers on the evening of 11 November 1809*","short_description":"This image records one of the many battles between the fleet of the Qawasim rulers of the lower Gulf and the British, who were determined to end their economic and political hegemony in much of the region and gain overall control of the Gulf as a vital corridor between India, the Middle and Near East, and ultimately Britain.This composition shows the Qawasim stronghold of Ras al-Khaimah with the Hajjar mountains in the background, as seen from the sea by the artist, a soldier participating in the British attack on the town. A small number of British ships are positioned along the coast, and billowing smoke in the background on the right evokes an atmosphere of menace and impending major conflict. The British sent a squadron of frigates to Ras al Khaimah to attack and rout out the enemy. Troups disembarked in the afternoon, and despite all attempts by the Qasimi forces - their bravery and skillfullness even acknowledged by the British - by 10 o'clock the town was in ashes, the powerful fleet of the Qawasim, comprising more than 50 very large dhows, destroyed.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","dimensions":"505 mm x 602 mm (framed); image: 215mm x 358mm","provenance":"London","artist_birthdate":"William Haines: 21/6/1778","artist_birthplace":"Bedhampton, Hampshire, England","artist_deathdate":"William Haines: 24/7/1848","artist_deathplace":"London","author":"Ulrike Al-Khamis","keywords":["Ras al Khaimah","dhow"],"materials":["Coloured etching"]},"8b03882d-24a1-5f9c-9159-8596cb391505":{"name":"*Pulpit on the Platform of the Mosque of Omar*","short_description":"This image, etched after having been originally drawn by Samuel Prout after a sketch made on the spot by F. Catherwood, shows the ‘Minbar al-Saif’ of the Al-Aqsa mosque precinct, on the southern side of the Dome of the Rock in Jerusalem, right next to the south gateway to its raised platform.  Originally built by Saladin in the 12th century, it was later restored in the 14th century by Burhan al-Din, whose name is also used to refer to the structure.  It forms an important part of the Haram al-Sharif revered by Muslims. The third-most sacred site in Islam, it marks Islam’s first qibla and the spot from which the Prophet undertook his night journey to heaven. The image was first published in 'Landscape Illustrations of the Bible', consisting of Views of the most remarkable places mentioned in the Old and New Testaments. From original sketches taken on the spot and engraved by W. And E. Finden. With descriptiions by the Rev. Rhomas Hartwell Horne, B.D. In 2 Vols, Vol 1, John Murray and Charles Tilt, London 1836.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1835","location":"Sharjah","dimensions":"Height 135 mm, width 110 mm","provenance":"Undetermined","artist_birthdate":"Samuel Prout: 17/9/1783; F. Catherwood: date of birth unknown","artist_birthplace":"Samuel Prout: Plymouth, England; F. Catherwood: place of birth unknown","artist_deathdate":"Samuel Prout: 10/2/1852; F. Catherwood: date of death unknown","artist_deathplace":"Samuel Prout: London; F. Catherwood: place of death unknown","author":"Ulrike Al-Khamis","keywords":["Minbar al-Saif","al-Aqsa Mosque","Dome of the Rock","Haram al-Sharif","Jerusalem","Saladin","Burhan al-Din"],"materials":["Engraving"]},"8b529731-afad-5c0e-8816-7664ae89852a":{"name":"Lithographed Qur’an, originally written by Shukr Zadeh (d. AH 1166 / AD 1753)","short_description":"This Qur'an, originally caligraphed by the famous Ottoman calligrapher Shukr Zadeh is the first Qur'an to be printed in an Islamic country by way of lithograpy. It was produced around 1850 AD.While printing had begun in Europe many centuries ago, the Islamic world continued to favour handwritten books, and most certainly as regards copies of the Holy Qur’an. In 1834, the first edition of Gustav Fluegel’s printed Qur’an was published, while in the Ottoman Empire, the printing of Qur’ans began only in the second half of the 19th century, both in Egypt and in Istanbul. Most were lithographed, as they had the look and feel of manuscripts. Most importantly, all the required recitational signs could be rendered accurately.","type":"Lithographed Manuscript","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira 1266 / AD 1850","location":"Sharjah","dimensions":"Height 198 mm x 275 mm (open)","provenance":"Ottoman Turkey","author":"Ulrike Al-Khamis","keywords":["naskhi","sura"],"materials":["Lithographed Manuscript"]},"8b5d0720-2efe-5520-a78a-fe9b5665efab":{"name":"*The Turkish Court; Recollections of the Great Exhibition, 1851*","short_description":"Hand-coloured lithograph by Walter Goodall entitled 'The Turkish Court', plate 20 from a set of 24 in 'Recollections of the Great Exhibition'. Published in London, 1851.","type":"Print; lithograph","holder":"Victoria and Albert Museum","dates":"1851","location":"London","dimensions":"Height: 28.8 cm, Width: 38.1 cm","provenance":"United Kingdom","artist_birthdate":"1830","artist_deathdate":"1889","author":"Victoria and Albert Museum","keywords":["Exhibition","Courts","Great Exhibition","Prints"],"materials":["Paper; lithograph, with one tint stone and coloured by hand"]},"8b73574b-b242-5496-8220-49ca7d6386ab":{"name":"*The Arrival of the Holy Crown at Buda*","description":"The history of the Holy Crown goes back a long way and tells a story full of dramatic event. During the reign of Queen Maria Theresia, the Holy Crown was preserved in Vienna. In 1780, when the Holy Roman Emperor Joseph II (1765–1790), son of Maria Theresia, ascended to the Hungarian throne, the Holy Crown was kept in Vienna but Joseph II refused to be crowned with it or take the coronation oath. For this reason he was named *Pál Ányos*, and this is why his nickname “king of Hut” was widespread all over in Hungary. Following his death, the Holy Crown was returned to Buda in a ceremonial procession to the Royal Castle. On the occasion the diet was summoned there, which had last happened in 1530. The engraving represents the ceremonial procession, and is well known as the first and only example of such a festive event in Hungary.","short_description":"An engraved representation of the return of the Holy Crown of Hungary from Vienna to Buda in 1790.","type":"Print (Engraving)","holder":"Budapest History Museum","dates":"1790","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 72 cm; w: 58.7 cm","method_for_datation":"On the basis of the object itself","obtention":"Purchased from an art dealer between the two world wars in Budapest.","bibliography":"*Budapest* *az Újkorban* (*Budapest in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p.23.","artist_birthdate":"1753","artist_birthplace":"Ebelfeld","artist_deathdate":"1807","artist_deathplace":"Vienna","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","Ceremonial procession","engraving","festivity","Holy Crown","Joseph II Habsburg","Maria Theresia","Pál Ányos","Pest"],"materials":["Engraving on paper"]},"8ba03860-993b-5dbf-9a66-b44cd6b52d86":{"name":"Simplon-Orient Express Poster","short_description":"Roger Broders was a French illustrator and artist best known for his travel posters promoting tourism destinations in France. Broders' illustrations were distinctive for their simple lines and bold, flat areas of colour, combined with noticeable graphical perspective showing the featured mountains and seascapes in the background. Broders' illustrations depicting people show active, elongated figures wearing elegant, contemporary clothes. His posters were simply and boldly lettered identifying the destination, and were supplemented with a brief slogan.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1930","location":"Istanbul","dimensions":"30 1/2 x 42 l/4in / 77.5 x 107.4cm","artist_birthdate":"1883","artist_deathdate":"1953","copy_editor":"Daniel de la Vega","keywords":["travelling","orientalism","İstanbul","express"]},"8bca273e-4101-56b4-9c21-1783781d5f11":{"name":"*The future kingdom*","short_description":"The Franco-Prussian war (1870–71) led to the production of a great number of cartoons, in an attempt to lift morale and stay strong during the difficult conditions of Paris under siege. This cartoon mocks Bismarck and the Prussian soldiers.","type":"Print","holder":"National Library of France","dates":"1870","location":"Paris","translator":"Flaminia Baldwin","keywords":["cartoon","caricature"]},"8c28d282-9632-5ae4-81b1-ed79c1035940":{"name":"Poem","short_description":"This poem was written by Antonio Cappelletti in honour of Emperor Franz Joseph's visit to Cairo on 20 November 1869.","type":"Print","holder":"Austrian State Archives","dates":"1869","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Antonio Cappelletti","Emperor Franz Joseph","Cairo","Egypt"]},"8c2abbac-16e2-5805-a239-068b6318e25d":{"name":"*Hüdavendigar* Newspaper","short_description":"After the *Tanzimat* (reforms), newspapers in Arabic, Persian, Bulgarian, Serbian, Albanian, Kurdish, English, French, Italian and German began appearing in the Ottoman Empire. Some of them were bilingual as Turkish-Greek, Turkish-Armenian and Turkish-Arabic. *Hüdavendigar* was a provincial newspaper of Bursa and it was first published on 19 February 1869. The same year, starting with the 80th issue, the back page was printed in Armenian. The paper was published twice (Wednesday and Saturday) and then four times a week. It was 50 x 25cm. Subscription for a year was 100 kuruş, for six months was 50 kuruş and one issue was 20 para (1/2 kuruş). It continued to be published until 1953 under different names.","type":"Newspaper","holder":"Bursa Basın Tarihi Müzesi","dates":"1869","location":"Bursa","provenance":"Bursa","copy_editor":"Daniel de la Vega","materials":["Paper"]},"8c948912-a36b-5142-9ff7-26c982ac3b28":{"name":"*The opening of the exhibition, by Blass. M. Carnot and his entourage, pass under the Eiffel tower*","short_description":"The Eiffel tower was opened in March 1889 by the President of the Republic, Sadi Carnot, in the presence of several foreign rulers. This inauguration, taking place at a moment of great political tensions, gave rise to many sarcastic comments mocking how the government was using the Exposition Universelle (world fair) for its own gain.","type":"Cartoon","holder":"National Library of France","dates":"1889","location":"Paris","translator":"Flaminia Baldwin","keywords":["World fairs","Paris","cartoon","caricature"]},"8cbe678a-dcda-57dc-87ce-36a2c9a08898":{"name":"*The Tent of the Arabs Sent by the Governor General of Algeria to Guard the Algerian Pavillion at the Trocadero* \\[Paris Exhibition, 1878\\]","short_description":"Paris, International Exhibition, 1878. The text of the magazine describes a big tent built in the garden of the Algerian Pavilion with camel fur, fixed with ropes of the same material and strong bamboo canes. Some Arabian men stayed there, sent by the general Algerian governor, and dressed in the typical light-blue uniform of the \"Turkish people\", or with a red blanket, typical of the region. The Algerian Pavilion was meant to represent the colony through the reproduction of the Campo Marte and Trocadero buildings and also in the garden.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"8ed8ff70-e171-5817-8b08-6644fc9a000d":{"name":"*The Sultan receives the prince Ioan I at his palace in Dolmabahce, Istanbul*","short_description":"In May 1864, prince Alexandru Ioan Cuza dissolved the Parliament and announced his intention of imposing a new constitution (in fact, a modified version of the 1858 Paris Convention, which granted him greater executive powers). Since the Principalities were under Ottoman sovereignty, it was necessary to obtain the sultan’s approval. Therefore, Cuza travelled to Istanbul, where he had several meetings with sultan Abdul Aziz, who eventually recognized the act. Cuza’s visit to Istanbul and its successful outcome were described in an article published on 30 July in the French journal *L'illustration*. The article, written by P. Paget, the journal’s correspondent in Wallachia, was accompanied by a drawing made by Cuza’s court painter, Carol Popp de Szathmar, who depicted one of Cuza’s meetings with the sultan.","type":"Drawing (after a sketch by Carol Popp de Szathmari)","holder":"National Museum of Romanian History","dates":"1864","location":"Bucharest","provenance":"Paris, France","artist_birthdate":"11 January 1812","artist_birthplace":"Cluj, Romania","artist_deathdate":"3 July 1887","artist_deathplace":"Bucharest, Romania"},"8f457f6a-6cb0-596d-bc20-07d4baa579f5":{"name":"*Commercial map, or chart, of the industries, communication lines and main nautical flags and ports of the states of Europe.*","type":"Map","holder":"National Library of France","dates":"1843","location":"Paris","translator":"Flaminia Baldwin","keywords":["Steam boats","railways","trade"]},"8f8640bd-04ac-5181-ba28-bef663422bf2":{"name":"*Panoramic View of Makkah - Arabia (West Asia). Panoramic View of Makkah during the Celebration of the Pilgrimage of the Muslims to the Kaaba, where the religious treasure is guarded*","short_description":"This coloured print, perhaps from a late 19th-century, Spanish newspaper or magazine, shows a birds-eye view of the city of Makkah with the Holy Mosque and Ka'bah at the centre. The view was recorded from one of the rugged mountains surrounding the city. Hundreds of pilgrims are seen to approach from afar and converge on the city gates. that lead to the sanctuary. The print shows close compositional similarities to an early 19th century drawing by the English officer and artist Charles Hamilton Smith (1776-1859). Smith, although not known to have visited the Arabian peninsula, produced an album of drawings - possibly in turn taken from older engravings - with views from Syria, Persia and Arabia sometime between 1818 and 1846.","type":"Engraving","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Authority","dates":"Late 19th / early 20th century","location":"Sharjah","dimensions":"330 mm x 240 mm (image only, without margin)","provenance":"Spain","author":"Ulrike Al-Khamis","keywords":["Ka'bah"],"materials":["Engraving"]},"90753f8b-1041-579e-af7d-41a335a9669a":{"name":"Black Sea: Sevastopol port","short_description":"Founded by Yekaterina II (Catherine the Great) in 1783, Sevastopol became a very active military and commercial port following the Russian annexation of the Crimea. The siege of Sevastopol from 1854 to 1855 was the one of the most critical points of the Crimean War.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","artist_birthdate":"1813","artist_deathdate":"1905","translator":"Flaminia Baldwin","keywords":["Ports","Black Sea","Sevastopol"]},"90898679-94a2-5a74-9442-dce1eaec5acf":{"name":"*Shepherd with his sheep*","short_description":"Sheep husbandry has always been a traditional agricultural occupation in the Romanian lands. Shepherds spent summers in mountainous regions, where they found pastures for their flocks, and descended into lower valleys for the winter. Transhumance is still practiced in Romania. During the Ottoman sovereignty, one of Moldavia and Wallachia's economical obligations towards the Porte was to send sheep, but also sheep wool, cheese, meat and tallow in the Ottoman Empire.","type":"Postcard","holder":"National Museum of Romanian History","dates":"First quarter of the 20th century","location":"Bucharest"},"90bb7321-dadf-559d-862c-6d2c919236d2":{"name":"Disembarking captives at La Goulette Port, Tunis.","short_description":"This document attests to the disembarkment of cargo and captives, abducted in the Mediterranean, at the La Goulette port, Tunis.","type":"Paper","holder":"Archives Nationales","dates":"1800","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Christian captives"]},"9161faa0-4fe2-54c4-a25b-05a4938ccfd9":{"name":"Memorial Volume – Dedicatory and opening ceremonies of the Chicago World's Colombian Exposition – 1893","short_description":"The World's Columbian Exposition or The Chicago World's Fair was a World's Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. The fair was an influential social and cultural event to which the Ottoman Empire had been invited. It displayed raw materials and agricultural products at the exposition, as well as handicraft products and plant products belonging to the palace revenue. The 1893 Chicago Exhibition was a big success for the Chamber of Commerce. The Head of the Chamber of Commerce, Azaryan Efendi, was assigned to the head of the commission, which was formed in Istanbul for the Chicago Exhibition.","type":"Book","holder":"Istanbul Archeological Museums","dates":"1893","location":"Istanbul","provenance":"Chicago, USA","copy_editor":"Daniel de la Vega","keywords":["International Exhibitions","exposition","fair"],"materials":["Paper"]},"919aef03-f815-592e-ab38-dd26eb510ac9":{"name":"*Tughra* (imperial monogram).","description":"Written in pen and illuminated in gouache, this is the *tughra* (imperial monogram) of Suleyman the Magnificent (r. AH 926–73 / AD 1520–66). *Tughra*s were used on documents, or firmans (commands) which were issued by the Diwan (Council of State). This example bears the Sultan’s name, Suleyman Shah, and that of his father, Selim, and the phrase ‘the one who is always victorious’. Within the widest loop, formed by the Han (Title), is an intricate illuminated design. Painted in black and gold are fine floral spirals set against a ground of minute cloud-scrolls. The inner loop is filled with split-palmette scrolls and florets. Further floral- and cloud-scrolls fill the space between the ascending parts of the letters. The spiral design is also found on underglaze painted ceramics. The practice of illuminating the *tughra* was established by the ruler Bayazid II (d. AH 917/ AD 1512), under Suleyman they became ever more elaborate. The subject of the document to which this *tughra* was attached is not known.","short_description":"This copy of the *tughra*, or imperial monogram, of Süleyman the Magnificent is written in black pen. Contained within the curves and lines of the letters are delicate illuminated designs of floral spirals in black and gold.","holder":"The British Museum.","initial_owner":"Süleyman the Magnificent.","dates":"About hegira 956 / AD 1550.","location":"London, England","dimensions":"Height 44.5 cm, width 57 cm.","method_for_datation":"This is the *tughra* of Suleyman the Magnificent (r. 926–73 / 1520–66). Due to the type of illumination employed this particular example probably dates to about 956 / 1550.","method_for_provenance":"The *tughra* would have been inscribed and illuminated at the imperial court of Suleyman the Magnificent in Istanbul, Turkey.","provenance":"Istanbul, Turkey.","obtention":"Donated by E. Beghian in 1949.","bibliography":"Porter, V., Mightier than the Sword – Arabic Script: Beauty and Meaning, Malaysia, exhibition catalogue, 2004, pp.190–1, cat. no. 92.  \n  \nRogers, J. M., Islamic Art and Design 1500–1700, London, 1993, pp.45–6, cat. no. 32.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["calligraphy"],"materials":["Gouache and ink on paper."]},"91b66b55-0c91-5d46-b3bc-af6121a29639":{"name":"Portrait of Mihai Suţu","short_description":"Mihai Suţu was the last Greek prince of Moldova. The Sublime Porte imposed Greek rulers in Wallachia and Moldavia (called “Phanariotes” because they came from Fanar, the Greek neighborhood of Istanbul) at the beginning of the 18th century and maintained them until 1821. During this period some modernizing reforms, influenced by the ideology of the Occidental Enlightenment, were introduced in the Romanian countries. The drawing was made by French artist Louis Dupré, who visited Greece, Istanbul, the Balkan Peninsula and the Near East in 1819 –1820. In the summer of 1819 he arrived in Bucharest together with Mihail Şuţu, whom he had met in Istanbul. He painted Şuţu laying on a red divan, wearing Oriental clothes.","type":"Chromo-lithograph","holder":"National Museum of Romanian History","dates":"1812","location":"Bucharest"},"91c9008b-704b-5717-93d7-868bfaa22521":{"name":"*Asia. Athalide*","description":"In this lithography, Asia is represented as a woman dressed in Turkish style. She is Athalide, the lover of Bayaceto, in a 1762 play by Jean Racine. She wears Circassian clothes. Orientalist painting usually represents Circassian women in the seraglios or harems.","type":"Print","holder":"National Museum of Romanticism","dates":"c. 1830","location":"Madrid","dimensions":"41,9 x 33,8 cm","provenance":"France, Paris","artist_birthdate":"17 October 1776","artist_birthplace":"París","artist_deathdate":"01 June 1860","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell","keywords":["Turkey","Women","Theatre"],"materials":["Paper; ink; lithography"]},"91e561d2-6530-5965-bd21-e1a70b9ef590":{"name":"Air France Brochure","description":"This folding brochure, illustrated by an artist signing as Mariner, advertised Air France services to the Orient and the Far East for the summer of 1939. On its cover, the route runs from London and Paris to Marseille, divides as it crosses the Mediterranean and meets again in the Levant, before continuing to Baghdad and onwards to India, Southeast Asia and Hong Kong, a journey of eight days and more than 15,000 kilometres. A Dewoitine D-338 airliner, cut open to reveal its passengers, crew and cargo, promises comfort as well as speed. At the European end of the route stands a woman in an evening gown, while at the far eastern end another woman appears in East Asian dress. Inside, timetables, fares, visa regulations and currency tables guide the traveller across a map divided by colonial and mandate rule. Before the summer season was over, the outbreak of the Second World War disrupted this network of long-distance civilian air travel.","type":"Affiche","holder":"BNF","owner":"BNF","dates":"1939","location":"Paris","dimensions":"Height: 21,4 cm; width: 47,8 cm","catalogue_holding_link":"https://gallica.bnf.fr/ark:/12148/btv1b10116533s/f2.item.r=Compagnie%20Air%20Orient","keywords":["Advertisment","Art Deco","Flight","Holidays","travel"],"materials":["Affiche"]},"9226b1df-56b3-5ffb-a38d-64b0ff5cec56":{"name":"African slaves working the fields","short_description":"This series of photographs attests to the existence of African slaves working in domestic roles or in agricultural labour.","type":"Paper","holder":"Archives Nationales","dates":"1800","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Slave trade"]},"92c6732e-264e-56fc-b2bd-43a71e310d3b":{"name":"Traditional dress worn by the Emir of the Chouf district","short_description":"This was the formal dress of the Emir of the Chouf district. It consists of traditional *shirwal* trousers and a silk jacket with embroidered patterns.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Fashion","Design","Clothes","Tradition"],"materials":["The original was made of silk and cashmere"]},"940d00ac-1015-5d53-8ce3-ab0f77662dcf":{"name":"Ain es Sultan, 50 sq. miles","description":"An original field map from the Survey of Western Palestine showing the water courses feeding into the Jordan Valley and River in the Jericho oasis.","type":"Manuscript map","holder":"Palestine Exploration Fund (PEF)","owner":"Palestine Exploration Fund","initial_owner":"Palestine Exploration Fund","dates":"AH 1290 / AD 1873","location":"London","place_of_production":"Palestine","method_for_datation":"Recorded dates of the survey.","method_for_provenance":"Palestine Exploration Fund project.","provenance":"Palestine, Survey of Western Palestine field map","obtention":"Created for the PEF during the Survey of Western Palestine, AH 1872 - 1282 / AD 1872–1878","bibliography":"Warren, C., *The Survey of Western Palestine-Jerusalem*, London: Legare Street Press, 2022.","workshop":"Palestine Exploration Fund (PEF)","dynasty":"Ottomans","artist_birthdate":"AH 1872 - 1282 / AD 1872–1875","author":"Felicity Cobbing","copy_editor":"Judy Harter","keywords":["Survey, map, Jericho, aqueduct, Umayyad, Mamluk"],"materials":["Tracing paper, pencil, pen and ink"]},"9438f959-d105-5cd5-890f-56a9cdcc3715":{"name":"*Josef Freiherr Philippovich-Philippsberg (1818–1889)*","short_description":"Portrait of Josef Freiherr Philippovich-Philippsberg (1818–1889). In 1836 Philippovich-Philippsberg joined the Austrian Army. In 1878 he became commander of the Austrian invading forces for the occupation of Bosnia-Herzegovina. On 17 August 1878, Austrian troops occupied Sarajevo. Philippovich commanded Austrian forces in Bosnia until 1880.","type":"Print","holder":"Österreichische Nationalbibliothek Bildarchiv/Portraitsammlung","dates":"c. 1878","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Josef Freiherr Philippovich-Philippsberg","Bosnia-Herzegovina","Sarajevo"]},"94535829-1f7a-57f3-91f8-a5b331e4d1a1":{"name":"Stalactites","short_description":"The artist and architect Jules Bourgoin travelled to Egypt many times. Between 1880 and 1884 he took part in a French archaeological campaign to Cairo, directed by Gaston Maspéro, from which he brought back a number of drawings of Egyptian monuments and Arab architecture.","type":"Illustrated page","holder":"National Library of France","dates":"1890","location":"Paris","artist_birthdate":"1838","artist_deathdate":"1908","translator":"Flaminia Baldwin","keywords":["archaeological excavations","Arab art","Egypt"]},"949e75ce-78cf-577e-95d9-461cc0734d07":{"name":"*On the omnibus (or inside a tramway passing over a bridge)*","short_description":"The question of multi-passenger transport emerged first in capital cities. In the 17th century, Blaise Pascal had the idea of creating transport lines in Paris with scheduled itineraries for horse-drawn carriages seating 8 people. This type of transport saw increasing success in the 19th century as did, on the other hand, the use of cabs with specific destinations. In 1855, all Parisian omnibus companies were merged into the \"Compagnie Générale des Omnibus\" at the request of the Chief Commissioner of the Seine, in a desire to prioritise the movement of tourists visiting the Exposition Universelle (world fair). Steam or fuel-powered tramways were also introduced in the 1870s. This drawing does not accurately reproduce the atmosphere of those overcrowded omnibuses, however, as Mary Cassat chose to foreground a mother who, lost in her thoughts, does not notice the nanny playing affectionately with her daughter.","type":"Estampe","holder":"National Library of France","dates":"1890–1891","location":"Paris","artist_birthdate":"1844","artist_deathdate":"1926","translator":"Flaminia Baldwin","keywords":["Transports","omnibus","Paris","cartoon","caricature"]},"94d92226-8356-5023-81bd-a96c6c114974":{"name":"Design for book cover: *Tres morillas me enamoran*","description":"The influence of the Spanish Muslim art can be seen in this design that references the illuminated books of Alfonso X, King of Castile (1252–1284). The arches, the dresses and the general decoration recall the illuminated pages of the 13th century illuminated books preserved in the Royal Collection and Library.","type":"Design; Print","holder":"National Museum of Decorative Arts","dates":"1910–1936","location":"Madrid","dimensions":"29,9 x 20,4 cm","provenance":"Madrid","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Graphic art","Neo-mudejar style","Architecture"],"materials":["Paper; ink; printed"]},"94ef618f-769f-5a52-9aa5-25aac10e2373":{"name":"London-Baghdad in 8 Days by Simplon-Orient-Express & Taurus-Express","description":"Travel poster depicting the Arch of Ctesiphon (Taq Kasra) and advertising the passenger train route connecting London to Baghdad, operated by the \"Compagnie Internationale des Wagons-Lits\" (International Sleeping-Car Company). The journey combined two rail routes: the Simplon Orient Express from London to Istanbul, and the Taurus Express from Istanbul to Aleppo and Baghdad. Until 1935, the Syrian section terminated at Tel Kotchek, from where motor vehicles transferred passengers to Kirkuk; the final leg to Baghdad was by metre-gauge railway. The poster was issued by the French Paris-Lyon-Méditerranée (PLM) railway company and designed by French illustrator Roger Broders (1883–1953), best known for his Art Deco travel posters commissioned by the PLM, characterised by simple lines and bold, flat areas of colour.","type":"Poster","holder":"Qatar National Library","owner":"QNL","dates":"1931","location":"Doha","dimensions":"Height: 99,8 cm; width: 61,8 cm","place_of_production":"Paris, Lucien Serre & Cie.","artist_deathdate":"1953","catalogue_holding_link":"https://elibrary.qnl.qa/iii/encore/record/C__Rb2800112__SHC.GM.P.2019.0092__Orightresult__X3?lang=eng&suite=def","author":"Giulia Martini","keywords":["Railroad companies -- Middle East","Tourism -- Middle East -- 20th Century. Orient Express","Travel posters"],"materials":["Color lithograph on linen"]},"94f28839-f709-5cc7-bf4c-84a06693c6fe":{"name":"Dust jacket; template for the edition of Heinrich Böll: *Ansichten eines Clowns*. Roman. dtv No. 400. Original drawing affixed to a pre-printed cover showing the title and publisher’s device","description":"Celestino Piatti (1922–2007) was one of the best-known graphic artists in Europe in the last third of the twentieth century. From 1961 to 1992, he designed the look of the Deutscher Taschenbuch Verlag (dtv). A whole generation of readers in German-speaking Europe associates works of world literature with the covers he designed for them. Piatti read all the books whose cover he designed, and confidently translated their key scenes into memorable images. The Swiss National Museum was able to acquire from the artist’s estate over 1,000 print templates, trial proofs, and cover designs produced for dtv.","type":"Graphic design","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1967","location":"Zurich","dimensions":"H: 18cm, W: 10,8cm","method_for_datation":"Documents","provenance":"Switzerland, half-canton of Basel-Landschaft, Duggingen","obtention":"Bought in 2014","keywords":["Ansichten eines Clowns","Basel-Landschaft","Celestino Piatti","Duggingen","Dust Jacket","Graphic Design","Heinrich Böll","Print Template"],"materials":["Gouache on cardstock (paper)","letterpress"]},"957ca713-c1c0-5491-8542-164f00239bf4":{"name":"*Aladdin, or The Magnificent Lamp: sketch of the set for act 1 or act 2*","short_description":"The tale of Aladdin and his lamp was very popular in the theatre and the opera following the rise of Orientalism in the 1820s. Its first performance as an opera in 1822 was so successful that gas was used for the first time ever at the Opéra de Paris, to light up the lamp on stage.","type":"Drawing","holder":"National Library of France","dates":"1822","provenance":"France","artist_birthdate":"1782","artist_deathdate":"1868","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"962e3954-6b7a-5ffb-a881-c31a4aa6530a":{"name":"The Benefits of Hygiene. Hydrotherapy","short_description":"In Italy, the first law that introduced compulsory education (the so-called “Coppino law”) dates back to 1877. Only the first three years of elementary school were compulsory. In 1911, the law extended compulsory education up to the age of 12.  \nDuring the 19th century, illiteracy in Italy was very high: in 1867, almost 70 per cent of spouses who could not sign their marriage certificate because were unable to write; in 1901, there were still about 39 per cent of spouses who could not sign their marriage certificate.","type":"Notebook (archival document)","holder":"Archivio unico regionale di deposito – Solomeo di Corciano","dates":"c. 1908","location":"Perugia","dimensions":"21,6 x 15,7 cm","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"96fe1797-6dfb-529b-ad9e-f9a5fe80e499":{"name":"Page from an Album made for Jahangir","short_description":"This is a two-sided painting with elaborate bordered illustration on one side (verso) and bordered calligraphy on the other (recto). The verso illustration has brilliantly colored scene delineating six human figures and two birds. The whole composition can be divided into three grounds. All the human figures occupy places in the foreground and a youth (central figure sitting on a raised pedestal) is shown in explanatory posture with left hand pointing upwards. He is wearing an orange top (*Jama*) belted on the waist, blue trousers and long boots. On his right an old man wearing a light yellow *jama* and a blue hat is drawn engaged in an argument with the young man. Three other male figures, including a reclining man bent on a club, are standing on the left side of the youth. The reclining man is draped in a yellow top and is juxtaposed in astonishment. The sixth figure, a female attendant, is shown peeping surreptitiously on this dramatic event. A light blue wine vessel can be seen on the grassy (with some flowers) ground.  \nThe middle ground of the composition is comprised of a brown arched architecture with a rectangular inscription, distant dark trees and mountains. The upper ground holds a bright blue sky and large birds of greenish and bluish hues. The entire composition is surrounded by several borders with the middle golden one being the most prominent. It consists of flowers and creepers which enhance the beauty of the whole composition. The entire verso illustration is then surrounded by an elaborate border consisting of many animals and birds in movement. These figures include leopards, lions, deer, rabbits, eagle etc. The broad border is replete with plants and flowers. These are all drawn in gold with touches of colors.  \nThe recto side of the page shows diagonally inscribed calligraphy in Persian within decorative borders. Broad outer border has a scene of falcon hunt and feast shown in gold with sublime treatment of different hues.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Recto calligraphy: Hegira first half 10th century / AD first half 16th century;  \nVerso image: Hegira c. 998 / AD c. 1590; album: Hegira c. 1017-1028 / AD c. 1608–19","location":"Saint Louis","dimensions":"Image: Length: 21.6cm x Width: 12.2cm; Sheet: Length: 42.2cm x Width: 26.5cm","method_for_datation":"Based on artist's life dates.","method_for_provenance":"This painting was made by the Hindu court artist Kesu Dâs, who worked for the Mughal emperor Akbar (1542–1605).The composition is adapted from a 1544 engraving by the German artist Georg Pencz (c.1500–1550) entitled, \"Joseph Telling His Dream to His Father,\" which Jesuit missionaries disseminated in India during the mid-16th century. The scene is on the back of a sumptuously illustrated page with a poem by Mir Ali, who was famous throughout the Persian-speaking world as a calligrapher. Both painting and calligraphy were collected by Akbar’s son and successor, Jahangir (1569–1627). He ordered the pages to be assembled in a special album and given elaborate borders of scenes from a hunt by an unknown but highly skilled court artist.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","bibliography":"Bailey, Gauvin Alexander, *The Jesuits and the Grand Mogul: Renaissance Art at the Imperial Court of India, 1580 – 1630*, Washington, D.C.: Freer Gallery of Art, Arthur M. Sackler Gallery, Smithsonian Institute, 1998.  \nBrand, Michael and Lowry, Glen D., *Akbar’s India: Art from the Mughal City of Victory*, New York: The Asia Society Galleries, 1985.  \nRenard, John (ed), *Windows on the House of Islam: Muslim Sources on Spirituality and Religious Life*, Berkely: University of California Press, 1998.  \nZiad, Zeenut, *The Magnificent Mughals*, Oxford: Oxford University Press, 2002.","dynasty":"Mughal","keywords":["Album","Asia","drawing","German","gold","India","ink","Jahangir","Page","Paper","Pencz","watercolor","watercolour"],"materials":["Ink, opaque watercolor, gold on paper"]},"9844c72d-8d2f-50e5-8d5b-86ef15a82164":{"name":"*Egyptian village scene*","short_description":"Egyptian men and women are seen here in a town or village on the Nile. In the shade of an overhanging tree a market stall displays its wares, including paper lanterns and bread. At the stall behind, sugar cane is for sale. In the background is a mosque with a white minaret, though not distinctive enough to establish the scene's locality. Pilleau had visited Egypt in the winter of 1842-43 with Lieutenant Colonel George Everest (after whom Mount Everest was named) and two other companions, on their way home from India. On his return to England he published a set of twelve coloured lithographs, Sketches in Egypt (1845), which, like the better-known publications of Wilkie, Roberts and Owen Jones in the same decade, fuelled popular interest in Egypt and the Holy Land.","type":"Painting; watercolour","holder":"Victoria and Albert Museum","dates":"1869 (painted)","location":"London","dimensions":"Height: 25.2 cm, Width: 35.3 cm","artist_birthdate":"1813","artist_deathdate":"1899","author":"Victoria and Albert Museum","keywords":["Economy","Market","sugar cane","Egypt","local product","rural life","eating","paintings"],"materials":["Water- and bodycolour over pencil, heightened with white, on blue/grey paper"]},"9a2d1d61-3abf-5d45-a7c7-9550d4cd751a":{"name":"Gold to the country from the [Italian] colony in Tunisia","short_description":"This receipt certified that Leone Moreno (Tunis, 1852-1940) “donated gold to the country” in order to support Italy’s war effort during WWI. Leone was the grandchild of Mosè Moreno, a Jew from Livorno who migrated to Tunis around 1830. In Tunisia, the Morenos became successful in business. Leone’s father and brothers were traders and bankers, while Leone was an agricultural entrepreneur.  \nHe was a nationalist and was one of the Italians who actively resisted the French policy of assimilating the Italians in Tunisia. He employed only Italian workers on his estate and supported the Società Dante Alighieri, a society aimed at promoting Italian language and culture abroad. Leone Moreno also generously supported the Italian hospital Giuseppe Garibaldi and the Italian orphanage “Principe di Piemonte”.","type":"Archival document","holder":"State Archives of Livorno","dates":"Tunis, 1917","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"9b3b7415-4847-52e1-a035-b476f65ee03e":{"name":"Viaduct on the Haifa–Dar‘a line","description":"This postcard depicts a viaduct on the Haifa–Dar'a section of the Hejaz Railway, identified on the image as the ‘Chemin de fer Hamidié du Hidjaz (Caifa–Deraa)’. Published by the Société Lumière of Lyon, it presents the railway’s substantial engineering works within the landscape of Palestine. The postcard was circulated through the Levant, bearing French Levant postage stamps postmarked Beirut, Syria, on 11 October 1905 and Smyrna, Ottoman Turkey, on 17 October 1905.","type":"Photo-Postcard","holder":"The Nasser D. Khalili Collection of Hajj and The Arts of Pilgrimage","dates":"AH 17 Sha'ban 1323 / AD 17 October 1905","location":"London","dimensions":"Height: 8,9 cm; width: 14 cm","place_of_production":"France","method_for_datation":"French levant postage stamps postmarked Beyrouth/ Syrie 11 Oct 05 and Smyrne, Turquie d’Asie 17 Oct 05","dynasty":"Ottoman","author":"Qaisra Khan","keywords":["Engineer","postcard","stamp","Viaduct","water"],"materials":["Paper"]},"9ba9df9d-f2a1-5166-9182-6b24185296d6":{"name":"Map (*Africa magna*)","description":"An 18th-century map of Africa (*Africa magna*), its toponyms are written in Latin.","type":"Map","holder":"General Library and Archives","dates":"Early 18th century","location":"Tetouan","dimensions":"H: 49cm, W: 58cm","materials":["Paper"]},"9c275ab6-ba7e-5a89-909a-fd6b396dc11b":{"name":"A battle between Algerian ships and ships of the Naples Royal Navy, which chased the Algerian ships and ultimately destroyed them by firing cannon shots on 17 May 1792","short_description":"In the 18th century the Kingdom of Naples and the Regency of Algiers were among the countries that competed for the control of trading routes in the Mediterranean and that participated in privateering. Only in 1856, by the Declaration of Paris, did Great Britain and most of other major European countries (with the exception of Spain) declare privateering illegal. By the time, Algeria had already become a French colony. The French military occupation of Algeria had in fact started in 1830.","type":"Drawing","holder":"State Archives of Naples","dates":"1792","location":"Naples","dimensions":"497 x 750 mm","author":"Rossana Spadaccini, Giulia Barrera","copy_editor":"Anne Dowell"},"9c9255a5-9a88-5f13-953c-48f2830112c9":{"name":"Ottoman official document containing the *Tughra*","short_description":"The Ottoman Sultan's certificate presents an expressive, secular form of calligraphy. It is crowned by the ornate, triangular seal of the Sultan, the *tughra*. Here, it is the *tughra* of Sultan Mahmud I (1730-1754). The lines are written narrowly in gold, black and, red ink and each one is written in an upward curve to prevent the possibility of forgery. Official, ornamentally decorated documents, such as this one, would hang in offices or private houses and served as status symbols.","type":"Official document","holder":"MKG Museum for Applied Arts","dates":"Hegira 1150 / AD 18th century","location":"Hamburg","dimensions":"Length: 180cm x Width: 68cm","method_for_datation":"Inscription mentions Sultan Mahmud I (1730-1754) and date Hegira 1150 / AD 1737.","method_for_provenance":"Purchased from Ms. Lienert.","provenance":"Turkey","obtention":"Purchased in 2000.","dynasty":"Ottoman","copy_editor":"Caitlin Link","keywords":["calligraphy"],"materials":["Ink, paper, gold"]},"9cf0fa7d-8af1-5fb8-bd4a-1b1c8b14129b":{"name":"Newspaper *al-Wataniyya*","short_description":"This issue of *al-Wataniyya*, only part of which is shown here, dates to 1 February 1901. *Al-Wataniyya* was a bi-monthly newspaper founded by N. A. Mokarzel and written, edited and printed in Philadelphia, USA. It was distributed internationally.","type":"Print; newspaper","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"1 February 1901","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Newspaper","Immigrants"],"materials":["Paper, ink"]},"9dbfd8cd-e3bf-5f5f-bd09-c7f5a2634953":{"name":"The Students’ Benevolent Fund of the Società Dante Alighieri","short_description":"The Dante Alighieri Society – created in Italy in 1889 and still in existence ‒ is aimed at promoting Italian language and culture abroad; its Tunisian branch was established in 1893. In Tunisia the Dante Alighieri Society devoted its energies into promoting schooling and supporting school attendance. One should consider, in this regard, that the Italian community at the time was composed of workers, miners, and labourers and included several destitute members. The students’ benevolent fund of the Società Dante Alighieri (Patronato scolastico) was created in 1898 and was aimed at supporting school attendance of destitute children, by providing free books and clothes.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"9dcd91c6-e5a8-5dd3-b2fb-aa1eefe94502":{"name":"*Plan of the Suez Canal*","short_description":"This map was printed four years before the opening of the Suez Canal, in a book published in Algiers by the local Chamber of Commerce. It is evidence of the interest that the opening of the Canal aroused in North African countries other than Egypt, because of the business opportunities that it created.","type":"Lithograph from a book","holder":"State Archives of Trieste","dates":"1865","location":"Trieste","author":"Chiara Artico","copy_editor":"Anne Dowell"},"a0dc5e60-a3ed-58a3-8317-2db79e5cbc80":{"name":"Mico Liubibratic (1839–1889)","short_description":"Portrait of Mico Liubibratic. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mico Liubibratic","Congress of Berlin","Bosnia-Herzegovina"]},"a12c9928-1d6f-5b1e-814c-74692d5b8de6":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911)","short_description":"Portrait of minister Sayed Ahmed Pasha Arabi (Urabi). In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Urabi","Arabi","Egypt"]},"a34c17e6-990c-5cb0-95c0-c85297eb94e1":{"name":"*A Mamluk Resting with his Horse*","description":"The Mamluks were excellent horsemen and aroused the attention of artists like Carle Vernet and Sebastian of Bourbon, a member of the Spanish Royal family. Artists did not need to have journeyed to the Near East or Arabia to be labelled Orientalists. This is a good example, because the authors did not travel to the Near East.","type":"Print","holder":"National Museum of Romanticism","dates":"1827","location":"Madrid","dimensions":"48,2 x 62,7 cm","provenance":"Madrid","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell","keywords":["Orientalism painting","Egypt","Mamluks"],"materials":["Paper; ink; lithography"]},"a3bc9b66-ff10-54b0-b271-4ef2ef26a367":{"name":"*King Solomon’s Mines*","short_description":"The book is a narrative of an expedition to East Africa, in search of gold - the King Solomon's mines; a pretext for an imaginary trip to a part of the world that at the end of the 19th century attracted travellers, scientific explorers, adventurers and travellers: the delta of the Nile in Africa.","type":"Book","holder":"National Library of Portugal, Digital Library","dates":"1891","location":"Lisbon","dimensions":"19 cm","keywords":["Literature","Travel","Africa","Adventure"]},"a3c1cda7-3cd5-5acd-9fe6-bbcc3a97be64":{"name":"Photograph of Bab Idris street","description":"Pictured here is Bab Idris street, leading to Bab Idris, the city's western gate and the entrance to the old town. By the time of Ahmad Bey al-Jazzar's reign (1777–1804), the city had four main gates: Bab al-Dirka to the south, Bab al-Santiya to the west, Bab al-Dabbagha to the north, and Bab al-Saraya to the east. Jazzar Pasha built fortifications between these four main gates, which was not a fortified gate. Other city gates included Bab Yaqub, also in the east, Bab Abu Nasr at Burj square, and Bab Idris. These non-military gates are reflections of the city's rapid expansion, particularly due to an increase in trade.","type":"Photograph","holder":"Beirut Municipality","dates":"1919","location":"Beirut","author":"Hady El Hajj, Jennifer Harb, Cynthia Karaki","copy_editor":"Flaminia Baldwin","keywords":["Gate","Military","Fortified","Portal","Expansion"]},"a3cbcd9b-cf11-5b68-9f33-19a8c46c9df8":{"name":"Map of the Ottoman province (vilayet) of Damascus marking the Hijaz Railway line in red.","description":"The map is part of the Pocket Atlas of the Ottoman Lands: The Geographical and Statistical Conditions of the Ottoman State. It depicts the territories extending from the Hama region in the north through Damascus, the Hauran, and Jordan to the northern Hijaz. A red line begins at Hama and continues southward, representing the Hijaz Railway. A western branch extends toward the Mediterranean coast, corresponding to the railway connection between the main line and Haifa. The principal heading reads سوريه ولايتى, Vilayet of Syria. The vilayet was the principal provincial administrative unit established under the Ottoman provincial reforms of the nineteenth century. Vilayets were divided into sanjaks, and beneath the title the map identifies the four sanjaks of Damascus, Hama, Hauran, and Karak.","type":"Map, pocket atlas","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH 1324 / AD 1905","location":"Berlin","dimensions":"Height: 14,2 cm; width: 9,3 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Masters, Bruce, *The Arabs of the Ottoman Empire, 1516–1918: A Social and Cultural History*, Cambridge: Cambridge University Press, 2013.","dynasty":"Ottoman","copy_editor":"Danielle Morcom","keywords":["Hijaz","Map","Syria","trainline","Türkiye"],"materials":["Paper, printed coloured pocket atlas"]},"a3cd6343-e399-52fc-beca-9b8315cf4639":{"name":"*Panorama of the Compagnie Transatlantique* (French Line). *The \"La Ville de Rome\" steamer leaving the port of Algiers via Montenard*","short_description":"The emergence of steam boats in the 19th century allowed important maritime trade relationships to develop. In 1855, the Pereire brothers adopted this new method of transport and founded the Compagnie Générale Transatlantique (The French Line). The first line built served New York. In the 1880s the company then established an important line from Marseille to North Africa, which consisted of a 12-steamer strong fleet, the \"sister ships\" of the \"Ville de Rome\", which was first put into use in 1881. In March 1889, the \"Ville de Rome\" was run aground and washed up on the shores of Menorca. The passengers were evacuated in time, but the storm caused the wreck of the ship to break in two.","type":"Photograph","holder":"National Library of France","dates":"1889","location":"Paris","translator":"Flaminia Baldwin","keywords":["Transports","boats","ports","Algeria"]},"a434b4ec-9d28-510b-baac-35beab8f46ee":{"name":"A map of the area around the 'Turkish graveyard' in the town of Livorno (Tuscany). The graveyard is represented as a small green rectangle","short_description":"In 1762, Muslims living in Livorno were granted a plot of land outside the city walls, near the beach, to build a graveyard (highlighted in green in the map). The graveyard remained in use until the second half of the 19th century. A Muslim graveyard existed in Livorno even before the 18th century. A significant Muslim community lived in the town. Its first members were captives taken to Italy as slaves. Muslim traders settled in town as well. In 1856, the graveyard was enlarged and surrounded by walls. In 1872 it was demolished to build a road and some of the graves were moved to the city graveyard.","type":"Map","holder":"State Archives of Livorno","dates":"1852","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"a4ee987f-15bb-56a1-b262-8f402df53ad9":{"name":"*Inside a Jewish household*","short_description":"This copy of a beautiful watercolour by Charles Lallemand shows the inside of a bourgeois Jewish household. This snapshot of daily life reveals a great deal of similarity between Jewish and Muslim traditional dress and interiors.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Judaism","Jews in Tunisia"],"materials":["Paper"]},"a508bec6-1ea4-51c9-b5d8-a70ddc2a7baf":{"name":"*Dans le harem: Divertissement Arabe.* For piano.","short_description":"Musical composers' fascination with the \"Orient\" manifested itself in their music and their titles. The sphinx, for example, was a recurring symbol of \"Egyptomania\".","type":"Sheet music","holder":"National Library of France","dates":"1894","provenance":"France","artist_birthdate":"unknown","artist_deathdate":"1903","translator":"Flaminia Baldwin","keywords":["Music","Orientalism","harem"]},"a532878c-9737-5402-a686-e8febd96a222":{"name":"*Klemens Wenzel Lother of Metternich-Winneburg (1773–1859)*","short_description":"Klemens Wenzel Lothar of Metternich was the leading diplomat at the Congress of Vienna (1815) who organized the balance of power between the European states. The core of Metternich's policy was supporting Austrian hegemony in Italy and preventing Russian hegemony in Germany. In the German Confederation, there existed an equilibrium between Austria and Prussian influences. Metternich's so-called \"balance of power\" politics ensured peace in Central Europe for a generation.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"a541b832-d774-57c4-adb6-f83fd670fffc":{"name":"Museo Nazionale Preistorico Etnografico “L. Pigorini” (National Museum of Prehistory and Ethnography), Exhibition Room","short_description":"The origins, in terms of scientific activity and conservation, of the Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the “Regio Museo Nazionale Preistorico Etnografico di Roma\" (Royal National Museum of Prehistory and Ethnography). Initially the museum was located in a wing of the Palazzo del Collegio Romano built in the late 16th century by the Society of Jesus. This rare image represents the old arrangement of one of the rooms of the Roman College, where the collection of antiquities and curiosities gathered together by Father Athanasius Kircher was kept after the foundation of the museum. According to the intentions of its founder, Luigi Pigorini, the purpose of this new institution was not only to gather together the remains of Italian prehistoric culture and the \"primitive\" cultures of other European and non-European peoples in a central museum located in the new capital of the Kingdom, but above all to support, promote and participate in research by palethnologists in Italy.","type":"Photo from Magazine","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"Post 1912","location":"Rome","dimensions":"18 x 24 cm","author":"Mario Mineo, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Paleoethnology","archaeology","exploration","anthropology","natural history","material culture","academy","Jesuits","Egypt","Egyptology","collection","collector","exoticism","curiosities","wunderkammer","Museum Kircherianum","Baroque","languages","Arabic"],"materials":["Gelatine bromide negative impressed on glass plate"]},"a553f0d5-43fe-535b-9d07-0aff49e30b7f":{"name":"*Portrait of Father António Vieira*","alternate_name":"*Vera effigies celeberrimi P. Antonii Vieyra*","description":"In this engraving Arnold van Westerhout represents the humanist, António Vieira, as a man of knowledge and a father of the Society of Jesus. His gaze extends beyond the horizon: whether towards Brazil where he grew up or to Lisbon, the home he always defended with the staunchness he employed to preach the Christian faith. The Flemish artist concentrates on António Vieira's facial expression to heighten his altruistic character which is shown in constant reflection about the human condition and his own experience of it.  \nThis painting celebrates António Vieira's exemplary life dedicated to the defence of human rights, whether to those of Brazil's indigenous peoples or the Jews persecuted by the Inquisition.  \nBorn in Lisbon in 1608, António Vieira departed to S. Salvador da Bahia with his parents at the age of six. He entered the Society of Jesus in 1623 and become a priest 12 years later. He played a fundamental role in the relationship between Jesuits, coloniser and the indigenous peoples of Brazil, exhibiting in his sermons an anxiety about the socio-political conditions that would characterise his missionary activity. With knowledge of the languages and costumes of the Brazilian Indians he was a missionary and a preacher with a humanistic vision.  \nFollowing independence from Spanish domination, Vieira returned to Lisbon where he became an important figure in the court of King João IV. He rapidly became a key player in state decisions and helped re-establish the Portuguese Empire's economic, political, diplomatic and religious profile in Lisbon and in the most important colony at the time, Brazil. In the latter, and at Vieira's advice, the Commercial Company of Brazil was instituted with two intentions: to resist Dutch invasion and to foment the recovery of local sugar production with the objective of export to Europe.  \nIn Lisbon he proposed economic reforms that would force a change in the doctrine of the Inquisition. He terminated the distinction between 'new-Christians' and 'old Christians' in order to attract the investments of Jews who had fled the Kingdom. The idea generated a conflict with the Society of Jesus and the Dominicans, which resulted in António Vieira being persecuted by the Inquisition.  \nLater in his life he was one again accused of heresy. This was as a result of a letter he sent to the Bishop of Japan in which he outlined his *Theory of the Fifth Empire*. Here he predicted that Portugal was predestined to be the next grand empire following the Assyrian, Greek, Persian and Roman.","short_description":"An engraving by Arnold van Westerhout of António Vieira, a Portuguese Jesuit Priest, writer and preacher. As a senior diplomat as well as a missionary in Brazil, he became both an influential figure in Portuguese culture and in the defence of human rights of indigenous peoples.","type":"Engraving","holder":"National Library of Portugal","owner":"Biblioteca Nacional de Portugal","dates":"c.1700–1721","location":"Lisbon, Lisbon","dimensions":"H: 17.5 cm; w:12.4 cm","place_of_production":"Italy, Rome (?)","method_for_datation":"Historical evidence and stylistic analysis","provenance":"Italy, Rome (?)","obtention":"Acquisition","bibliography":"Frota, G. de Andréa, *Padre António Vieira: ensaio bibliográfico relativo ao Brasil*, Lisbon, 1966.  \nCidade, H., *Pe. António Vieira: a obra e o homem*, 2nd edition, Lisbon, 1979.  \nSilva, M. M. da, *Padre António Vieira \\[Texto policopiado\\]: génese do discurso oratorio*, Tese doutoramento em Literatura Portuguesa, Universidade de Lisboa, 1987.  \nBorges, P. A. E, *A plenificação da história em Padre António Vieira \\[Texto policopiado\\]: estudo sobre a ideia de \"Quinto Império\" na \"defesa perante o Tribunal do Santo Oficio\"*, Lisbon, 1988.","artist_birthdate":"1651","artist_deathdate":"1725","author":"Rui Oliveira Lopes","translator":"Filipe Canas da Silva","translation_copy_editor":"Mandi Gomez","keywords":["Brazil","engraving","sermon"],"materials":["Aqua-fortis and burin (“cold chisel”)"]},"a5573b67-ec0a-5821-8939-6d5d975f2b8a":{"name":"London–Cairo in 7 Days by Train. Simplon-Orient-Express","description":"Travel poster showing the silhouette of a woman carrying a pot on her head among palm trees by the Nile, with the pyramids in the distance, advertising the London–Cairo route via the Simplon Orient Express and its connecting services. Operated by the \"Compagnie Internationale des Wagons-Lits\" (International Sleeping-Car Company), the journey combined the Simplon Orient Express from London to Istanbul with onward rail, road and sea connections through Anatolia, the Levant and Palestine, reaching Cairo in approximately seven days. Designed by French illustrator Jacques Touchet (1887–1949), known for his work in magazine and book illustration, the poster dates to 1930.","type":"Poster","holder":"Qatar National Library","dates":"1928","location":"Doha, Qatar","dimensions":"Height: 99,6 cm; width: 61,5cm","place_of_production":"Paris, Lucien Serre & Cie.","artist_birthdate":"1887","artist_deathdate":"1949","catalogue_holding_link":"https://elibrary.qnl.qa/iii/encore/record/C__Rb2800306__SHC.GM.P.2019.0106__Orightresult__U__X3?lang=eng&suite=def","author":"Giulia Martini","keywords":["20th Century","Middle East","Orient Express","railway companies","Tourism","Travel posters"],"materials":["Color lithograph on linen"]},"a565ef0e-9407-5de9-8ab2-05297761a4c9":{"name":"*Amphitheatre at El Jem*","short_description":"This drawing is by Sir Grenville Temple. The Amphitheatre of El Jem is seen as a symbol Roman Tunisia. Sometimes called the Colosseum of Ancient Thysdrus (El Jem), this amphiteatre is the only in the world, other than the colosseum of Rome, to have preserved all three of its tiers. Considered the most beautiful monument of ancient Africa, the Amphitheatre of El Jem was listed as a World Heritage Site by UNESCO on 26 October 1979.","type":"Engraving/Etching","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Amphitheatre","El Jem","colosseum","Rome"],"materials":["Paper"]},"a5ace29e-e1bf-5a09-9df7-66c7741b63b4":{"name":"*Odalisque*","short_description":"Sepia drawing representing odalisque, based on an epoch engraving. Painted by Joaquim José de Oliveira, Victor Rousseau’s disciple and master of painting and drawing of the Vista Alegre Factory, between 1869 and 1881.","type":"Drawing","holder":"Vista Alegre Museum","dates":"After 1869","location":"Vista Alegre, Ílhavo","dimensions":"C 49,2 x L 40,2","keywords":["Arts and Crafts","Daily utilitarian ware","Portugal","Vista Alegre","Factory","Orientalism"],"materials":["Paper; sepia watercolour"]},"a63d4087-1cd4-5ec4-b4ee-b445f990556b":{"name":"*Chargeurs réunis. French steam-travel company (with destinations in South America)*","short_description":"At the end of the 19th century, France tried to catch up with its counterparts in the arms trade, as it had begun to fall behind England, Germany and others in recent decades. Commercial interests also played a part. In 1872, the Compagnie des Chargeurs Réunis established a maritime relationship between France and South America for the movement of passengers and merchandise. As this poster shows, they put great emphasis on the different services passengers were provided aboard these steamers.","type":"Poster","holder":"National Library of France","dates":"1887","location":"Paris","translator":"Flaminia Baldwin","keywords":["Transports","boats","ports"]},"a7135e6b-1b7e-5ddf-9568-b2daa5ac8d45":{"name":"Louis Pasteur's work on silkworm illnesses. *Healthy Worms*","short_description":"Silkworm farming developed in both France and Italy from the 15th century. Over-intensive farming caused the spread of various silkworm-based illnesses in the mid-19th century. Louis Pasteur, the famous scientist known for his work on the rabies vaccine amongst other things, was called on to find a cure. In 1870 he published *Une Étude sur la Maladie des Vers à Soie*, in which he proposed the use of various preventive methods, which proved effective. Pictured here is an illustration of silkworms immune to illness.","type":"Drawing","holder":"National Library of France","dates":"1870","location":"Paris","translator":"Flaminia Baldwin","keywords":["Products","silk"]},"a73e56c5-c169-5488-aff8-8af1170f4be3":{"name":"“The conqueror of Europe”","short_description":"In Italy, the pandemic of influenza of 1918, known as “Spanish flu,” caused about 600,000 deaths out of a population of about 40 million. Around the world, it caused around 20 million deaths.  \nThe name derived from the fact that Spain – which did not participate in WWI – unlike other Western countries did not have press censorship, and so the news regarding the epidemic made headlines on newspapers. However, the epidemic did not start in Spain, but in China, then spread to the USA and arrived in Europe involuntarily carried by the US soldiers dispatched overseas.  \nIt hit particularly hard because the population was weakened by the hardships caused by the war and many medical doctors had been drafted, leaving civilians with insufficient medical assistance.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"13 October 1918","location":"Rome","artist_birthdate":"1873","artist_birthplace":"Mantova","artist_deathdate":"1948","artist_deathplace":"Milano","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"a7580d59-2cc3-599d-bd19-8d4d84fa37af":{"name":"Compagnie Air Union Lignes d'Orient : [affiche]","description":"Designed by Jean Olivier in 1929, this Art Deco poster for Air Union's Lignes d'Orient announced a weekly seaplane mail service from Marseille to the Eastern Mediterranean. A simple silhouette of a seaplane hovers over bands of blue and sprayed white that suggest sky, cloud and sea at once. Below, the timetable promises that a letter posted on Saturday morning would reach Naples the same afternoon, Athens on Sunday and Beirut on Monday. An arrow beyond Beirut points further east, towards the routes the company would soon open.","type":"Affiche","holder":"BNF","owner":"BNF","dates":"1929","location":"Paris","dimensions":"Height: 60 cm; width: 39,5 cm","catalogue_holding_link":"https://gallica.bnf.fr/ark:/12148/btv1b101049858/f1.item.r=Compagnie%20Air%20Orient#","keywords":["Advertisement","Airline","Art Deco","Holidays","travel"],"materials":["Affiche"]},"a7c8b211-e332-5686-9c0a-beed901d97e7":{"name":"Austria's display, Rome Exhibition, 1911","short_description":"On the occasion of the International Exhibition of Rome in 1911, the complex of the \"Baths of Diocletian” was restored under the direction of the archeologist and topographer Rodolfo Lanciani. The site housed the Archaeological Exhibition dedicated to the Roman culture in the Imperial Era with a particular interest for its positive influence on the \"ex provinces”. Every single nation participated through original reproductions of archaeological materials, often lost. The photo shows archaeological materials and casts displayed in the room dedicated to Austria.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Esposizione Internazionale di Roma","post-unitarian Italian society","nationalism","celebration of Ancient Rome","Roman empire","map","topography","reconstruction","model","exhibition building","exhibitions and urban spaces","archaeological findings in urban context"]},"a7ce0231-54e8-5757-928a-48c3c0b66585":{"name":"Süleymaniye waterway map.","description":"The Süleymaniye waterway map is handmade on unfinished paper. The waterway was designed to supply water to the entire complex of the mosque, including its *imaret* (soup-kitchen), *maristan* (hospital), *maktab* (school) and public fountains. Fed by the Aypah (Kirazlı) and çınar springs, the highest-capacity branches of the Halkalı water supply system, this waterway supplied the Süleymaniye Complex as well as 80 other points in Istanbul. The map shows the waterway in detail from its source all the way to its end, including the places where it is joined by other waterways, the points where it enters the city through the walls, and especially the water-distribution centres and aqueducts.  \n  \nThe map was prepared without a scale and has a schematic style. Therefore, many structures and neighbourhoods cannot be precisely placed. At the far end of the map there is the drawing of the Süleymaniye Complex.  \n  \nSuch waterway maps tell the story of water from springs being conveyed via pipes, crossing valleys in aqueducts, its pressure adjusted at certain points, being sent off in various directions at distribution centres and reaching public fountains. These maps also provide information about the urban structure; how people lived, and the infrastructure and buildings in a given quarter. For example, the Roman Aqueduct of Valens (AD 375), known as Bozdoğan Aqueduct in Turkish is introduced as 'the big aqueduct in the Horse Market'. The names of the people and the structures receiving water from this aqueduct are also given. The water of the Halkalı network could be distributed to private estates only on the written permission of the sultan. For instance, we find the house of Süleyman the Magnificent's dentist, Moshe Hamon, (AH 899–962 / AD 1490–1554) listed as 'House of Hamudoğlu'.  \n  \nFrom the Süleymaniye Complex waterway map, we learn not only how the water was brought to the city but also about the quarters where the courtiers and dignitaries resided. Therefore, the waterway maps are important for describing the social topography of the city.","short_description":"Istanbul has always suffered from water shortage due to a lack of sufficient springs nearby and its demand was met by conveying water via aqueducts from afar. Waterway maps provide information about the routes from the springs to the city, monuments on the way and the social structure of the city.","type":"Paper, ink","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira second half of the 12th century / AD 18th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 2572 cm, width 30 cm.","method_for_datation":"Although the map does not have a date it is clear from the names of people and structures therein that this is an 18th-century document. For example, it is known that water was supplied to Taygun Palace in 1161 / 1748, a building shown on this map; therefore, this map must have been prepared after 1161 / 1748.","method_for_provenance":"The map does not bear any date. However, that our copy is an 18th copy is clear from the names of people and structures given therein. For example, it is known that water was supplied to Taygun Palace in 1161 / 1748, a building shown on our map; therefore, this map must have been prepared after 1161 / 1748. Public services such as the water supply were under the supervision of the state and due to this fact the waterway would have been designed and constructed by the official architects of the Topkapı Palace.","provenance":"Istanbul, Turkey.","obtention":"The map was transferred to the museum in 1923 from the Directorate of Supplies for Pious Foundations.","bibliography":"Aksoy, Ş., “İstanbul'un Suyolları (Waterways of Istanbul)”, *P Dergisi (P Magazine)*, 22 (Summer 2001), pp.17–29.  \n  \nçeçen, K., *Süleymaniye Suyolları (Süleymaniye Waterways)*, Istanbul, 1986.  \n  \nçeçen, K., *Halkalı Suları (Halkalı Water Supply System)*, Istanbul, 1991.  \n  \nYerasimos, S., *Soliman le Magnifique*, Paris, 1999, cat. no. 323.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Şule Aksoy","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["water"],"materials":["Paper, ink, coloured paints."]},"a9007630-d81f-5724-87ad-6fc202c954e3":{"name":"Gufas (Quffas) on the Tigris at Baghdad","short_description":"This stereoview by the Keystone company (a reprint from an older negative) was part of a popular box-set of images about Mesopotamia. They were sold across Europe. The text on the reverse contains description of the geography, architecture (explanation of minarets, lament at the absence of fine buildings through devastation of the city by fire, habit of wealthy to live in unpretentious houses to avoid the attention of the Turkish taxman) and history, plus brief caption in half a dozen languages.","type":"Engraving","holder":"Private Collection","dates":"Before 1914","location":"London","provenance":"United Kingdom","keywords":["boats"]},"a91be56f-fdaa-598c-a438-db2d0512a2e7":{"name":"*Athenian Bride*","short_description":"Louis Dupré (1789–1837) visited Greece in 1819. He exhibited Greek subjects at the Salons of 1827, 1831, 1833 and 1855. In 1825 he published a set of colored lithographs of views and studies of costumes from Greece, entitled *Voyages à Athènes et Constantinople*. Dupré recorded his experiences of travel in the Levant in 1819 mainly through portraits of the people he met. In addition to the lithographs in this book, Dupré also produced loose broadsheet lithographed plates. Many of these are in the possession of the Cabinet des Estampes of the Bibliothèque Nationale. Much has been written on Dupré. *Athenian Bride* depicts the preparations of an Athenian wedding. The bride patiently waits as the groom is ritually shaved.","type":"Lithograph","holder":"Benaki Museum","dates":"1825","location":"Athens","author":"Tsigakou, The Rediscovery of Greece, p.191","keywords":["travels","Greece","Dupre"],"materials":["Lithograph"]},"a9495bdc-29e8-5ac4-be85-88883d1f30cd":{"name":"*Madame Josephine the Landlady of the Hotel Constantinople in a Turkish Dress*","short_description":"From Sir David Wilkie's *Sketches in Turkey, Syria & Egypt*, 1840 & 1841. Shows what would have been a familiar to face to many travellers.","type":"Print","holder":"The British Museum","dates":"1840","location":"London","provenance":"Turkey","keywords":["hotel","women","fashion","costume","Orientalism","travel","traveller"]},"a98c40f6-a4df-55c5-b720-2e843d2d4af6":{"name":"General view of the excavations in the crypt of the Saint-Geneviève monastery, in 1807.","short_description":"Although only the library remains today, in the 18th century there used to be a great monasterial complex - the Abbey of Sainte-Geneviève - next to the Church of Saint-Etienne du Mont in Paris. The monastery was destroyed to make space for the construction of the Panthéon and Rue Clovis. The architect Bourla, who was tasked with its demolition, made a great number of sketches and organized many excavations in the crypt, where a number of sarcophagi were discovered. His son Alexandre, who had helped out on the site as a child, worked on the drawings that illustrated the archaeological reports.","type":"Drawing","holder":"National Library of France","dates":"1850","location":"Paris","artist_birthdate":"1795","artist_deathdate":"1850","translator":"Flaminia Baldwin","keywords":["archaeological excavations","Paris","Sainte-Geneviève"]},"ab544580-373f-5233-aec7-0fcf8aeb0acf":{"name":"*Milovan Bohekowich (-1900)*","short_description":"Portrait of Milovan Bohekowich. Bohekovich was the commander of Montenegrin forces fighting the Turks.","type":"Print","holder":"Austrian National Library","dates":"Before 1900","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Montenegro"]},"aba67976-e763-523c-b6b8-d3d8d4b775b6":{"name":"Spread from lithographic-printed publication","description":"Despite Arabic lithographic printing arriving late to Morocco, the government did its best to catch up and printed a considerable number of books in all disciplines.","type":"Manuscript; book","holder":"Library of Qarawiyyin University","dates":"1909","location":"Fez","keywords":["Printing","lithograph","book","manuscript","social changes","technical innovation","literacy","illiteracy"]},"abac828d-5728-5fdb-8767-366c5beb8fa5":{"name":"Café du Marabout in the Souk Ettrouk","short_description":"This copy of a beautiful watercolour from Charles Lallemand's book Tunis et ses Environs shows the Café el-Mourabit in the Turkish souk, also known as the tailors' souk, in the Tunis medina near the Zaytuna Mosque. The café was especially known for its Andalusian architecture. The customers sit on mats sipping coffee, leaning on archways and pillars.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"Early 19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Souk","café","Marabout","Turkish"],"materials":["Paper"]},"ac179872-390d-5c7a-ab3a-2c5e56a1e7df":{"name":"Showcasing architecture","short_description":"This collecting card commemorates the 1889 Exhibition in Paris. Visitors were able to satisfy their relentless curiosity about other cultures through exploring recreations of houses from foreign and past cultures.","type":"Chromo","holder":"Private collection","dates":"1889","location":"n/a","provenance":"France","keywords":["Assyrian revival"]},"ac5b0f5f-98d9-556f-869d-b17cc4a654a2":{"name":"*The Gate of the Roman*","short_description":"Since King Otto (1833–1863) made efforts to transform immediately ruinous Athens into a European capital worthy of its erstwhile glory, around the mid-nineteenth century spectacular changes were made in the urban planning structure and morphology of the city. A reliable image of Athens at this time is given by Du Moncel in his book *Vues pittoresques des monuments d’Athenes*. This particular representation of Athens is the Roman Agora (Forum Romanum), natural continuation of the ancient Agora, was built c.10BC, the Gate of Athena Archegetis, which is depicted here. In Ottoman times this Roman gate was known as the Pazaroporta (Bazaar Gate), because it was used as the entrance to the bazaar, the commercial centre of Athens, which occupied the area between the Roman Agora and the Library of Hadrian.","type":"Lithograph","holder":"Benaki Museum","dates":"1845","location":"Athens","author":"Athens 1985, no 205 (F-M Tsigakou)","keywords":["travels","Athens"],"materials":["Tinted lithograph on paper"]},"ac642d3b-bbff-52e1-97f4-243c52c3dde5":{"name":"'You are not worthy to sit among your classmates!'","short_description":"When Italy became a nation state in 1861, the illiteracy rate in the country was 78 per cent. Illiteracy was particularly high in the countryside. In 1877, the “Coppino Law”, made three years of elementary school mandatory and free of charge.","type":"Drawing from a book","holder":"Archivio unico regionale di deposito – Solomeo di Corciano","dates":"1908","location":"Perugia","dimensions":"19 x 13,5 cm","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"acce08e9-8aba-5eba-b44c-f4bb89218e20":{"name":"*The Grammar of Ornament*","short_description":"A monumental work by Owen Jones on design with 20 chapters dedicated to the traditions of different historical periods ranging from the savage tribes, the arts of the ancient world, the arts of the Middle East and the Far East to European art. The last chapter is devoted to naturalistic ornament.","type":"Book","holder":"Benaki Museum","dates":"1910","location":"Athens","dimensions":"34 cm","provenance":"London","artist_birthdate":"1809","artist_deathdate":"1874","author":"Mina Moraitou","keywords":["book","design","revival"],"materials":["Printed paper"]},"acfa76a9-edd6-5f50-bcf6-fef161aa398e":{"name":"*Catholic mission to Brazzaville: freeing enchained slaves at Saint-Louis d'Oubangui*","short_description":"Despite the abolition of the slave trade in 1848, slavery continued to exist in 19th century Congo in other forms. Missionaries went to Congo with the aim of freeing these slaves, partly for ethical reasons but partly also in the hope of converting them, and often by buying them first with their own special funds.","type":"Photograph","holder":"National Library of France","dates":"1907","location":"Paris","translator":"Flaminia Baldwin","keywords":["Education","missionaries","abolition of slavery","confessional schools","Congo"]},"ad19e46b-73be-59de-b600-34195f9350aa":{"name":"*Crystal Palace in Oporto*","short_description":"The Crystal Palace was built a decade after its counterpart in London, by Thomas Dillen Jones, to house the Oporto’s International Exhibition that congregated about 3 thousand stands from all over the world. By promoting such exhibition, Portugal sought not only to keep pace with progress but also to promote its own colonial empire.","type":"Painting","holder":"Soares dos Reis National Museum","dates":"1863","location":"Porto","dimensions":"98,7 x 65,9","artist_birthdate":"1820","artist_deathdate":"1906","author":"DGPC","keywords":["painting","iron architecture","international exhibition","Oporto"],"materials":["Watercolour on paper"]},"ad3c4a56-381f-553f-b5a5-133f25218054":{"name":"A telegram from the Khedive of Egypt to the Ottoman sultan","short_description":"A telegram from the Khedive of Egypt to the Ottoman Sultan expressing his loyalty and best wishes on 15 December 1897.","type":"Telegram; historical document","holder":"Bibliotheca Alexandrina","dates":"15 December 1897","location":"Alexandria","copy_editor":"Daniel de la Vega","keywords":["Ottoman Sultan","Khedive of Egypt","Telegrams"]},"ae99c07a-63eb-5689-9082-49c9d484164e":{"name":"*Suq al-Hamidiyya, Damascus*","short_description":"The Suq al-Hamidiyya, built in 1886 and 1894, is by far the biggest and most famous suq in Damascus. This bazaar street also links the two most important historic buildings, the Umayyad Mosque and the Citadel. It was built along its western section by incorporating earlier structures, whereas the eastern part of the street was a completely new construction cutting through the existing buildings. The commercial thoroughfare is 450 metres long and 8.70 to 9.90 metres wide, its enormous size and the high standard of its execution accentuate new design principles. So in various respects, this suq is a very interesting example of structural change in a traditional commercial centre.","type":"Photograph; postcard","holder":"Museum of Islamic Art at the Pergamon Museum, State Museums","dates":"1910","location":"Berlin","author":"Stefan Weber"},"af6de1c1-aac3-5b48-9d6c-1e99228574c4":{"name":"Military personnel records","description":"The information sheets are part of the medical examination prior to the training of the new recruits. The newly enrolled were destined for the Protectorate which, due to the pressure of public opinion, refused the presence of Spaniards in that area.  \nThe records, along with a pair of photographs, gathered information on individuals’ social and professional backgrounds, as well as descriptive data and anthropometric values. Those values were used by the Medical Corps to determine the minimum size permitted to enter in the Army, but they were also important according to the existing racial theories in Spain.  \nThe sheets refer to these soldiers as “Moors” in a generic way, a colloquial and sometimes pejorative term of Latin etymology, which alludes to the population of the Maghreb with no regard to their origin, ethnicity or beliefs.","type":"Photograph","holder":"National Museum of Anthropology","dates":"19 August 1913","location":"Madrid","dimensions":"8 x 5,5 cm","copy_editor":"Anne Dowell","keywords":["Photography","War"],"materials":["Silver gelatin print, paper"]},"b0efd48f-c5dd-580f-97dd-0300a02b3fc2":{"name":"*La Tunisie martyre*","short_description":"*La Tunisie Martyre: Ses Revendications* (better known by its abbreviated title, *La Tunisie Martyre*) is a Tunisian book written in French and published in Paris in January 1920, attributed to Abdelaziz Thâalbi (Abdelaziz al-Thalibi). Having arrived in Paris on 10 July 1919, Thâalbi started writing a book by the title *Tounes al-Shahida* (Tunisia the Martyr). Although the published book does not bear his name, Thâalbi admitted to having written it in Arabic, as can be seen from the reports sent from Tunis by the future leaders of the Destour party. As he was not able to write in French, he asked his friend Ahmed Sakka, a lawyer living in Paris, to translate the book into French. A few months after the publication of *La Tunisie Martyre*, an arrest warrant was issued for Abdelaziz Thâalbi. He was arrested on 28 July 1920 in Paris, and transferred, by escort, to Tunis, where he was taken to the military prison and charged with jeopardizing national security.","type":"Book","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"20th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["Abdelaziz Thâalbi (Abdelaziz al-Thalibi)","demands","protectorate"],"materials":["Paper"]},"b111e780-75c2-51e3-bb5c-dda0ea9e3015":{"name":"Execution of the nationalists","short_description":"Pictured here are three Tunisian men sentenced to death and a photograph of a public execution using a guillotine brought over especially from Algeria. These two young men, barely 20 years old, were implicated in the events of the 7 November 1911, known as the Jellaz Affair. The memory of this execution is still alive today in Tunisia.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1861","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["Popular resistance","insurrection","occupation"],"materials":["Paper"]},"b29cbfc5-92ab-5924-883e-7d561e5c7761":{"name":"*Temple and fountain of Zaghwan*","short_description":"This drawing of the temples and fountains of Zaghwan was drawn by Sir Grenville Temple in the mid-19th century. The triumphal arc and the nymphaeum are carved with two important tales from the city's ancient history. This water temple, located at the feet of Mount Zaghwan, contains a 30 metre long semicircle nymphaeum, bordered on the inside by arched galleries fitted with various niches. At its feet lies a pool, flowing with water which is then carried all the way to Carthage.","type":"Gravure","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Temple","Fountains","Zaghwan"],"materials":["Paper"]},"b3ad190f-fed9-546e-924a-e3b7f2699f23":{"name":"*The Ka'ba in Mecca*","short_description":"Émile Prisse d'Avennes (1807–1879) drew this plan of the Ka'aba in Mecca, a detailed view of the place of pilgrimage which had so fascinated Europeans.","type":"Drawing","holder":"National Library of France","dates":"1858–1859","location":"Paris","artist_birthdate":"1807","artist_deathdate":"1879","translator":"Flaminia Baldwin","keywords":["Mecca","pilgrimage","buildings of worship","plan"]},"b424ad60-28d9-5e2b-8050-b9eeeaa8a7c0":{"name":"*Book bindings*","description":"This illustration shows book bindings made by Wunder und Kölbl (Vienna), in leather-mosaic and hand gilding. The illustration was included in the *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, edited by Carl Lützow, 1875, p. 188.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1875","location":"Vienna","copy_editor":"Daniel de la Vega","materials":["Print showing book bindings made by Wunder und Kölbl"]},"b4f64de8-89f2-5608-a2d6-f642d0ce7827":{"name":"*Cairo, from the Gate of Citizenib, looking towards the Desert of Suez*","short_description":"Although entitled 'Cairo from the Gate of Citizenib, looking towards the Desert of Suez', this view actually shows Cairo as seen from Tel Zaynum, situated to the south of the city. The monuments depicted include the tombs of Fatimah Khatun and Sultan Khalil on the left and the mosque of Sayidah Nafisah on the right. In the background, one can discern both the Cairo citadel on the right and the Madrasah of Sultan Hassan on the left. Notwithstanding the incorrect identification of this area of Cairo, the scenes gives a good impression of one of its quarters with its traditional urban architecture and historical monuments before major urban development projects were undertaken under the Khedive Ismail (1863-1879), who was determined to turn Cairo into a modern, international city  on a par with European capitals.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1849","location":"Sharjah","dimensions":"602 mm x 424 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","keywords":["Fatimah Khatun","Sultan Khalil","Sayidah Nafisah","Madrasah of Sultan Hassan","Khedive Ismail"],"materials":["Lithograph"]},"b5036b5d-8c8a-54bc-9e98-cd2351f8ef63":{"name":"*Djouni. The residence of Lady Hester Stanhope*","short_description":"William Henry Bartlett was a prolific topographical artist who travelled extensively in search of new and interesting subjects for his drawings. He visited North Africa and the Middle East seven times and made several other trips in Britain and Europe, as well as North America. Popular demand for travel books was high during the 1830s and 1840s and Bartlett contributed illustrations to several of them including about a dozen written by himself. His aim as he described it was 'to give lively impressions of actual sights'. Bartlett visited the celebrated Lady Hester Stanhope, a British adventurer and traveller, at her residence in Joun in the Lebanon in June or July of 1834 and produced this watercolour during his visit.","type":"Painting; watercolour; drawing","holder":"Victoria and Albert Museum","dates":"c. 1835","location":"London","dimensions":"Height: 12.1 cm, Width: 19 cm","artist_birthdate":"1809","artist_deathdate":"1854","author":"Victoria and Albert Museum","keywords":["Joun","Lebanon","women","Romanticism","travel","traveller","drawing"],"materials":["Brown ink and wash"]},"b5237ac5-6bde-593f-8bf3-56257cd8a060":{"name":"Tunisian Coffee Shop at the Trocadero [Paris Exhibition, 1878]","short_description":"A half circular hall arranged as an Oriental coffee shop with a Tunisian orchestra of four musicians playing typical instruments. The instruments played are a lute, a type of violin used in the Middle Ages, a little drum decorated like a cymbal and a derbuka, which is a terracotta drum shaped like a particular vase.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine","traditional music","musical instrument","entertainment"]},"b532b295-4380-5ea9-951e-1e3a7150eff2":{"name":"The Central Asian railway. Proposal for a direct line from Europe to India.","short_description":"Charles Cotard was an engineer and graduate of the famous École Polytechnique who dedicated his life to developing new transports. As the engineer-in-chief during the digging of the Suez Canal, he offered Ferdinand de Lesseps a partnership, with the goal of creating a railway line from Europe to India. The biggest obstacle to his plan was the number of hilly or mountainous regions which needed to be crossed. However, Charles Cotard saw many diplomatic and economic opportunities (such as closer relations between England and Russia) in this venture. The map's caption shows the new route's predicted cost and time for passengers compared to the current available routes.","type":"Map","holder":"National Library of France","dates":"1875","location":"Paris","artist_birthdate":"1835","artist_deathdate":"1902","translator":"Flaminia Baldwin","keywords":["Railways"]},"b5762c66-bf5b-5b77-bfe4-6c9e135ce487":{"name":"*Entrance to a Private Mansion, Cairo*","short_description":"The Scottish artist David Roberts spent six weeks in Cairo. In his times, Arab architecture was much less known in Europe than that of ancient pharaonic temples, and Roberts' images of ancient and modern Islamic architecture in Cairo were the first window into this ‘exotic’ world for many Europeans. This image shows the monumental, two tiered, marble entrance portal to a Cairo mansio.Although the entire building is not shown, the composition evokes some of its most characteristic aspects: the walls are high and windowless, protecting the inhabitants' privacy. At the same time, a delicately carved, openwork alcove or mashrabiya projects above the entrance portal to allow air and light into the room behind and to provide those within the chance to observe life outside without being seen themselves. With the arrival of major urban development in Cairo from the mid 13th/ 19th century onwards, many traditional buildings were either erased or modified to reflect the new European-style tastes of the urban elite. In the process, the traditional courtyard-style layout of Cairene houses was was often replaced by European-style designs, and traditional architectural elements like mashrabiyas made way for the latest in European technology, including glass pane windows.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1849","location":"Sharjah","dimensions":"610 mm x 423 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","keywords":["mashrabiya"],"materials":["Lithograph"]},"b5f42e1e-ecb3-55b6-8189-981be88d8626":{"name":"National loan 1920. *Banque National d'Escompte de Paris… National loan, 1920, 6%... Sign up for a loan and save in the future…*","short_description":"As the First World War was proving longer and more costly than predicted, the French government took out two loans in 1915 and in 1918 to fund weaponry and other wartime expenses. After the war, more loans were taken out to rebuild the country. Posters with simple messages were used to persuade the population that these loans were beneficial to the country, and would have huge returns. We can see on this poster, for example, a French cockerel standing on a horn, a symbol of abundance, from which money is overflowing.","type":"Poster","holder":"National Library of France","dates":"1920","location":"Paris","artist_birthdate":"1849","artist_deathdate":"1923","translator":"Flaminia Baldwin","keywords":["States","loans"]},"b64a1bbb-e3ff-5209-9c78-7304ea9b3d7d":{"name":"Water Well","description":"This powerful and emotional drawing reflects everyday life, community and endurance. The artist uses a limited colour palette of dark, soft tones to create a haunting atmosphere. At the centre, a group of women stand close together around a dark well, while a solitary figure stands apart, carrying heavy containers. The scene is both quiet and heavy, conveying the physical and emotional weight of their daily labour.  \nThe well itself becomes more than just a source of water; it also symbolises life, connection and memory. The women's bent figures and joined forms suggest unity and cooperation, as if they rely on one another for strength and survival. Their faces are not clearly visible, giving the image a universal quality and turning the women into symbols of resilience and shared struggle rather than individuals.  \nThe artist’s use of shading and blurred lines gives the drawing a dreamlike and timeless quality, as if the moment exists in both the past and the present. The open space and faint background add to the sense of isolation and endurance in a harsh environment.  \nOverall, *Water Well* powerfully and poetically captures the intersection of women’s labour, community and survival. The simple composition and muted tones draw attention to the emotional depth of the scene, reflecting not only daily life in rural Jordan, but also providing a broader commentary on strength and perseverance.","type":"Drawing / Painting","holder":"Jordan National Gallery of Fine Arts","dates":"AH 1396 / AD 1976","location":"Amman","artist_birthdate":"AH 1367 / AD 1947","artist_birthplace":"Jordan","catalogue_holding_link":"https://nationalgallery.org/artist/mohammed-abu-zreiq/#artwork-16","keywords":["art","water","watercolor","Well"],"materials":["Watercolour"]},"b7235782-b04a-58a3-83e1-28d83ed8c19d":{"name":"*Plan for the House of the Invalids in Pest*","description":"The engraving and etching was made after the original drawing by the imperial architect, Anton Erhard Martinelli (1684–1747), for the largest Baroque building, the House of the Invalids in Pest. The building, which was never finished following Martinelli's original plans, is today the City Hall of Budapest.  \nThe building, which was originally used as a military hospital, has three gates, the central one leading to the former chapel where there are allegorical figures of *War* and *Peace* with a statue of *Atlas* above. The façade is decorated with reliefs commemorating Emperor Charles III and Eugene of Savoy. The foundation stone was laid in 1716, and the main façade was finished in 1731. With the death of the architect, Martinelli, construction of the building stopped in 1741. During the reign of King Joseph II it became a casern named after the founder, Charles III. It became the City Hall in 1894 and was transformed for the purposes of the central office by the architect Ármin Hegedűs.","short_description":"A printed *veduta* using a mixed technique showing the plan of the largest Baroque building in Budapest – the House of the Invalids in Pest – designed by Anton Erhard Martinelli (1684–1747). The building, which was never finished following Martinelli's original plans, was rebuilt at the end of the 19th century as the City Hall of Budapest, for which use it is still inhabited today.","type":"Engraving, etching (*veduta*)","holder":"Budapest History Museum","dates":"1739","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 42 cm; w: 57.5 cm","method_for_datation":"On the basis of the signature","obtention":"Transferred from the Capital’s collection in 1945","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 23.","artist_birthdate":"1703","artist_birthplace":"Augsburg","artist_deathdate":"1761","artist_deathplace":"Vienna","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Budapest","engraving","Habsburgs","hospital","Joseph II Habsburg","medicine","print","science","surgery","warfare"],"materials":["Engraving and etching on paper"]},"b7682ec7-12af-5614-9211-58be3ac85cee":{"name":"*On sale everywhere. The 1900 Paris Exposition Universelle, an illustrated publication with around 2000 engravings…*","short_description":"The 1900 Exposition Universelle (world fair) saw the publication of many related articles, guides and other works. This poster is advertising a booklet, featuring illustrations by various famous artists. These booklets were later collected and bound together to make an Encylopaedia.","type":"Poster","holder":"National Library of France","dates":"1900","location":"Paris","artist_birthdate":"1845","artist_deathdate":"1916","translator":"Flaminia Baldwin","keywords":["World fairs"]},"b776a817-c7d7-51b1-8767-4441833fd7a5":{"name":"*The Progress of Steam: A View in White Chapel Road, 1830*","short_description":"Steam engines carried a great variety of goods in the 1830s. This English cartoon imagines the chaos the widespread use of collective and individual carbon-fuelled transport systems would bring (pollution, noise, cumbersome, etc.) to one of London's great arteries, Whitechapel Road. These vehicles provided fashionable services such as on-board coffee.","type":"Print","holder":"National Library of France","dates":"1830","location":"Paris","translator":"Flaminia Baldwin","keywords":["Transports","steam","London","cartoon","caricature"]},"b7e5dd09-cf9b-5310-9343-8db43d0c9114":{"name":"*The Emperor of Austria ascending the Great Pyramid*","short_description":"William Simpson wrote in his autobiography: \"I went out one day and saw the Emperor of Austria lugged to the top of the Great Pyramid by two Arabs as if he had been only an overland passenger\". Many visitors were unceremoniously hauled to the top of the monument by local inhabitants, helping unfit and often overweight tourists to clamber up the huge blocks. Emperor Franz Joseph was one of many European dignitaries in Egypt in November 1869 for the opening of the Suez Canal. Simpson was employed by the Illustrated London News as their \"Special Artist\". Photography would soon replace such drawings.","type":"Watercolour","holder":"The British Museum","dates":"1869","location":"London","provenance":"Egypt","keywords":["Suez"]},"b84ae82c-3c44-5a73-ae00-06a543d2035b":{"name":"Dr Béchir Denguezli, doctoral thesis in medicine","short_description":"Pictured here is the cover of a doctoral thesis in medicine, written by Béchir Denguezli at l’Université de Bordeaux in 1897. Dr Béchir Denguezli was the first Tunisian doctor to study at a French university, and his thesis was on the subject of smallpox.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Tunisian doctors","hospital","vaccination"],"materials":["Paper"]},"b8bb387e-75d0-55d8-89ae-9322c204928c":{"name":"Simplon-Orient Express Poster","short_description":"The Orient Express, owned by the Wagon-Lits Company, connected Paris and Istanbul between 1883 and 1977. French, German, Austrian and Ottoman diplomats and civil servants were on board for its first journey. In the early years, the travellers stayed in different hotels in Istanbul but starting from 1895, passengers stayed exclusively in Pera Palace, which was bought by the Wagon-Lits Company. The Orient Express did not run during World War I, from 1914 to 1918.","type":"Poster","holder":"Ömer M. Koç Collection","dates":"1930","location":"Istanbul","artist_birthdate":"1800","artist_deathdate":"1893","copy_editor":"Daniel de la Vega","keywords":["travelling","orientalism","İstanbul","express"]},"b8eb5b08-b02d-5e85-84ad-fa6eec012b1c":{"name":"The Route of the Overland mail to India; Aden","short_description":"Lithograph, tinted with one or two tint stones, in a portfolio stamped in blind and gold. Some plates signed. Each plate lettered with title, except for title page.","type":"Print","holder":"Victoria and Albert Museum","dates":"c. 1850-1852","location":"London","dimensions":"Height: 45.4 cm Size of covers, Width: 30.3 cm","provenance":"United Kingdom","artist_birthdate":"1824","artist_deathdate":"?","author":"Victoria and Albert Museum","keywords":["Travel","Letters","Mail","Post","Postal","Gulf of Aden","Prints"],"materials":["Paper; lithograph"]},"b8fd5a61-6e87-5479-8b87-53c6a66033f2":{"name":"A drawing showing wooden gratings from various mosques","short_description":"Alfredo Melani, teacher and then director at the school of applied arts in Milan, was one of the main exponents of oriental decorative motifs in Italy. During the 1880s he published a series of works and texts discussing eastern art, often in the form of handbooks and essays. Subsequently, toward the end of the century Camillo Boito pioneered courses in the history of styles at the Accademia of Brera. Dell’ornamento nell’architettura written by Melani, includes a whole chapter about Muslim decorations, from which the drawing showing wooden grills from mosques is taken.","type":"Photo from book","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Applied arts","museums of applied arts","Islamic art","Islamic influence","book","model","crafstmanship","sketch","drawing","Grammar of ornament","Alfredo Melani","Owen Jones","Prisse d'Avennes","Islamic architecture","schools of applied arts"]},"b902f002-452f-5bec-8587-b983db9d1182":{"name":"*Schoolboy*","short_description":"Sheet from *Costumes Turcs*, a lavish set of volumes produced in Turkey for a European audience. They present the appearance of people from different areas, with different jobs etc. A Turkish boy going to school.","type":"Watercolour","holder":"The British Museum","dates":"c. 1790","location":"London","provenance":"Turkey","keywords":["costume","education","school","teaching","travel","traveller","fashion"]},"b97bcb71-a957-5608-9199-9926745d01bd":{"name":"Egyptian Pavilion of Chocolate and Cocoa Factories – Michele Talmone – Turin (interior)","short_description":"On the occasion of the International Exhibition in Turin in 1911 the Talmone Company built an Egyptian Pavilion resembling an Egyptian temple. The inside of the Pavilion shows details inspired by Egyptian motifs and related to the company’s name. Items highlight the taste of the age for Egyptian and oriental objects. The stained glass design in the Pavilion was taken from a postcard design. This picture, showing a stunning view of a caravan travelling across the desert and already used for the Exhibition in Turin in 1898, is now employed to promote the logo \"Chocolate of the Pyramids\".","type":"Postcard","holder":"The House of Antique Tin Boxes","dates":"1911","location":"Gerano, Rome","provenance":"Italy","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Esposizione Internazionale di Torino","trade","trademark","commerce","Italian firms","nationalism","raw material","finished product","exoticism","popular culture","imaginary architecture","Italians in Egypt","exhibition building","exhibitions and urban spaces"],"materials":["Card"]},"b9afa85f-9c6f-5c35-ad19-8ad72d2903a7":{"name":"Moorish City at the Trocadéro, View from the Pavilion of the Insects [Paris Exhibition, 1878]","short_description":"Singular mix of \"Moorish\" Pavilion and \"Occidental\" architecture from the Universal Exhibition in Paris, 1878. The publication offers images providing a rich documentation about the exhibition and includes frivolous and caustic comments. The magazine presents sharp and close observations about habits and trends common in Paris and in the western world at the time of the International Exhibitions.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["International exhibition","Exposition universelle de Paris","industrialisation","exhibition building","architecture","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","house","interior design","exoticism","reproduction","model"]},"ba4a9d77-759d-50a9-9165-61cb49c132a4":{"name":"*Caravan in a covered street in Algiers*","short_description":"This lithograph by Théodore Frère shows the \"Jennée\" alley, beneath the Dey of Algiers' former residence, the \"Janina\". Both the palace and the alley were destroyed in 1853.","type":"Lithograph","holder":"Bibliothèque Nationale d’Algérie (Fonds Estampes)","dates":"Unknown","location":"Algiers","dimensions":"284 x 385 mm (360 x 460mm including frame)","translator":"Flaminia Baldwin","materials":["Colourised sepia lithograph"]},"bab7404e-f6da-51e5-bfe3-7f236f4ef2b2":{"name":"*Wadi el-Tuffah*","short_description":"In this image, a Palestinian lady uses a traditional spinning wheel for cotton. 19th-century Palestine became an increasingly viable, agricultural producer of cotton, whose importance on the world market was steadily increasing. Mainly supplying European countries  Palestine's cotton became a key commodity. 6% of its cultivated land was given up for its production. Throughout the 1860s, concerted efforts were made to meet the ever growing demand, but as early as the 1870s, the industry, which was merely based on expanded cultivation rather than industrialisation, declined again.This print originally appeared on page 192 in Charles William Wilson's  'Pituresque Palestine, Sinai and Egypt, published between 1881 and 1884. The caption reads: ''Wady et Tuffah, commonly called the vale of Eshcol. The peasants grouped in the foreground are under the southern branches of Abraham's oak. In the distance the minaret of the great mosque of Sheikh Ali Bakka, Hebron, may be distinguished'.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1881–1884","location":"Sharjah","dimensions":"229 mm x 211 mm","provenance":"Published in New York","author":"Ulrike Al-Khamis","keywords":["Mosque of Sheikh Ali Bakka","Hebron"],"materials":["Coloured wood engraving"]},"baca824e-062d-5426-b385-13a5074e8755":{"name":"View of Livorno from the Lighthouse. On the right, one can see the so-called 'Turkish graveyard' highlighted in green","short_description":"In 1762, Muslims living in Livorno were granted a plot of land outside the city walls, near the beach, to build a graveyard (highlighted in green in the lithography). The graveyard remained in use until the second half of the 19th century. A Muslim graveyard existed in Livorno even before the 18th century. A significant Muslim community lived in town. Its first members were captives taken to Italy as slaves. Muslim traders settled in town as well. In 1856, the graveyard was enlarged and surrounded by walls. In 1872 it was demolished to build a road and some of the graves were moved to the city graveyard.","type":"Litography","holder":"Labronica Library, City of Livorno","dates":"c. 1850","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"bae5f080-ad41-5249-82bc-b0f3de4d1129":{"name":"*Médailles d'honneur d'or et de 1er mérite* \\[…\\] Biberon-Robert, flexible, patented \\[…\\] Only the very best doesn't let your child go thirsty","short_description":"As infant mortality was still commonplace in the 19th century, the need to instil young parents with an understanding of hygiene in order to counter child illness quickly became clear. This poster advertises a new child's feeding bottle, showcasing its high quality and foregrounding an image of a healthy baby.","type":"Poster","holder":"National Library of France","dates":"1882","location":"Paris","translator":"Flaminia Baldwin","keywords":["Hygiene","children"]},"bb75e12c-a4e6-5ac9-952c-ce0d0a5fbea2":{"name":"*Constantinople et le Bosphore de Thrace*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"bb8237ee-e92e-5329-9529-6fd346236dd0":{"name":"*Jaffa from the Camp of Ibrahim Pasha*","description":"This print shows the Ibrahim Pasha camp at Jaffa during the Egyptian – Ottoman War (1830–1833). Muhammad Ali Pasha demanded control of Greater Syria for the Ottoman Empire. Ali sent his army into Syria under the command of his son Ibrahim Pasha. The Egyptian navy landed at Jaffa.","type":"Print","holder":"National Museum of Romanticism","dates":"c. 1830–1833","location":"Madrid","dimensions":"17,1 x 27 cm","provenance":"France, Paris","artist_birthdate":"1836","artist_birthplace":"London","artist_deathdate":"1877","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell","keywords":["Egypt","Ottoman Empire","Haifa","War"],"materials":["Paper; ink; steel engraving"]},"bc06907f-aa68-5c8f-a06c-e1664310cd2a":{"name":"Newspaper *al-Hawi*","short_description":"This issue of *al-Hawi* dates t 13 April 1914. *Al-Hawi* was a weekly literary, political and comic periodical founded in August 1912 by José M. Shaia and written, edited and printed in Buenos Aires, Argentina.","type":"Print; newspaper","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"30 April 1914","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Newspaper","Immigrants"],"materials":["Paper, ink"]},"bcebbe38-8019-5c28-b4b7-8f04a8b1d7be":{"name":"Ibrahim Pasha (1789–1848)","short_description":"Portrait of Ibrahim Pasha (1789–1848). As the best General under his father Muhammad 'Ali Pasha, he fought successfully against the Wahhabites, the Ottoman Army and the Greeks. In 1831 he conquered Syria and governed it until 1841. In 1848 he deposed his senile father and was declared Vice King of Egypt by Sultan Abdülmecid I.","type":"Print","holder":"Austrian National Library","dates":"1841","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Ibrahim Pasha","Syria","Greece"]},"bd196d3c-3ad7-5a3c-a7bf-f9e67e2fa612":{"name":"*The Library of Hadrian*","short_description":"This representation is entitled *Painted Stoa*, referring to the colonnade (stoa) with monumental columns depicted on the right side of the picture. Nineteenth-century visitors to Athens referred to this monument by various names, such as Painted Stoa of Hadrian or Gymnasium, for its true identity was not discovered until after 1884, when systematic excavations commenced in the area of the Roman Agora (Forum Romanum). Recent archaeological investigation shows that this imposing colonnade is part of the propylon of the Library of Hadrian. Depicted at the edge of the propylon-incorporated in two columns- is a small Byzantine church. This is Hagioi Asomatoi sta Skalia (Incorporeal Saints at the Steps) of the eleventh century, and was demolished before the end of the nineteenth century, falling victim to the antiquarian extremism of ‘purifying archaeological sites’. The works of the artist-travellers who flooded into Greece during the nineteenth century are tangible testimonies not only to the illustrious past, but also to the landscape.","type":"Lithograph","holder":"Benaki Museum","dates":"1845","location":"Athens","author":"Tsigkakou 1981, 200-201","keywords":["travels","Athens"],"materials":["Tinted lithograph on paper"]},"bd591c95-bb06-5105-b1bd-b95187ad7a88":{"name":"Villa Maria, in Tunis, the mansion of Luigi Rey, the son of a migrant from Piedmont (Italy)","short_description":"Luigi Rey was the son of Italian immigrants Giuseppe Rey (1808-1897), of Piedmont and Adelaide Baldacci, of Tuscany. In 1836, Giuseppe Rey was dispatched to Tunis by his employer, a construction company from Genoa, to work in the Bardo Palace (the official residence of the Bey of Tunis). After completing the contract Giuseppe decided to stay in Tunisia, where he continued to work at the service of the Bey. Together with his three children (Luigi, Antonio and Pio), Giuseppe Rey set up a construction company that continued after his death. Predominantly with his brothers but at times on his own, Luigi Rey built a variety of private and public edifices, including the Tunisia Palace Hotel (designed by architect Resplandy).","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"Photograph: first years of the 20th century; building: late 19th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"bd95565d-ce05-5cc5-ad92-00c2e0054f8d":{"name":"Accounting book","short_description":"This accounting book belonged to the Anatolian Railway. On it can be seen Abdülhamid II's monogram in gilding, and the words \"*Devlet-i Aliye-i Osmaniye’nin Varidat ve Mesarifat-ı Umumiyesinin Muhasebesidir*\" (this book belongs to the income and expenses of the state).","type":"Goods","holder":"Istanbul Railway Museum","dates":"1907","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["architecture","railways","Haydarpaşa Train Station","Anatolian Railway"],"materials":["Paper"]},"be90f64f-96f3-5dda-8345-68adf8244431":{"name":"*Commercial port. Marseille*","short_description":"Frédéric Alexianu (aka F. Hugo d'Alesi) was a painter who quickly became specialised in advertisement posters for different kinds of transports, and in educational maps. This poster, aimed at primary school children, uses the example of Marseille to illustrate a trading port. The artist draws attention to the different commercial activities undertaken here, in addition to the transport of passengers on an ocean liner. The port of Marseille was the most important Mediterranean port in France, as it facilitated a great number of commercial exchanges with the French colonies in North Africa.","type":"Poster","holder":"National Library of France","dates":"1901","provenance":"France","artist_birthdate":"1849","artist_deathdate":"1906","translator":"Flaminia Baldwin","keywords":["Commerce","transports","ports","colonies","enseignement"]},"bee6cdea-7a07-512a-8073-61c3a5461987":{"name":"*La Sahrienne: Arab dance for piano*","short_description":"The rise of \"turkeries\" in the 18th century is a good example of the influence of the widespread fascination with the \"Orient\" on music. In the 19th century, this Orientalism also influenced others art forms, such as painting and photography. Musical motifs started using \"oriental\" motifs once again in the early 20th century.","type":"Sheet music","holder":"National Library of France","dates":"1911","location":"Paris","translator":"Flaminia Baldwin","keywords":["Music","Middle East"]},"bf285df3-f538-57bf-9807-cad97e61acd5":{"name":"*Political and commercial map of Europe, with all maritime communications* \\[…\\] *indicating* \\[…\\] *the modifications to the Middle Eastern states, according to the Congress of Berlin.*","short_description":"This political and commercial map, drawn after the Congress of Berlin (1878), shows maritime and railway routes, as well as the travel time they require.","type":"Map","holder":"National Library of France","dates":"1881","location":"Paris","translator":"Flaminia Baldwin","keywords":["Steam boats","railways","trade"]},"bf8ccf55-0b9f-51ab-833d-046d658d52ad":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","short_description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mahmud II, Sultan of Turkey","Egypt","Janissary","Konya","Ibrahim Pasha","Muhammad Ali","Greece"]},"c05efb28-37e3-563c-be40-ec598ca0daf7":{"name":"Popular resistance to the occupation","short_description":"Following the signing of the Treaty of Bardo many Tunisian towns declared their opposition to the act and set up a fierce resistance. This was the case in the town of Sfax, which withstood a six-month siege by sealing up, in the dead of night, the holes French bombings had created in the town walls. This image shows the end of the siege as the French forces invaded the town.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1881","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["Popular resistance","insurrection","occupation"],"materials":["Paper"]},"c0647b9c-1ac0-53b5-a15b-d5505d2f8137":{"name":"An Italian booklet printed in Tunis in 1898 by Socialist and Anarchist Typography on the trial against the Italian anarchist leader Enrico Malatesta","short_description":"Enrico Malatesta (1853-1932) was one of the most important Italian anarchist leaders and theorists. He spent a good part of his life in exile in different countries (including Argentina, Egypt, France, Lebanon, Siria, England and the United States). In 1882, he went to Egypt to support the revolt of Ahmad Urabi and was arrested by British authorities. In 1897, he was living in Ancona, in Central Italy, when he was arrested and put on trial. After serving seven months in prison, he was placed in internal exile on the island of Lampedusa (south of Sicily) from where, in 1899, he fled to Tunisia, then to Malta, then on to England.  \nItalians in Tunisia set up a number of associations, political groups, newspapers, and cultural institutions of different political persuasions.","type":"Booklet","holder":"State Library of Modern and Contemporary History","dates":"1898","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"c0d68bf3-fc29-5afb-9f0b-b36ef1a39350":{"name":"\"Workers' pensions\"","short_description":"In 1910, a new law on \"workers and farmers' pensions\" introduced a compulsory insurance scheme. Before this, however, life was very different and many workers lived a very difficult old age, without financial support. The question of workers and farmers' pensions was one of the key electoral questions of the time therefore, as it concerned the majority of the population and those in power feared the social unrest it could trigger. This comical drawing mocks Alexandre Millerand (1859–1943), a socialist politician who forgot all his promises as soon as the elections were over.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1906","location":"Paris","artist_birthdate":"1874","artist_deathdate":"1911","translator":"Flaminia Baldwin","keywords":["Precarity","workers","pensions","elections","cartoon","caricature"]},"c17a9d7b-cb1a-5e3b-a30d-5c5dfc42e18d":{"name":"*Valtice/Feldsberg, Liechtenstein Chateau, Frontage*","description":"The design presents the original state of the frontage (right) and its redecoration by Antonio Beduzzi, an imperial theatre engineer and designer. Beduzzi based his design on the existing state, supplementing the frontage area with layered planimetric ornamentation. A pivotal role was played by sculpted decoration and military emblems associated with the military career of the count.  \nDetailed decorative drawings are part of an important phase in the history of the Valtice/Feldsberg, Liechtenstein Chateau. The chateau, residence of one of the most prominent court families in the Habsburg monarchy, Valtice, was constructed on the border of Lower Austria and Moravia in the first half of the 17th century, with finishing touches added towards the end of the century. Its construction was associated with a number of leading architects active in Vienna (Giovanni Battista Carlone, Giovanni Giacomo Tencalla, Giovanni Tencalla, Giovanni Pietro Tencalla, Domenico Martinelli, Pietro Giulietti and others). Yet the final phase of the construction, during which the building acquired its present appearance, only came about during the period of the counts Anton Florián and Josef Jan.  \nAnton Josef Ospel, the architect of the first part of the final phase between 1713 and1722, produced a bold design merging the newly modified older sections with new outbuildings and administration tracts. In the following building phase, a new count put a halt to the further spread of the construction and concentrated on decoration of the interior and frontages of the main *corps de logis*, for which he hired Antonio Beduzzi. Beduzzi created a series of high quality drawings for the count that served as template *modellos* for the final building modifications.","short_description":"The residence of a prominent Habsburg court family saw a major reconstruction in the 18th century under a new architect, the imperial theatre engineer and designer Antonio Beduzzi. He created a series of drawings that served as templates for the final building modifications.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"1724–1729","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 9.97 cm; w: 14.36 cm","place_of_production":"Vienna","provenance":"František Antonín Grimm Collection, Brno","obtention":"The drawing comes from a large collection of designs owned by the Brno architect František Antonín Grimm. Until 1945 it was located in the Rájec nad Svitavou Chateau, from whence it was transferred to the Museum of Applied Arts, Brno. In 1961, when the Moravian Gallery was established, the drawing became part of the gallery’s collection of historical drawings and graphic art.","bibliography":"Wolfgang Georg Rizzi, Antonio Beduzzi und Johann Lucas von Hildebrandt, *Alte und Moderne Kunst* XXIV, 1979, Heft 166–167, p. 36–45.  \nJiří Kroupa, *František Antonín Grimm* –­ *architekt 18. století,* Brno–Kroměříž, 1982, cat. 14, 1.  \nZdeněk Kudělka, in Ivo Krsek –­­ Zdeněk Kudělka (ed) –­­ Miloš Stehlík –­­ Josef Válka, *Umění baroka na Moravě a ve Slezsku*, Prague, 1996, pp. 229–231.  \nJiří Kroupa, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 134, cat. 27.","artist_birthdate":"1675","artist_birthplace":"Bologna","artist_deathdate":"1735","artist_deathplace":"Vienna","author":"Zora Wörgötter, Jiří Kroupa","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["coat of arms","design","Emblems","engraving","modello","palatial architecture"],"materials":["paper adjusted on canvas","Pen and Indian ink drawing with blue wash"]},"c218ec86-d3bb-5c64-b802-3b31940b3669":{"name":"*The Relic: On the Harsh Nakedness of Truth – the Diaphanous Mantle of Fantasy*","short_description":"The book’s first edition was published in Porto; Literature work criticising the social environment of the middle bourgeoisie of Lisbon and the religious ambience of the Catholic Churches in the city centre. The narrative focuses on the holy city of Jerusalem, the place of purchase of supposedly true religious relics.","type":"Book","holder":"National Library of Portugal, Digital Library","dates":"1887","location":"Lisbon","dimensions":"19 cm","artist_birthdate":"1845","artist_birthplace":"Póvoa Varzim","artist_deathdate":"1900","artist_deathplace":"Paris","author":"BNP","keywords":["Literature","Travel","Orientalism","Religion","Social critic"]},"c25b97af-3b31-51d4-8c86-07d5d3f06ecd":{"name":"Egyptian House in the Trocadero Park [Paris Exhibition, 1878]","short_description":"The structure of an Egyptian home was considered particularly interesting and was rebuilt inside the Trocadero Park. The idea and the execution of the house were supported by the famous French Egyptologist Mariette-Bey, who was responsible for numerous excavations along the Valley of Nile and was the founder of the Cairo Museum. This work differs from the one presented by Mariette at the Exhibition in 1867 and was meant to represent a common living building. One room was dedicated to the opening of the Suez Canal and numerous photos and albums provided documentary evidence of Egyptian fashion, oases and travel memories.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","artist_birthdate":"1821","artist_birthplace":"Boulogne sur Mer","artist_deathdate":"1881","artist_deathplace":"Bulaq (Cairo)","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","pavillion","exhibition building","exhibitions and urban spaces","Moorish city","Islamic architecture","archaeology","Suez Canal","reinterpretation","exoticism","reproduction","model","house","furniture","interior design","magazine"]},"c2b61064-ccd9-5fe4-8725-750d1cb45ef7":{"name":"Architectural drawing of Mar Mikhael train station","short_description":"This architectural drawing shows the plan of the Mar Mikhael (Saint Michael) train station that was built in 1891. The station served as a terminal for visitors to the city, and was in use until 1976.","type":"Architectural drawing","holder":"Khalil Itani's Archive","dates":"1891","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Travel","Train","Trade","Railway"],"materials":["Engineering materials"]},"c369fdd9-b766-5049-9f4f-a257d2df3d50":{"name":"Rome Exhibition 1911 (Piazza d'Armi) – Sicilian Pavilion","short_description":"Within the International Exhibition of Rome in 1911 and related to the celebrations for the 50th anniversary of the Unification of Italy, a \"Forum of Regions\" was arranged in the Piazza d’Armi. The architect Ernesto Basile (1857–1932), author of the project for the Sicilian Pavilion, took inspiration from the Arab-Norman architecture in Sicily, in particular from Zisa Palace, the church of Saint John of the Hermits and the Cathedral of Monreale. On the outside, the building looked like a cube with plain walls decorated with blind pointed arches and battlements on top. Doors and windows show pointed arch as well. At the sides of the facades two small towers topped by a small small dome give to the palace a striking oriental look. On the inside, there was an open space with columns topped by capitals, walls decorated with mosaics and majolicas, and fountains.","type":"Postcard","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Universal exposition","Esposizione universale di Roma","exhibition building","exhibitions and urban spaces","model","reproduction","Modernism","Art Nouveau","Moorish style","Norman","San Giovanni degli Eremiti","Islamic art","Islamic influence","applied arts"]},"c3e7eb63-5667-5bab-9f33-9ffa073e393f":{"name":"*The Worship of Pallas Athene*","description":"The scene shows a statue of Pallas Athene, goddess of wisdom, on an altar. A group of *putti* are garlanding the statue, while their companions pour incense into an offering vessel. The drawing was inspired by Paul Troger's time in Italy, a period of several years. Together with Martin van Meytens among others, he “studied ancient monuments in the vicinity of Rome with such unceasing diligence that very often we only made do, for days, with bread and water in order to continue with our study without disturbance”. The artist modelled the central motif on a statue of Pallas Athene from the famous collection of ancient art assembled by Marquis Vincenzo Giustiniani (now in the Vatican Museum, Rome). The statue was also known from a print of 1631 and from pictorial publications on ancient sculpture. Paul Troger employed a subject similar to the Brno drawing in an etching from 1724, the origin of which is provably associated with the artist's stay in Rome. Troger's etching and the Brno drawing resemble the engraving technique of Venetian *peintre-graveur*, using a fine grid for the modelling and to capture transitions in light. Typical examples may be found in the work of Giovanni Battista Tiepolo (1696–1770), a major exponent of Italian *Settecento* painting. The subject of adoration of the goddess of wisdom reflects the growing emphasis placed on education at the time. Troger's unfinished drawing probably served as a template for a print celebrating Wisdom. The principal motif is worked up in detail, while the accompanying figures of *putti* and the landscape in the background are sketched in pencil. Continuous wavy lines give evidence of a swift and expressive drawing manner. The artist was an influential professor of the Vienna Academy and was a leading Central European painter of the 18th century.","short_description":"The drawing of a statue of Pallas Athene was inspired by Paul Troger's long stay in Italy. Its execution resembles Venetian *peintre-graveur*. The unfinished drawing was probably to serve as a template for a print celebrating Wisdom.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","initial_owner":"Josef Winterhalder Sr.","dates":"1723","location":"Governor’s Palace, Brno, Moravia","dimensions":"h: 30.7 cm; w: 21.6 cm","place_of_production":"Vienna?","method_for_datation":"The determination of the artist is based on a confirmed provenance. Troger's authorship is proven, in particular, by the distinctive faces of the *putti* and the brisk drawing manner.","provenance":"Private collection, Brno","obtention":"The drawing probably comes from the estate of the sculptor Josef Winterhalder Sr., a friend of Troger. It was donated to the gallery by Mrs Trapp before 1963, and was previously found in the collections of the archivist and historian Jan Petr Cerroni and Mořic Wilhelm Trapp, a curator of the Francis Museum in Brno.","bibliography":"Wanda Aschenbrenner – Gregor Schweighofer, *Paul Troger, Leben und Werk*, Salzburg, 1965, p. 130, cat. 14, p. 154.  \nLubomír Slavíček, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque 1760–1790*, Brno–Paris–Rennes, 2002, p. 249, cat. 93.  \nJiří Kroupa, in Eduard Hindelang – Lubomír Slavíček, *Franz Anton Maulbertsch und Mitteleuropa, Festschrift zum 30jährigen Bestehen des Museums Langenargen*, Langenargen–Brno, 2007, pp. 27–28.","artist_birthdate":"1698","artist_birthplace":"Zell/Welsberg","artist_deathdate":"1762","artist_deathplace":"Vienna","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["Antiquity","drawing","education","engraving","mitology","Settecento"],"materials":["Pen and brown ink on paper"]},"c4820c19-d64c-55fb-9619-702217573744":{"name":"*Les amis de l’art* society, by the Greek cartonist Kem","short_description":"The cartoon shows the art collectors of Alexandria: on the left is Antonis Benakis holding a paintbrush; K. Synadinos washes the floor, Chr. Nomikos hangs a ceramic dish on the wall and Baron de Menasque paints the ceiling standing on a ladder.","type":"Drawing","holder":"Benaki Museum","dates":"1920s","location":"Athens","provenance":"Alexandria","author":"Mina Moraitou","keywords":["collecting","Greeks","Egypt","cartoon","caricature"],"materials":["Paper, ink"]},"c4f3ee34-3e55-5cf6-ab02-eee9f50cdc11":{"name":"*Danilo I, Prince of Montenegro (1871–1939)*","short_description":"Danilo I, Prince of Montenegro (1871–1939) as a child. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Print","holder":"Austrian National Library","dates":"1880","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Danilo I, Prince of Montenegro","Jugoslavia","Vienna","Austria"]},"c56ed58e-bfd0-5b9d-a1c7-577d067afe32":{"name":"Bill from Beirut Water Company","short_description":"A bill from the Beirut Water company for the value of 22 Ottoman pounds, dated to 2 June 1909.","type":"Print; document","holder":"Khalil Itani's Archive","dates":"1909","location":"Beirut","provenance":"Lebanon, Beirut Water Company","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Water","Economy","Bill","Currency"],"materials":["Printwork"]},"c5af0628-6524-5b0d-a3ae-ef6099a54a96":{"name":"*Encampment of the Awlad Said Mount Sinai 1839*","short_description":"The Awlad Said are a large clan of the Sawalha tribe, traditionally based on Southern Sinai. It was escorts from this tribe that accompanied Roberts during his traversing of the Sinai. This depiction gives a detailed impression of their traditional encampments and tent construction. Situated in a valley sheltered by high, rugged mountain ranges, the encampment consists of severalrows of low, rectangular tent structures with flat roofs. Separating walls and screens within are created by striped, woven textile units. Inhabitants of the camp are seen seated in small groups, engaged in conversation or standing in groups, lances in hand. The men are dressed in headscarfs, gowns and cloaks of varying colour, while the few female figures that appear are cloaked in black abayas, all-enveloping black cloaks. From a ravine in the far background, a long caravan of men and camels approaches the camp.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","dimensions":"430 mm x 610 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","keywords":["Awlad Said"],"materials":["Lithograph"]},"c5b30d17-788f-5526-9443-d7a3c584472b":{"name":"Italian peasants in Tunisia","short_description":"According to official statistics, in 1921 there were around 4,000 Italian peasants in Tunisia; together with their families they amounted to 15,400 people, or roughly 60 per cent of the Europeans employed in agriculture.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","copy_editor":"Anne Dowell"},"c5d1c4ee-c5dd-5526-a357-f968533cd6be":{"name":"*Semiramis*","short_description":"Staging of *Semiramis* in France, played in a set based on ancient sculptures. There is a mix of Egyptian and Assyrian costume, plus some fantasy.","type":"Postcard","holder":"Private collection","dates":"1905","location":"n/a","provenance":"France","keywords":["Assyrian revival"]},"c60364d0-48c1-5f1e-9f18-2ee410152391":{"name":"Drawing","short_description":"In 1826, Victor Rousseau, French artist living in political exile in London, was hired by Augusto Ferreira Pinto Basto, son of the Vista Alegre Factory’s founder. Regarding the artistic aspect, his hiring allowed for the introduction of new models and decorations, into the eclectic and romantic spirit of those times, and was essential in providing Vista Alegre’s portfolio with a new aesthetic and formal wealth and exuberance. Along with his pedagogical and artistic contribution in the Factory, Victor Rousseau also left as a legacy an interesting drawing album. The drawing, with scenes from the Factory representing the Aveiro Estuary and river Bôco, calls our attention to the specificities needed for the implementation of an industry in the 19th century. The proximity of the estuary represented not only abundance of water, but also offered easy routes for transporting raw materials and other commodities.","type":"Drawing; document","holder":"Vista Alegre Museum","dates":"1835","location":"Vista Alegre, Ílhavo","dimensions":"H: 22,5cm, L: 62cm (opened album)","artist_birthdate":"Date of birth unknown","artist_birthplace":"Paris, France","artist_deathdate":"1852","artist_deathplace":"Vista Alegre, Portugal","keywords":["Victor Rousseau","Factory","Vista Alegre","Aveiro estuary","master of painting"],"materials":["Paper; watercolour"]},"c671443a-8a37-5c35-975f-840074e8db8a":{"name":"*Woman Playing a String Instrument*","short_description":"In this painting there is an Ottoman woman in her daily attire with her hair covered by an embroidered and printed kerchief. She plays a string instrument. Music was one of the most popular kinds of amusement in Turkish harems. The lute in particular, and similar string instruments, have always occupied an important place in the lives of women. This picture was used on the cover of a special issue of *Le Figaro Illustré* dedicated to Zonara and published in 1908, and also appeared in *Der'i Se'adet*, a book written by Adolphe Thalasso and illustrated by Zonaro.","type":"Painting","holder":"Pera Museum","dates":"Early 20th century","location":"Istanbul","dimensions":"W: 680 x H: 950 cm","copy_editor":"Daniel de la Vega","keywords":["Music","harem","court music","musician","female musician","traditional entertainments"],"materials":["Pastel on paper"]},"c6c98aa8-0cf8-5f68-9a72-93ac7214dab2":{"name":"*Map of the Royal Cities of Buda and Pest*","description":"The *Map of the Royal Cities of Buda and Pest* depicts all the settlements that bordered Buda: the Roman settlement of *Aquincum;* the border with Budafok and a detail of Óbuda (Old Buda). The city of Pest is also identifiable, together with the two suburbs of Terézváros and Erzsébetváros. During the period, as the map shows, the hills of Buda were not forested because, following Ottoman rule, the inhabitants cultivated vineyards instead. The Royal Castle is identifiable, together with the Viziváros (Watertown) and Tabán. Residents were settled mainly within the city walls up until 1700, after which time the suburbs began to be built. At the end of the 18th century, Buda-Pest became increasingly important as the main commercial and agricultural centre and although the diet was held in Pozsony (Bratislava), the two cities of Buda and Pest were the centre for various political movements, Enlightenment thought, the arts and literature, and as a consequence the population increased to 50,000.","short_description":"A map of the two cities of Buda and Pest with a more detailed representation of the different parts of the former and a less detailed display of the two suburbs of Pest.","type":"Drawing","holder":"Budapest History Museum","dates":"Around 1770","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 71.5 cm; w: 100 cm","method_for_datation":"By the object itself","obtention":"Purchased from an art dealer in Budapest between the two world wars.","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in the Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 21.","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Buda","Buda-Pest","Budafok","diet","Erzsébetváros","Map","Óbuda","Old Buda","Ottoman","parliament","Pest","Tabán","Terézváros","Turks","Viziváros","Watertown"],"materials":["Pen and ink drawing on paper"]},"c74178c2-ab9f-5408-9cbb-cf1f4eff394d":{"name":"Press release about Raml Tramway","short_description":"A press release in the Al-Ahram newspaper regarding the Raml Tramway and related views of the Prime Minister at that time. The tramway of Alexandria was the first method of mass transportation in Egypt and in Africa, and the most common. The tramway began operating in 1860, and is thus considered the oldest tramway in Africa – and among the oldest in the world.","type":"Press release","holder":"Bibliotheca Alexandrina","dates":"3 July 1928","location":"Alexandria","copy_editor":"Daniel de la Vega","keywords":["Raml Tramway","Alexandria","Mohamed Mahmoud Pasha","Transportation"]},"c780b87c-b9b5-50fb-bec8-edf64670ba49":{"name":"Lebanon Tramway and Electiricty Company bill","short_description":"A bill from the Lebanon Tramway and Electricity Company for the value of 100 Francs dated to 14 June 1906.","type":"Print; document","holder":"Khalil Itani's Archive","dates":"14 June 1906","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Commerce","Bills","Currencies"],"materials":["Printwork"]},"c82a2a26-f746-5771-93c4-6bcceedcab50":{"name":"*Mount Gilboa from Sulem, a woman spinning cotton*","short_description":"19th-century Palestine was an increasingly viable, agricultural producer of cotton, whose importance on the world market was steadily increasing. Mainly supplying European countries, cotton became a key commodity. 6% of the cultivated land of Palestine was given up. Throughout the 1860s, concerted efforts were made to meet demand, but as early as the 1870s, the industry, which was merely based on expanded cultivation rather than industrialisation, declined again. This print originally appeared in Vol.1, page 269 of Charles William Wilson's 'Pituresque Palestine, Sinai and Egypt, published between 1881 and 1884. The caption reads: 'Mount Gilboa from Sulem (Shunem). The northern extremity of the range of Jebel Fuku'a (Gilboa) is shown; the highest point is crowned by the sanctuary of Neby Mezar. In the foreground a woman is spinning cotton.","type":"Coloured wood engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1881–1884","location":"Sharjah","dimensions":"185 mm x 250 mm","provenance":"New York","artist_birthdate":"Date of birth unknown","artist_deathdate":"d. 1913","author":"Ulrike Al-Khamis","materials":["Coloured wood engraving"]},"c8dcb99a-4981-58af-a357-22664ca7f472":{"name":"Trade agreement between the Sublime Porte and the Grand Duke of Tuscany. Annexed to the treaty, a booklet with the duties that the merchants from the Grand Duke of Tuscany had to pay in Turkey","short_description":"With this treaty, the Grand Duke of Tuscany Leopold II and the Ottoman Sultan Abdul Megid Han intended to encourage economic exchanges between the countries. Tuscan citizens and ships were accorded the same privileges that those from other countries had received. The treaty also provided for some tax reduction in favour of Tuscan merchants.","type":"Treaty (archival document)","holder":"State Archives of Florence","dates":"Constantinople, 7 June 1841","location":"Florence","author":"Loredana Maccabruni","copy_editor":"Anne Dowell"},"c99f4a2d-2d4c-538b-b57e-e1ba93984854":{"name":"*Votes for Women*","short_description":"This Suffragette poster was created in response to the Liberal Prime Minister Herbert Asquith's suppression of the 1910 Conciliation Bill, which proposed extending the vote in Britain and Ireland to around one million wealthy, property-owning women. It shows King George V painting the text 'We Bow to the Will of the People' onto a poster, whilst a man paints on the King's back, and a Suffragette paints onto the man’s. The cartoon aimed to show how Asquith had gone against the will of Parliament, the elected representatives of the people. The Suffragettes urged male voters to register their protest by voting against Liberal candidates in the next election.  \n  \nThis poster was published by the Woman's Press, who oversaw the publishing and propaganda for the Suffragettes. It was designed by Alfred Pearse, under the pseudonym ‘A. Patriot', Pearse was a dedicated Suffragette supporter and designed many of their posters.","type":"Poster; colour lithograph","holder":"Victoria and Albert Museum","dates":"1910 (designed and printed)","location":"London","dimensions":"Height: 294 cm, Width: 196.9 cm","provenance":"United Kingdom, London","author":"Victoria and Albert Museum","keywords":["Women","equality","George","poster","suffragette","print","politics","propaganda","printing"],"materials":["Paper, lithographic ink; colour lithograph on paper, planographic printing"]},"ca4bf20e-94a9-50b1-bca9-38b4f7855c35":{"name":"*Salt Watercolours*","short_description":"A watercolour scene showing the king before various gods from the tomb of Seti I in the Valley of the Kings, Thebes, drawn by Henry Salt shortly after the discovery of the tomb by the explorer Giovanni Belzoni in 1817. The freshness of the colours amazed the early travellers.","type":"Watercolour","holder":"The British Museum","dates":"1817","location":"London","provenance":"Egypt","keywords":["archaeology","exploration","Egyptomania","travel","traveller","collection","collector","museums","historical document"]},"ca6bd475-805d-5b06-a1e3-16bb93242b3b":{"name":"*The interior of the Queen's carriage: meeting between Louis-Philippe and Queen Victoria*","short_description":"Keen on keeping up good relations with the United Kingdom, King Louis-Philippe of France accepted Queen Victoria's invitation in 1844. Accompanied by Guizot and his youngest son, the Duke of Montpensier, he was received lavishly by the English royal family. In 1842, Queen Victoria became the first sovereign to take the train between London and Windsor. Since then, British rail companies had begun setting up carriages especially reserved for the Royal Family. One of the key experiences offered to Louis-Philippe was the opportunity to travel by train in one of these spectacular carriages.","type":"Lithograph","holder":"National Library of France","dates":"1844","location":"Paris","artist_birthdate":"David: 1808; Pingret: 1788","artist_deathdate":"David: 1892; Pingret: 1875","translator":"Flaminia Baldwin","keywords":["Diplomacy","France","England: Louis-Philippe","Victoria"]},"cab1d1b6-5bd0-5d68-aaf4-36e8d7c863e4":{"name":"*View of Smyrna*","short_description":"Both this print and the *View of Constantinople* are based on earlier Western ones, which have been assimilated into the distinctive Athonite topographical style. They are exceptions to the corpus of Athonite prints, since they are of secular subjects. The printmaker was, indeed, active outside Athos, where he executed nonreligious commissions. The subjects relate to the tradition of topographical murals depicting important commercial and cultural centers of the day that decorated the mansions of wealthy merchants by the mid-eighteenth century. Kaldis aimed to supply a wider public with inexpensive works of a decorative nature. The activity of merchants from Lesbos at Smyrna, Constantinople, and the Black Sea on the one hand justified the choice of subject and, on the other, provided the appropriate network in which the multiple printed works could circulate. In order to attract the largest possible clientele, the view is coloured.","type":"Engraving","holder":"Benaki Museum","dates":"1845","location":"Athens","author":"Papastratos 1990, vol. 2, 578-79, figs. 617-18; Delivorrias, Fotopoulos 1997, 508-9, figs. 900-901","keywords":["Istanbul","map"],"materials":["Engraving on paper"]},"cb836758-5e12-5a3f-adea-db7c9212b700":{"name":"*Bisotun, geometric drawing of a bas-relief*","short_description":"In 1840, the painter Eugène Flandin (1809–1876) and the architect and painter Pascal Coste (1787–1879) were sent on mission to Persia by l'Institut de France in order to write up an inventory of the country's past and contemporary riches, and to renew the political and economic ties between France and Persia. The mission was directed by Édouard de Sercey, who soon returned to France. However, despite the trying conditions, Flandin and Coste were able to stay for two more years and collected an impressive archive documenting the sites they explored. This is a print of one of the bas-reliefs in Mount Behistun (Iran), which  Darius had carved during the 6th century BC.","type":"Print","holder":"National Library of France","dates":"c. 1851","location":"Paris","translator":"Flaminia Baldwin","keywords":["Persia","archaeological site"]},"cc9708c7-7639-577d-908b-b4db3b0e057e":{"name":"Shéhérazade, a ballet by Michel Fokine. Stage sketch.","short_description":"The Russian choreographer Michel Fokine created the ballet *Shéhérazade* for Rimski-Korsakov's music in Paris in 1910. The tale of Shahrazad was taken from the *One Thousand and One Nights*, which saw constant success in Europe throughout the 19th century.","type":"Drawing","holder":"National Library of France","dates":"1913","provenance":"France","artist_birthdate":"1886","artist_deathdate":"1914","translator":"Flaminia Baldwin","keywords":["Dance","Orientalism"]},"ccd55fea-ff71-54b1-802d-9b86aa9adc8d":{"name":"Records of the tests and of the delivery of the yacht Makook III built by the Fratelli Orlando Company (Livorno, Italy) for the Egyptian Khedive Abbas Hilmi","short_description":"In 1910, the Khédivé of Egypt contracted the construction of a yacht to the shipyards Cantieri Gallinari of Livorno, Italy. This company went bankrupt and its business was absorbed by the Fratelli Orlando shipyards, also from Livorno. After improving the project, the Fratelli Orlando started building the yacht in 1913 and delivered it to the Khédivé Hilmì Abbas in May 1914. In recognition of the high quality of work on the yacht engineer Giuseppe Orlando was granted the Ottoman decoration of the Order of Osmanieh.","type":"Archival document","holder":"State Archives of Livorno","dates":"31 March 1914","location":"Livorno","author":"Daniela Tazzi","copy_editor":"Anne Dowell"},"cce9ed43-6802-51d5-8553-802e6dafb35e":{"name":"*Siever's patent pedestrian carriage for Ladies and Gentlemen*","short_description":"Many different two-wheeled cycles, such as dandy horses and velocipedes, were invented in the early 19th century. Their underlying principle was the parallel use of feet and wheels to propel the vehicle forward. They quickly become very fashionable amongst the European upper classes, who saw them as a source of entertainment, as we can see from this English print. However, it was not until the 20th century, after many alterations (pedals, etc.) that the \"bicycle\" became a widespread mode of transport.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Inventions","transports","bicycle","cartoon","caricature"]},"cd3e225d-f115-5201-8ad7-a576c444c566":{"name":"*Souvenirs d’Egypte; Femme Fellah*","short_description":"Lithograph, tinted with one tint stone, with additional colouring by hand, depicting a female agricultural worker in Egypt. Half bound in red morocco, in a modern portfolio. Each plate (apart from title page) lettered with title in French, Arabic and English, artists' names, and variously, 'Egypte. Imp. Lemercier, Paris', R'.Colas, Bibliographie Générale du Costume et de la Mode, 2 vols, Paris, 1933', and dated c. 1850.","type":"Print","holder":"Victoria and Albert Museum","dates":"1851 (published)","location":"London","dimensions":"Height: 57.3 cm Size of covers, Width: 38.9 cm","provenance":"Egypt (possibly, drawn); France (published)","artist_birthdate":"1813","artist_deathdate":"1895","author":"Victoria and Albert Museum","keywords":["Egypt","peasants","agriculture","portrait","print","women","children","childhood","work","souvenirs","travel"],"materials":["Paper; hand-coloured lithograph"]},"cd434504-b9e2-5269-bef4-01b99c2c34ca":{"name":"*‘The Younger Memnon’*","short_description":"Belzoni used ingenious means to transport the colossal bust of Ramesses II.","type":"Print","holder":"The British Museum","dates":"1817?","location":"London","provenance":"?","keywords":["archaeology","Egyptomania","exploration","collection","collecting","museums","travel","traveller","statue"]},"cda0ca19-8310-53b6-88d9-6a4e2fb00a6f":{"name":"*Medjmouaï teçavir* (Collection de costumes)","short_description":"Postcard from Turkey showing the costume worn by various people, according to occupation, activity, etc. Intended for a relatively popular western market. Illustrates the social structures and costumes of the last days of the Ottoman empire. An inspector of the roads. Incidental details of coffee drinking, smoking and French influenced design.","type":"Postcard","holder":"The British Museum","dates":"c. 1900","location":"London","provenance":"Turkey","keywords":["costume","coffee","tobacco","fashion","court life","communication","transportation","travel","traveller","Orientalism"]},"cdb325fe-1956-58e5-9130-f95c81512902":{"name":"*Vizovice Chateau, Chapel*","description":"The chapel in the south wing of the Vizovice Chateau in the Wallachia region is built into a central layout with three apses and crowned with a cupola. The drawing represents the chapel on a single level. On the left is a pulpit decorated with a relief of the Baptism of Christ, and the high altar with the Assumption of the Virgin Mary with a sarcophagus-shaped tabernacle, figures of Mary's parents, St. Joachim and St. Anne, and a Marian picture carried by angels, the top of which features a monogram of the name “Mary”. The second altar, decorated with consecration crosses, provides a framework for a picture of St. John of Nepomuk. The third field is a design for an oratory with illusionary drapery. In the place of the door is the last of the vaulting joints decorated with tetramorphs of the evangelists with angels carrying the gospels, from the left: Matthew, John (eagle), Mark (lion) and Luke (bull).  \nSchweigl's design, with fine ornamentation in Louis XVI style, was executed with only minor changes (the latest of which was in 1777), in accordance with the requirements of the chateau's sponsor Heřman Hannibal of Blümegen (c. 1774), who also endowed the chapel with precious chasubles and liturgical objects that have survived to this day. A relief of the birth of Christ was created for the pulpit, replacing the original design. The decoration of the oratory is much more austere, without the theatre-like curtain.  \nThe Rococo interior with its relief decoration stands in contrast to the low-key classicist architecture of František Antonín Grimm who trained in Rome, in the studio of Nicolo di Salvi, in France and in Germany. The design bears witness to the versatility of the learned Brno sculptor, Andreas Schweigl. Schweigl did not underestimate the role of the decorator, something that gained in significance towards the end of the century.","short_description":"The design shows the versatility of the learned Brno sculptor Andreas Schweigl, who did not underestimate the decorator’s role. The chapel interior, with fine Louis XVI ornamentation, contrasts with the low-key classicist architecture of František Antonín Grimm, who trained in Rome, France and Germany.","type":"Drawing","holder":"Moravian Gallery, Brno","owner":"Moravian Gallery, Brno","dates":"before 1774","location":"Governor’s Palace, Brno, Moravia","dimensions":"H: 35.4 cm; w: 57.5 cm","place_of_production":"Brno","method_for_datation":"The drawing is marked bottom left: And. Schveigl in. del.; bottom right: wird approbiert H. Blümegen; bottom centre, in pencil: dieses gielt in Wissowitz.","provenance":"Private collection, Brno","obtention":"The drawing comes from the collection of Jan Petr Cerroni, Brno archivist and historian. Date of acquisition is not given.","bibliography":"Jiří Kroupa, *Rakouská a moravská kresba 18. století*, Brno, 1985, p. 5, cat. 85.  \nVlasta Kratinová, *Barock in Mähren*, Wien, 1988, p. 89, cat. 51.  \nMiloš Stehlík, in Jiří Kroupa (ed), *Dans le miroir des ombres.* *La Moravie a la age baroque* *1760–1790*, Brno–Paris–Rennes, 2002, pp. 332–333, cat. 156.  \nMiloš Stehlík, *Barok v soše*, Brno, 2006, p. 157.","artist_birthdate":"1735","artist_birthplace":"Brno","artist_deathdate":"1812","artist_deathplace":"Brno","author":"Zora Wörgötter","copy_editor":"Jiří Kroupa","translator":"Irma Charvátová","translation_copy_editor":"Mandi Gomez","keywords":["evangelists","Louis XVI style","Rococo","sculpture","tabernacle"],"materials":["Pen and wash on paper"]},"cdff686c-f455-5731-801b-6705c10286b5":{"name":"*Tunisian room*","description":"Illustration from the book edited by C. Lützow: *Kunst und Kunstgewerbe auf der Wiener Weltausstellung 1873*, 1875, S 101.","type":"Print","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"1875","location":"Vienna","copy_editor":"Daniel de la Vega"},"ce785e40-77c2-5e37-a375-478e1a61faa0":{"name":"*Interior of a Moorish Palace, Algiers*","description":"This engraving is an example of an illustration travel book in the 19th century. These books offered readers a view of exotic and distant lands through richly detailed illustrations. Thomas Allom (1804–1873), the painter of this engraving, was a topographical illustrator who travelled to East Mediterranean, North Africa and China. Allom was also architect, hence the description of the architectural details in “The interior of a Moorish palace in Alger”.","type":"Print","holder":"National Museum of Romanticism","dates":"1844","location":"Madrid","dimensions":"20 x 27 cm","provenance":"England, London","author":"Carmen Linés Viñuales","copy_editor":"Anne Dowell","keywords":["Travel books","North Africa","Architecture"],"materials":["Paper; ink; steel engraving"]},"cf106c3f-4539-5afa-9774-85924fe852cf":{"name":"Book of patterns","short_description":"Most of the folios are divided into square or rectangular compartments filled with drawings of a wide variety of repeating patterns, often with figural motifs but most with stylised floral elements. There are also rubbings, woodblock prints and a few drawings, mostly of objects and sprays of flowers, some coloured and some occupying a full page. Many patterns were drawn directly on the pages but others were pasted in.  \nThe designs based on human figures – including dancers, acrobats and mounted riders – are among the most creative. But of greater complexity are some with animals; fish, cobras, birds, elephants, squirrels, lions, tigers, camels and deer are represented. Some of the patterns are inspired by traditional Mughal decorative motifs, while others are European in taste.  \nThe pattern book had the potential to be of great use to jewellers and enamellers as well craftsmen working in textiles, manuscript illumination, bidri-ware and other metalwork, ceramic paving and marquetry work.","type":"Manuscript; pattern book; pattern; drawings; rubbings","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"19th century","location":"London","dimensions":"Folios: 24.5 x 15.2cm; drawn area: 20.2 x 11.2cm; 108 folios","method_for_datation":"Date and provenance are based on stylistic grounds.","provenance":"North India, possibly Lucknow","obtention":"Sotheby’s, London, sale of 30 April 2003, lot 22.","bibliography":"Moura Carvalho, P., *Gems and Jewels of Mughal India*, London: The Nasser D. Khalili Collection of Islamic Art, volume 18, 2010: cat.169, pp.290–97.","dynasty":"Mughal","keywords":["bird","camel","dance","Elephant","India","lion","manuscript","manuscript ornamentation","Mughal"],"materials":["Black ink and wash and/or pasted with drawings, patterns, rubbings, or wood-block prints, some coloured","original brown morocco covers, now removed"]},"cf1febcd-3ef8-57e3-ad0c-a21a1977147f":{"name":"Trips to Morocco. Oujda via Lalla Marnia. Hôtel Figari […] car service every day […] links to the Tlemcen stagecoach and trains to Western Algeria.","short_description":"The foreground of this poster, advertising trips to Morocco to tourists, is occupied by a group of Moroccan women watching a fantasia from their home. Its inaccuracies bring to light the dominant stereotypes of the time, particularly regarding the depiction of women and their place in Muslim society.","type":"Poster","holder":"National Library of France","dates":"1895","location":"Paris","artist_birthdate":"1863","artist_deathdate":"1916","translator":"Flaminia Baldwin"},"cf466251-56ab-52b7-a4c0-a209a97dcdb0":{"name":"*Ethics by example. From education, great nations are born*","short_description":"In the 19th and 20th centuries, ethics dominated French primary school teaching. The school day began with a lesson in ethics, aimed at training the children to be good parents and good national citizens.","type":"Poster","holder":"National Library of France","dates":"1901","location":"Paris","translator":"Flaminia Baldwin","keywords":["Teaching","school","morals","France"]},"cf6fd523-ce44-5925-8fcb-a5eba1bea0a5":{"name":"General Giuseppe Garibaldi, hero of the Italian national unification, arriving in Tunis in 1834","short_description":"In 1833, Giuseppe Garibaldi (1807-1882) joined Mazzini’s organization, Giovane Italia, a republican group that supported the unification of Italy, and in 1834 he participated in an attempted insurrection. He was sentenced to death by the Kingdom of Sardinia and fled abroad. He spent time in Tunis in the first half of 1835.  \nLater, Garibaldi went to South America (1835-1848) where he fought for the independence of different countries. When he came back to Italy he fought to defend the Roman Republic (1849), and in 1860 led a successful expedition of one thousand volunteers in Southern Italy to defeat the Kingdom of Two Sicilies and unify it with Central and Northern Italy.  \nDuring the Italian Risorgimento, several other liberals and supporters of Italian unification were forced to go into exile. Several went to North Africa.","holder":"State Library of Modern and Contemporary History","dates":"1861","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"cf731a2d-eeba-5936-b7db-3a4740cb21ee":{"name":"Print","short_description":"The English architect Owen Jones designed this menu card for a farewell banquet coinciding with the Paris International Exhibition – or Exposition Universelle – of 1867. International exhibitions played an important role in introducing imported styles of ornament. The design of this card echoes illuminated Persian manuscripts, which Jones included in his book Grammar of Ornament.  \nApart from working as an architect, Jones also designed interiors, wallpapers and textiles. He created the interior for the Crystal Palace in Hyde Park, which housed the Great Exhibition of 1851.","type":"Print; menu card","holder":"Victoria and Albert Museum","dates":"1867 (printed)","location":"London","dimensions":"Height: 393 mm, Width: 266 mm","provenance":"France","artist_birthdate":"1809","artist_deathdate":"1874","author":"Victoria and Albert Museum","keywords":["Prints","Entertainment & Leisure","Eating","The Great Exhibition","Menus","Illumination"],"materials":["Chromolithograph on paper"]},"d0201dc5-b133-5197-929c-a269917b72e1":{"name":"*L'art arabe d'après les monuments du Kaire depuis le VIIè siècle jusqu'à la fin du XVIIIè*","short_description":"A publication in three volumes *L'art arabe d'après les monuments du Kaire depuis le VIIè siècle jusqu'à la fin du XVIIIè* is a monumental work by archaeologist and architect Prisse d'Avennes. It was published in parts by V.A. Morel et Cie. from 1869 to 1877. In 200 plates he reproduced illustration on the art and architecture of Islamic Cairo.","type":"Book","holder":"Benaki Museum","dates":"1877","location":"Athens","dimensions":"65 cm","provenance":"Paris","author":"Mina Moraitou","keywords":["Revival","book","Egypt"],"materials":["Printed paper"]},"d04ab320-9a12-53d1-93fd-cefc444af612":{"name":"Italian postcard of colonial propaganda: 'The Turco-Italian War. The Italian governor taking possession of Tripoli'","short_description":"In this postcard we see the first Italian public ceremony during the colonial conquest of Libya.  \nAs Terence Ranger pointed out in his essay “The invention of tradition in colonial Africa” in E. Hobsbawn and T Ranger, *The Invention of Tradition* (Cambridge University Press 1983), public ceremonies were a tool that was much used by colonial powers. Their goal was to grant a public image of legitimacy to colonial domination. In other words, colonial pomp and circumstance were intended to convey to colonial subject a notion of might and “prestige” of the colonisers.","type":"Postcard","holder":"State Library of Modern and Contemporary History","dates":"1911–12","location":"Rome","author":"Maria Pia Critelli, Giulia Barrera","copy_editor":"Anne Dowell"},"d07a016a-4cbb-5e3f-8479-fd71b40996a8":{"name":"Exposition in Algiers - façade of the Pavillon des Beaux-Arts, in the Place du Gouvernement","short_description":"In 1800, the first \"Algerian\" exposition was held in Algiers, in a building built especially for this purpose at the Place du Gouvernement (now Place des Martyrs). However, this was in reality an opportunity for France to advertise the \"benefits\" of colonialism - pacified and economically improved, Algeria was apparently now able to take interest in the arts. The review magazine therefore decided to prioritise paintings with an Algerian theme, irrespective of whether they had been created there or abroad.","type":"Drawings","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin"},"d40510a8-3d84-5ac4-9290-1028f6789eac":{"name":"Portrait of Sultan Abdülaziz (1830–1876)","short_description":"Portrait of the Sultan Abdülaziz. In 1867 the sultan made a trip to Europe. He was invited by Napoleon III to visit the World's Fair Exhibition in Paris. He also visited London and met Emperor Franz Joseph in Vienna.","type":"Drawing","holder":"Austrian National Library","dates":"1867","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Abdülaziz","Paris","World Fair Exhibition","Emperor Franz Joseph"]},"d4cc9861-c987-5734-82f8-76dad8666bc2":{"name":"Postcard","description":"Postcard; printed; colour photograph showing third circle and Shmeisane tunnel, with several cars and city view in the background, Amman, Jordan.","type":"Postcard","holder":"The British Museum","dates":"1984 (circa)","location":"London, United Kingdom","dimensions":"Height: 10,2 cm; width: 14,7 cm","place_of_production":"Amman, Jordan","obtention":"Purchased from Bella Bennett in 2015","copyright":"This is an 'orphan work' in The British Museum’s collections. If you are the copyright holder and were not contacted, please reach out to Museum With No Frontiers at editing@museumwnf.net so that proper credit may be given on this website.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-7038","keywords":["Jordan","monument","postcard","Streetview","tunnel"],"materials":["Paper"]},"d5146f7c-a989-5ed0-8084-92511311bc67":{"name":"An insurance policy by the company Compagnia Affricana (based in Trieste), for the merchandise transported by the Tuscan brigantine *Otello*, from Alexandria (Egypt) to Livorno (Italy)","short_description":"This insurance policy testifies to the intricate economic relations across the Mediterranean. The insurance company “Compagnia Affricana”, whose headquarter was in Trieste (at the time, under the Austrian Empire), specialised in transports to and from North Africa. The brigantine *Otello* was transporting incense and oxen horns.","type":"Archival document","holder":"State Archives of Livorno","dates":"Alexandria, 11 March 1835","location":"Livorno","author":"Cristina Francioli","copy_editor":"Anne Dowell"},"d698b39b-7d12-5410-a70f-c142ce18b236":{"name":"*Servet-i Fünun* Journal","short_description":"This is a magazine published by the authors from the *Servet-ı Fünun* (*Edebiyat-ı Cedide*) movement. It was first published as a scientific magazine by Ahmet İhsan Tokgöz, a pupil of Recaizade Mahmud Ekrem, in 1891. Recaizade Mahmud Ekrem agreed with his pupil to turn this magazine into one of literature, so he arranged that Tevfik Fikret, another student of his from Galatasaray High school, would become head of the literature department. This movement came to an end when the magazine was closed after if published an article entitled “Literature and Justice,” translated by Hüseyin Cahit Yalçın, which was taken as hostile to the governance of Abdülhamid II. Members of the *Edebiyat-ı Cedide* movement remained adherent to Diwan literature due to the political situation of the period as well as political suppression. They were not as open to novelties as the first generation of Tanzimat Era and they adopted art for sake of art.","type":"Journal; newspaper","holder":"National Library of Turkey","dates":"1891-1901","location":"Ankara","copy_editor":"Daniel de la Vega"},"d6cffdd2-cbd5-5bf7-bd67-0a2b5084a2cc":{"name":"In Tunis, the families of the Italian men drafted for the war waiting to get their daily allowance from the Italian government","short_description":"According to a booklet published in 1917 by the Tunisian branch of the Dante Alighieri Society and quoted by historian Adriano Salmieri (see his contribution to the volume *Mestieri e professioni degli italiani di Tunisia* – *Métiers et professions des Italiens de Tunisie, a cura di S. Finzi, Tunisi: Finzi*, 2003), by the end of April 1917 11,146 Italians in Tunisia had been drafted for the war, and 700 had died. According to the same source, in 1917 in Tunisia the Italian government was paying daily allowances to almost 5,000 destitute families of drafted soldiers.","type":"Photo from a book","holder":"State Archives of Livorno","dates":"1915–18","location":"Livorno","author":"Massimo Sanacore, Giulia Barrera","copy_editor":"Anne Dowell"},"d6d5f11a-71c5-5934-871d-7aa7c6836d79":{"name":"Henry Salt’s 1817 excavations at the Pyramids and Sphinx","short_description":"On his arrival in Egypt, Salt sponsored and recorded the excavations of Captain Giovanni Battista Caviglia at the Giza pyramids and Sphinx. Caviglia discovered new chambers in the Great Pyramid and a lost chapel beneath the head of the Sphinx.","type":"Drawing","holder":"The British Museum","dates":"1817","location":"London","provenance":"?","keywords":["archaeology","exploration","Egyptomania","travel","traveller","collection","collector","museums"]},"d6e29c37-877d-59fc-ba89-0136adddb6e7":{"name":"Wedding portrait of King Aleksandar and Queen Draga of Serbia","description":"At the end of the 19th and during the first decade of the 20th century Pirot kilims served as unavoidable decor in public buildings and in important public manifestations. An official wedding photo of King Alexander Obrenović of Serbia and Queen Draga, shows a royal couple standing on the Pirot kilims, used as floor coverings in this solemn occasion as distinguished national products. The official photograph, taken on 4 August 1900 by the court photographer Milan Jovanović, was issued on a poster by the bookstore of Sreten J. Djordjević and printed by the State Printing House of the Kingdom of Serbia.","type":"Poster","holder":"Museum of Applied Art","dates":"1900","location":"Belgrade","dimensions":"H: 28.2cm, W: 22.6cm","method_for_datation":"Through historical research","provenance":"Belgrade","obtention":"Donated by Rajko Sikimić from Belgrade in 1996","bibliography":"Bujić, M. *et al.*, “Obrenovići u kolekcijama Muzeja primenjene umetnosti”, in A. Marušić and A. Bolović (eds), *Obrenovići u muzejskim I drugim zbirkama Srbije II*, Gornji Milanovac: Muzej rudničko-takovskog kraja, 2014: 181–206.","author":"Draginja Maskareli","keywords":["Kilim","Obrenović dynasty","Pirot","poster","Şarköy"],"materials":["Print"]},"d70e9882-8463-5f48-be2a-a1278275395f":{"name":"*The Art of the Saracens in Egypt*","short_description":"A publication on the history of the arts in Egypt by Stanley Lane-Poole (1854-1931). Each chapter is dedicated to one aspect of the arts: architecture, stone and plaster, mosaic, woodwork, ivory, metalwork, glass, heraldry, ceramics, textiles and illuminated manuscripts.","type":"Book","holder":"Benaki Museum","dates":"1886","location":"Athens","dimensions":"20 cm","provenance":"London","artist_birthdate":"1854","artist_deathdate":"1931","author":"Mina Moraitou","keywords":["Book","Egypt","collecting"],"materials":["Printed paper"]},"d7bf9369-064f-5991-9f23-3b988f805ff6":{"name":"The Emir Abdelkader, Bey of Mascara in 1807","short_description":"The Treaty of Tafna was finally signed on 30 May 1837 between General Bugeaud and Emir Abdelkader, a fierce supporter of the armed fight against the French expeditionary corps and of the political and territorial unity of Algeria. This followed a ferocious resistance campaign in the mid-west of the country, marked most notably by the victory at Mazagran. The victories at Mazagran and Sidi-Brahim near Ghazouet in 1745, which resulted in the death of many officers from the French expeditionary, have rarely been depicted by European lithographers, who preferred to focus on Algerian defeats.","type":"Print","holder":"Musée National des Beaux-Arts","dates":"Second half of the 19th century","location":"Algiers","dimensions":"37.5 x 52.3 cm","artist_birthdate":"1883","artist_birthplace":"Paris","author":"Dalila Orfali","translator":"Flaminia Baldwin","materials":["Black and white lithography"]},"d7c8788d-6f4d-5251-abb7-406fabefb7b2":{"name":"*Napoleon returning from the Island of Elba*","short_description":"Following his abdication in April 1814 due to his defeat at the hands of the coalition between Austria, Prussia and Russia, Napoléon was exiled to Elba, a French territory at the time. He then unexpectedly disembarked at Antibes (France) on 1 March 1815, accompanied by a small army, and went on to take control of Grenoble, Lyon, and finally Paris. King Louis XVIII fled, and Napoléon temporarily regained the throne (the \"Hundred Days\"), until his defeat at Waterloo marked his final abdication. This image contributed to the myth of Napoléon, illustrating the emperor's determination during his journey from Elba to Paris, also known as the \"Vol de l'Aigle\" (flight of the eagle).","type":"Print","holder":"National Library of France","dates":"uncertain","location":"Paris","translator":"Flaminia Baldwin"},"d815fe5d-36cb-5efe-b0e0-241a5e5e2941":{"name":"Stamp sketch","short_description":"The Ottoman Empire held a contest to determine the stamp that would be printed in London between 1919 and 1921. Stamp sketches drawn by famous calligraphers are exhibited in the museum. This stamp sketch belonged to the Eminönü Post Office.","type":"Stamp","holder":"Istanbul Postal Museum","dates":"1919–1921","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega","keywords":["architecture","Vedat Tek","postal service","communication"],"materials":["Stamp"]},"d8173314-6d92-53ea-81e3-578a39f31c80":{"name":"*Greek Ladies of Smyrna*","short_description":"*Greek Ladies of Smyrna* (*Dames Grecques de Smyrne*) is a plate by Jacques Grasset de Saint-Sauveur (1757–1810) from the *Voyages pittoresques dans les quatre parties du monde*, which was published in parts. The plate contains three figures, within rules, with the name of the engraver Mixelle jeune and the heading ‘Europe. L’An 1801’.","type":"Engraving","holder":"Benaki Museum","dates":"1757–1810","location":"Athens","author":"Tsigakou 114","keywords":["Smyrna","travels"],"materials":["Engraving on paper"]},"d903044a-9099-5fe4-8bcc-00c31c453207":{"name":"Archaeological survey","short_description":"Architectural elevation of the ruins of the Roman aqueducts of Caesaria Maritima in Palestine by C.R. Conder, R.E., dated 6 April, 1873. In addition to the geographical features of the land, the olive groves and other agricultural features and the villages, the SWP recorded all of the visible archaeological remains of the country.","type":"Archaeological survey","holder":"The Palestine Exploration Fund (PEF)","dates":"1873","location":"London","provenance":"Levant","keywords":["mapping"]},"d92eefc6-b8cb-57be-9e74-3bd00aa19302":{"name":"*Théâtre de l'Opéra. \"Aida\". Avenue of the sphinxes at the gates of Thebes (act 2 scene 2)*","short_description":"Commissioned by Isma'il Pasha for the inauguration of the Suez Canal, Verdi's opera *Aida* was performed for the first time in Cairo in 1871, with great success. It recreated life at the time of the pharaohs, with the details and the plot developed by the archaeologist Mariette. *Aida* was performed in Paris from 1876, with a grand and successful performance at the Opéra Garnier in 1880.","type":"Print (wood engraving)","holder":"National Library of France","dates":"1880","provenance":"France","translator":"Flaminia Baldwin","keywords":["Opera","Orientalism"]},"d93594f6-fd1a-541a-8d63-dff85801637a":{"name":"Postcard","description":"Postcard; printed; colour photograph showing ten views of Syria. The centre panel is an illustration of a map of Syria and reads \"Syrie\" underneath.","type":"Postcard","holder":"The British Museum","dates":"1974 (circa)","location":"London, United Kingdom","dimensions":"Height: 14,5 cm, width: 10,2 cm","place_of_production":"Damascus, Syria","obtention":"Purchased from Bella Bennett in 2015","copyright":"This is an 'orphan work' in The British Museum’s collections. If you are the copyright holder and were not contacted, please reach out to Museum With No Frontiers at editing@museumwnf.net so that proper credit may be given on this website.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-5622","keywords":["landscape","Map","postcard","Syria"],"materials":["Paper"]},"d993a25c-fe0f-55cb-b4fb-77d8dd825454":{"name":"*A Room in the Egyptian Museum*","short_description":"The drawing shows the arrangement of Drovetti's collection inside the right wing of the building of the Academy of Sciences in 1852. The wall decoration mimics a wall of green stone tiles. The organisation of this room remained roughly unchanged until 2006. The institution of the Egyptian Museum in Turin marked an essential stage in the rediscovery of Egypt and followed the interpretation of hieroglyphics by Champollion. In 1824 King Carlo Felice of Savoy bought the collection of Egyptian antiquities gathered together by Bernardino Drovetti, general consul of France in Egypt from 1803 to 1830, in order to give to the Piedmontese capital an archaeological museum able to compete with all the other museums around Europe. The Drovetti’s collection was donated to the University Museum together with other Egyptian monuments already part of Savoy's collection. This collection already included more than five thousand pieces including statues (one of them is the famous statue of Rameses II), steles, offering tables, wood and bronze objects, mummies, furniture, jewellery, other materials and a significant number of papyri. A catalogue of the collection was made by Champollion around the 1820s.","type":"Photo from book","holder":"Soprintendenza Archeologia del Piemonte: Authority for the Archaeological Heritage of Piedmont","dates":"1852 (Original engraving)","location":"Turin","dimensions":"Print: 24 x 24 cm; engraving: 14,6 x 22,4 cm","copyright":"Copyright image: Museo Egizio di Torino - Archivi Soprintendenza Archeologia del Piemonte.","author":"Marcella Trapani","copy_editor":"Anne Dowell","keywords":["Egyptomania","Thebes","Karnak","Memphis","papyrology","epigraphy","Alexandria","Cairo","Ferdinand de Lesseps","Napoleon Bonaparte","Vienna","Berlin","collector","Egyptology","Nubia","languages","diplomacy","Muhammad Ali","Charles X","Louvre","Cailliaud","Henry Salt","botany"]},"d9b9133d-3db3-50b8-9527-532bd887cb5c":{"name":"*The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia*, Volume 3, title page: *Temple of El Khasne*","short_description":"This image represents the vignette on the title page of Volume 3 to 'The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia' from drawings made on the spot by David Roberts, lithographed by Louis Haghe and published in six volumes by F.G. Moon in London between 1842-1845. It is entitled 'Temple of El Khasne, Petra' and shows the spectacular treasury of Petra as seen by travellers approaching the ancient city through the famous, steep and narrow ravine. Petra had remained forgotten until rediscovered by the Swiss explorer Johann Ludwig Burckhardt in 1812. Subsequently, it became one of the romantic fascinations of European Orientalist artists and writers.Roberts visited Petra in early March 1839, and he wrote that it was 'probably one of the greatest challenges on earth to a painter'.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","dimensions":"485 mm x 330 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"d9f215eb-4992-5ee7-b7b8-cde7536471d9":{"name":"*Guisot* (sic): *Sir, do we have to agree to the reforms? Philippe: No! No! No my friend, not even the slightest reform* \\[etc.\\]","short_description":"Pictured in this cartoon are the King Louis-Philippe and the Head of Government François Guizot. The latter, who in 1848 did not foresee the importance of reform, advised the King to maintain a conservative approach. Since 1847, the opposition to the regime had been getting around the ban on political gatherings by organising banquets. The suppression of one of these banquets triggered the 1848 revolution.","type":"Print","holder":"National Library of France","dates":"1848","location":"Paris","translator":"Flaminia Baldwin","keywords":["Monarchy","revolution","cartoon","caricature"]},"da83b646-c418-524e-8eff-75e69c1f77d9":{"name":"Danilo I, Prince of Montenegro (1871–1939) and Princess Jutta of Mecklenburg-Strelitz","short_description":"Danilo I, Prince of Montenegro (1871–1939) with his wife, Princess Jutta von Mecklenburg-Strelitz. Danilo was the eldest son of King Nicola I of Montenegro. He was married to Princess Jutta von Mecklenburg-Strelitz and had to leave Montenegro after it was integrated in the kingdom of Yugoslavia after WWI. He died in 1937 in Vienna, Austria – in exile.","type":"Photograph","holder":"Austrian National Library","dates":"1899","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Danilo I, Prince of Montenegro","Jugoslavia","Vienna","Austria"]},"db907e57-774c-5cda-a1a5-d1356aa44b85":{"name":"A plan showing the seats assigned to guests at the gala dinner offered by the Italian King in honour of the Ambassador from Morocco, who visited Italy in June 1890","short_description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with extremely rich gifts.  \nThe Ambassador was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered a gala dinner for him.  \nThis chart shows that at the gala dinner the Italian King was sitting in front of the Queen. At her right was sitting the Crown Prince and at her left was Ambassador Hagi El Maati el Mazamizi. The Italian Prime Minister and other members of the government participated in the dinner, together with the members of the Ambassador’s escort.","type":"Archival document","holder":"Central State Archives of Italy","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"dbeedf3f-9b7e-5868-aa07-16d65ca3dfc9":{"name":"Cairo in Milan. Exhibition 1906","short_description":"This series of postcards shows the reconstruction of a representative area of the city of Cairo in Milan for the Universal Exhibition of 1906. The Exposition was organised on the occasion of the opening of the Simplon Tunnel in 1906 and covered a space of over a million of square meters. One-third of the area was filled with pavilions designed by famous Italian architects. The exhibition cost was over twelve million lire. The event drew the attention of over five million spectators and the participation of 35 thousand exhibitors.","type":"Postcard","holder":"Central Institute for Cataloguing and Documentation (ICCD)","dates":"1906","location":"Rome","copyright":"Copyright image: Roma, Istituto Centrale per il Catalogo e la Documentazione, ICCD, Fototeca, fondo Ferro Candilera.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["International exhibition","Esposizione universale di Milano","industrialisation","celebration of progress","pavillion","exhibition building","city","urban space","architecture","exhibitions and urban spaces","Moorish city","Moorish style","house","interior design"]},"dc034fc0-8090-5b06-897f-5bcc698817b2":{"name":"Emperor Akbar Receiving a Book","short_description":"The emperor is seated with pillow at his back upon an octagonal-shaped and portable throne, under a canopy and at the foot of a tree in an open field. A poet or *mullah* (Muslim priest) presents him with a book. The throne rests upon a floral- patterned Mughal carpet spread over a platform. The emperor is attended by two of his courtiers, two musicians, one with *sitar* (stringed instrument) and one with tambourine; by his falconer who holds a large falcon in his right hand; by an attendant to right of falconer and one to the left, the latter holding a staff; and near him is another mullah. The last four are only partially seen at the base of the platform. The emperor is fanned by a figure behind him. To the immediate left of the emperor stands a servant with a fly-whisk and another holding an unidentified object. All the personages on the carpet except the *mullah* and the two servants are seated. Just above the step to the platform is a dish with a bottle possibly for water with leaf sprays issuing from the mouth, a cup nearby, and at the left corner, a covered cup.  \nIn the landscape, which extends back to the horizon line, there are two trees and a flowering bush. In the larger tree behind the emperor are two birds. On the horizon line, which is hilly, there is an open wood in the midst of which is a castle.  \nThe painting is glued down on a thick matboard. The borders (frames) are on a separate piece of paper.","type":"Drawings and Watercolors","holder":"Saint Louis Art Museum","dates":"Hegira c. 1002-1008 / AD c. 1594–1600","location":"Saint Louis","dimensions":"Image: Length: 22.5cm x Width: 13cm; Sheet: Length: 34.6cm x Height: 23.2cm; Mount (backing board): Length: 41cm x Width: 28.3cm; Mat size: Length: 55.9cm x Width: 40.6cm","method_for_datation":"The \"Akbar-nama\" was commissioned in 1590 for Akbar’s minister Abu’l Fazl (died 1602). The manuscript was illustrated with paintings in two separate projects in the later 1590s and in 1604. This painting is likely from the first project. The fine ink and gold border is from the Persian lexicon \"Farhang-i-Jahangiri,\" dated 1608, and was added in the 19th or early 20th century.","method_for_provenance":"The enthroned figure in this miniature painting is likely the emperor Akbar. He is receiving a copy of the \"Akbar-nama\" (History of Akbar), an illustrated history of Akbar’s distinguished Mongol ancestry and accomplishments during his long reign. The simple turban, almond-shaped eyes, drooping moustache, sideburns, and distinctive oval-shaped ear all conform to known images of Akbar.","provenance":"India, Asia","obtention":"Gift of J. Lionberger Davis, 1952","dynasty":"Mughal","keywords":["Akbar","Asia","book","drawing","emperor","gold","India","Indian","ink","Paper","watercolor","watercolour"],"materials":["Ink, opaque watercolor, gold on paper"]},"dc22fbbb-3a0b-58bb-82f9-7523c4e9d4d5":{"name":"Official Hijaz Railway postcards","short_description":"In 1900 the Ottoman Sultan Abdülhamid II (r.1876–1909) began the construction of a railway line connecting Damascus to the holy cities of Medina and Mecca. Built by public subscription and with an appeal to Muslims of the world for financial support, the railway line began from Damascus and reached Medina in 1908, never reaching Mecca. The financing for the Hijaz Railway was initially meant to come entirely from charitable donations and in May 1900 Sultan Abdülhamid II began the process with a sizeable donation from his personal funds. Despite national and foreign generosity towards the donations campaign, it soon became clear that this alone was insufficient to raise the funds needed for the construction. Therefore, the government sought to raise funds in many other ways, including the commission of postcards amongst other German-made products, in order to generate further yield. With the title ‘*Vue du chemin-de-fer Hamidié de Hedjaz*’ and with labels in French and Turkish, the postcards depict the construction of the Railway as well as general views and inauguration celebrations. These were available for purchase at local post offices.","type":"Postcard; photograph","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1900-1908","location":"London","dimensions":"ARC.pc 459: 8.8x14.1cm, ARC.pc 460: 9x14.2cm, ARC.pc 461: 9x14.1cm","method_for_datation":"The Hijaz Railway was constructed between 1900 and 1908.","provenance":"Turkey","bibliography":"Nicholson, J., *The Hejaz railway*, London: Stacey International, 2005.  \nOchsenwald, William L., “The Financing of the Hijaz Railroad”, *Die Welt des Islams*, New Series, 14, 1/4 (1973): 129-149.  \nOzyuksel, M., *The Hejaz Railway and the Ottoman Empire: Modernity, Industrialisation and Ottoman Decline*, London: I.B.Tauris, 2014.","dynasty":"Ottoman","author":"Qaisra Khan","keywords":["engineering","hajj","Hijaz","Hijaz Railway","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","Pilgrimage route","prayer","Prophet Muhammad","Religion","travel"],"materials":["Card"]},"dca7d094-186e-5acf-a40e-75ebb16678f3":{"name":"Bill from the Beirut Gas Company","short_description":"A bill from the Beirut Gas Company for the value of 2,200,000 francs, divided into 4,400 shares of 500 francs each, dated to 1 July 1908.","type":"Print","holder":"Khalil Itani's Archive","dates":"1908","location":"Beirut","provenance":"Lebanon, Anonym society of Gas of Beirut","author":"Jeff El-Msanne, Julien El Khoury","copy_editor":"Flaminia Baldwin","keywords":["Materials","Economy","Stock","Currencies"]},"ddc859b5-2660-59d5-a43e-bea3692d92db":{"name":"Italian stonecutters in Tunisia","short_description":"At the turn of the twentieth century, the Italian community in Tunisia included large numbers of masons, stonecutters, diggers and other manual workers. In this period, most of Italian migrants preferred to seek their fortunes in the Americas and in other European countries. Those who migrated to North Africa were only a small percentage, nonetheless they amounted to dozens of thousands.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","copy_editor":"Anne Dowell"},"de20118a-909a-5e03-9c66-a28af38708f8":{"name":"The trademark for camel-hair straps made by an Italian company based in Turin","short_description":"The Invicta company was founded in Turin (Italy) in 1906. It still exists, producing backpacks, schoolbags and trolleys.","type":"Trademark (archival document)","holder":"Central State Archives of Italy","dates":"18 March 1918","location":"Rome","author":"Margherita Martelli","copy_editor":"Anne Dowell"},"deb4b3a7-5e57-5235-b533-346c36e88be2":{"name":"*Mahmud II, Sultan of Turkey* (1784–1839)","short_description":"Portrait of Mahmud II, Sultan of Turkey (1784–1839). In 1826 Mahmud II initiated the development of a modern army. This led to the uprising of the Janissary, which was quelled by massacring the rebellious troops. Under Mahmud II's reign, in 1821 the Greeks started their fight for freedom which was granted to them in the Peace of Adrianople in 1829.  \nAfter the destruction of the Janissary, the Ottoman Empire under Sultan Mahmud II had only 35,000 badly trained regular soldiers in 1827. Due to the weakness of the Ottoman Empire, Ibrahim Pasha, the son of Muhammad 'Ali (ruler of Egypt), invaded Syria. On 20 February 1832, the Egyptian Army defeated the Ottoman Army at the Battle of Konya. This forced Mahmud II to sign the Peace of Kütahya and to cede Syria and Kilikia to Egypt.","type":"Print","holder":"Austrian National Library","dates":"1st half of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Mahmud II, Sultan of Turkey","Egypt","Janissary","Konya","Ibrahim Pasha","Muhammad Ali","Greece"]},"dec28747-77eb-50f5-a4fc-d8e0b8ada348":{"name":"Print showing a catafalque","alternate_name":"*Castrum Doloris* of Johann Herbart Auersperg in St. Catherine’s Church, Zagreb","description":"Count Johann Herbart Auersperg was a General and Commander of the Military March. He was a descendant of the old, famous Slovenian Turjak Counts and a brother of Count Weichard, a powerful minister and favourite of the Emperors Ferdinand III and Leopold I. The catafalque was installed in the Jesuit St. Catherine's Church, Zagreb, when Count Johann Herbart Auersperg died in 1669.  \nIn the centre of the canopied hexagonal base with three steps is the sarcophagus, surrounded by six sculptures of famous Auersperg ancestors. Decorated with numerous candles and symbols in its entirety and signed on the bottom right *IC Mannasser.*  \nThere are also inscriptions, on the top left in a cartouche held by an angel: *EXCELLMO AC ILLMO ... Anno salut 1669 Aetatis 56* and at the top right in a cartouche held by an angel: *Ipso Die Exequiarum ... moestissimi erexerunt.*  \nFollowing the fashion of European funeral ceremonies also in Croatia, luxurious catafalques were made known as *castrum doloris.* Count Auersperg's social position suggests that a famous Austrian or Italian architect could have staged the funeral ceremony depicted in this print. These architects were in demand at the time to construct various complicated and spectacular performances, usually organised by the Jesuit Order, and designed to enchant the eye and spirit of viewers with the use of impressive effects. A bronze memorial plaque also in the church commemorates Auersperg's death.","short_description":"A Baroque catafalque was installed in the Jesuit Church of St Catherine, Zagreb for Count Johann Herbart Auersperg, General and Commander of the Military March, who died in 1669. The catafalque shown in this print is typical of a Baroque funeral ceremony of the type staged by the Jesuit Order, and designed to enchant the eye and spirit of viewers with the use of impressive effects.  \nA bronze memorial plaque, also in the church, commemorates his death.","type":"Print","holder":"Metropolitan Library, The Valvasor Collection of prints and drawings","owner":"Zagreb Archdiocese","initial_owner":"Johann Weichard Valvasor","dates":"1669","location":"Zagreb, North-West Croatia","dimensions":"H: 59.8 cm; w: 40.6 cm","place_of_production":"Croatia","method_for_datation":"Dated on print.","provenance":"From the Johann Weichard Valvasor Collection","obtention":"Purchased from Johann Weichard Valvasor by the Zagreb Archdiocese in 1690. Baron J. W. Valvasor, Slovenian polymath and collector, had his own mansion museum in Bogenšperg. Scarcity at the end of his life forced him to sell some of his exceptionally valuable holdings, and in 1690, the Zagreb Bishop Aleksandar Mikulić bought his collection of prints and the contents of his library.","bibliography":"*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993.  \nPelc, M., *Iconotheca Valvasoriana, VII. svezak*, Janez Vajkard Valvasor Foundation, Zagreb Archdiocese, Ljubljana, 2004.","artist_birthdate":"1640","artist_birthplace":"Graz","artist_deathdate":"1684","artist_deathplace":"Graz","author":"Mirna Abaffy, Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["architectural sculpture","Cenotaph","ephemeral architecture","funerary architecture","print","scenography","theatre","Theatrical architecture","tomb"],"materials":["Copperplate etching on paper"]},"dfd5b69e-9c27-52e5-93bf-9d6d1a4fd259":{"name":"Tekke panel","short_description":"A *tekke* (dervish lodge) plate with *celi sülüs* calligraphy in the shape of a bird made with black ink. It reads *\"Yâ Bâz el-eşheb Kuddise sırruhu Şey'en lȋ'l-lâh\"* (religious text, untranslatable). On the upper right corner there is a date and signature together with a bouquet of rose, tulip and rosebuds. The plate is framed in rose colour.","type":"Paper","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"19th century","location":"Istanbul","dimensions":"47.5 x 68.5 cm","artist_birthdate":"?","artist_deathdate":"1845","copy_editor":"Daniel de la Vega","keywords":["Caligraphy","Hüsn-i Hat","plate"],"materials":["Rokoko ornament on paper, art of illumination on bordure"]},"dfe6ce78-8f49-57a2-8d22-f6a5967fc725":{"name":"*Constantinople et le Bosphore de Thrace*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. Travelling in the 19th century became easier and more reliable due to the advent of steamships and trains. Westerners travelled to the East not only for touristic purposes, but also for scientific research, history, archaeology or for religious reasons. Western travellers told of their experiences and what they saw in eastern countries in their travel books and they even offer advice about the journey. Istanbul, where East and West meet, has been the subject of many a traveller's book.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1841","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Istanbul"],"materials":["Paper"]},"e18d88ea-cdd3-514a-a77b-17670ead2f02":{"name":"*Jews’ Place of Wailing, Jerusalem*","short_description":"The wailing wall is situated at the foot of the western side of the Temple Mount/ Haram al-Sharif in Jerusalem, sacred to Jews, Christians and Muslims. It has been a site for Jewish prayer and pilgrimage for centuries. From the mid-19th century onwards, several unsuccessful attempts to purchase rights to the wall and its immediate area were made by Jews. With the rise of the Zionist movement in the early 20th century, the wall became a source of friction between the Jewish community and the Muslim religious leadership, who were worried that the wall was being used to further Jewish nationalistic claims to the Temple Mount/Haram al-Sharif and Jerusalem.This print first appeared (facing p. 140) in 'Walks about the City and Environs of Jerusalem. And: Forty Days in the Desert on the Track of the Israelites, a publication created in two volumnes by the writer and artist W. H. Bartlett and the engraver Ebenezar Challis. The work, based on Bartlett's visit to Jerusalem in the summer of 1842, was first published in London around 1850 by Arthur Hal, Virtue and Co.","type":"Engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1840s / early 1850s","location":"Sharjah","dimensions":"Height 140 mm x 190 xx","provenance":"Undetermined","artist_birthdate":"William Henry Bartlett: 26/3/1809; Ebenezar Challis: c. 1831","artist_birthplace":"William Henry Bartlett: London; Ebenezar Challis: place of birth unknown","artist_deathdate":"William Henry Bartlett: 13.9.1854; Ebenezar Challis: 1863?","artist_deathplace":"William Henry Bartlett: off the coast of Malta","author":"Ulrike Al-Khamis","materials":["Engraving"]},"e19b330e-2bba-52d4-86d4-2f8b8d208303":{"name":"Dr Joseph Hariz, doctoral thesis in medicine","short_description":"Pictured here is the cover of a doctoral thesis in medicine written by Joseph Hariz, a Jewish Tunisian doctor at l’Université de Marseille, in 1922. In the early 20th century, the Beylik of Tunis contained 170 qualified doctors, 81 of which were French, 83 were foreigners, and 6 Tunisian, with 2 Muslims and 4 Jews.","type":"Photograph","holder":"Musée de la Médecine","dates":"20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Tunisian doctors","hospital","vaccination"],"materials":["Paper"]},"e2b48175-dfa4-5317-9f12-0d280735f099":{"name":"Drawing of the railway bridge between the mainland and Venice","short_description":"This panoramic view shows the railway link between Venice and the mainland. In 1837 a company was founded to organize the building of the railway in the Kingdom of Lombardy-Venetia. Construction started in 1840 and the railway reached the Venetian station of Santa Lucia in 1846.","type":"Drawing","holder":"Austrian State Archives","dates":"c. 1830","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Railway","Venetia","Santa Lucia","Lombardia"]},"e2eea34e-96fb-5a2d-8d3e-29a6cd5d3d82":{"name":"Carpet Design","description":"Design of a carpet for its manufacture by the Royal Tapestry Factory of Santa Barbara in Madrid. The manufacturing process of the carpets relies on a previous design. This type of design is not common and the National Museum of Decorative Arts retains several, both from Francisco Javier Amérigo and the former Guild Foundation and is a sample of the manufacturing process that these works were a part of.","type":"Drawing","holder":"National Museum of Decorative Arts","dates":"c. 1881-1910","location":"Madrid","dimensions":"Length: 14.2cm, Width: 8cm","method_for_datation":"Through other similar sets of designs which are signed and contain the seal of the Royal Tapestry Factory.","method_for_provenance":"Through other similar sets of designs which are signed and contain the seal of the Royal Tapestry Factory.","provenance":"Royal Tapestry Factory of Santa Barbara (Madrid)","obtention":"Acquired in 2015","author":"Museo Nacional de Artes Decorativas","translator":"Asad Islam","materials":["Paper, watercolour and ink /drawing"]},"e3029e51-8121-5e09-b08a-bd958da4cd09":{"name":"'The first railway engine in Tripoli'","short_description":"The railway in a colonial context was much more than a means of transport: it was a powerful symbol of modernity, of technological superiority of the colonisers over the colonised, and of mastery over the territory. The construction of railways in colonial situations was often celebrated by the colonialists’ popular press or in postcards, as in this case.  \nIn Libya, the Italians started building railroads from the first months of colonial rule. The first lines, inaugurated in 1912, connected Tripoli with Ain Zara (11 kms) and to Zanzur (39 kms). By the end of 1915, the railway lines in Libya amounted to 180 kilometres.","type":"Postcard","holder":"Enrico Sturani Private Collection","dates":"1910s","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"e3d1028e-c33d-53a4-a895-0276547994a0":{"name":"*Construction of the Bordeaux bridge in 1821*","short_description":"The construction of bridges had always been a complicated matter, and particularly so in Bordeaux, where the river was especially temperamental. Until the 19th century people crossed it by ferry. However, in 1810 Napoléon I ordered a bridge to be built in Bordeaux, which was completed in 1822. The expertise this required (particularly the building of tunnels to reduce the size of the structure) attracted the attention of many contemporary engineers and architects.","type":"Print","holder":"National Library of France","dates":"c. 1821","location":"Paris","translator":"Flaminia Baldwin","keywords":["Transports","bridges","France"]},"e4bbe6bf-da24-5343-a888-89a40958c64c":{"name":"Plan and view of the Holy Sanctuary at Mecca, published by Thomas Tegg, London 1825","short_description":"This plate is from George Sale’s translation of the Qur’an. This edition of Sale’s work was published in a two-volume work in 1825, by Thomas Tegg without the Preliminary Discourse or the Memoir of the Translator, which makes up a large part of Sale’s original translation of 1734. The 1734 edition was known to be the first English translation of the Qur’an from the original Arabic. This plate is the same as that in the 1734 edition, and consists of two depictions: ‘*Plan of the Temple of Mecca*’ and ‘*View of the Temple of Mecca*’. It has a key to the significant parts of the Haram and a note stating that the references on both the plan and the view show the same locations. This plan however is missing the signature of the original engraver A.Motte. Hand colour tinting is commonly seen in Tegg’s publishing, however it is rare to find this particular plate from Sale’s *Koran* detached and so finely coloured. It may have been removed, coloured and used as artwork in its own right.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 1825","location":"London","dimensions":"22x39cm","method_for_datation":"The date and publication details are included within the book.","provenance":"Europe","author":"Qaisra Khan","keywords":["architectural perspective","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","Paper","pilgrimage","prayer","Prophet Muhammad","Qur'an","Religion","travel","Traveller"],"materials":["Paper"]},"e4c6d454-9f18-5654-bdf6-7ba2ce34e089":{"name":"*Map of the desert between the Nile and the Red Sea, including Mount Zabara \\[…\\] and the remains of the ancient trade route between Egypt and India*","short_description":"The explorer and naturalist Frédéric Cailliaud made significant contributions to the birth of Egyptology thanks to the hieroglyphic tracings he made during his two trips to Egypt (1815–1818; 1819–1822). Muhammad 'Ali Pasha had tasked him with exploring the banks of the Nile and Nubia, where he discovered the monuments and emerald mines of Mount Zabara, and took several tracings from them, which he brought back to France with him. His observations were compiled and published by E.F. Jomard as a sequel to *l'Expedition d'Egypte*.","type":"Map","holder":"National Library of France","dates":"1820","location":"Paris","translator":"Flaminia Baldwin","keywords":["archaeological excavations","Egypt"]},"e532dd30-df15-5462-88cf-6f2eaa8cf7bd":{"name":"Portrait of David Roberts, Esq., R. A.","short_description":"This engraving shows a portrait of David Roberts (1796 – 1864), first completed in the 1840s by Charles Baugniet. Roberts is shown seated on an ancient plinth or capital, holding a drawing board and a pencil. A classical temple structure appears in the background on the left. David Roberts was a Scottish painter especially known for a prolific series of detailed lithograph prints of Egypt and the Near East produced during the 1840s from sketches he made during extensive tours of the region (1838–1839). These, and his large oil paintings of similar subjects, made him a prominent and highly influential Orientalist painter. Charles-Louis Baugniet (1814 - 1886), was a Belgian artist famous for the lithographing of portraits of prominent European figures.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"1844","location":"Sharjah","dimensions":"405 x 310","provenance":"London","artist_birthdate":"27/2/1814","artist_birthplace":"Brussels","artist_deathdate":"5/7/1886","artist_deathplace":"Sèvres","author":"Ulrike Al-Khamis","materials":["Lithograph"]},"e5dcb5be-a7f2-5f24-b1e8-fae35ee4b7b5":{"name":"*Foundations of Haram al-Sharif*","short_description":"Foundations of the South-Eastern corner of the Haram es-Sharif, as revealed for the first time by Charles Warren. This tunnel was some 85 feet below ground. Warren’s team were experienced mining engineers, and were assisted, as shown in several of this sequence of watercolours by William ‘Crimea’ Simpson, sent to record the expedition for the Illustrated London News, by extremely courageous local Jerusalem residents.","type":"Sketch","holder":"The Palestine Exploration Fund (PEF)","dates":"1872","location":"London","provenance":"?","keywords":["archaeology"]},"e675bda3-74cc-5e0b-82fb-22ec48a324a5":{"name":"*Holy Trinity Column in Buda*","description":"In the 17th and 18th centuries, different types of Holy Trinity statues reminded people of the sufferings of the plague of 1691. The Holy Trinity Column in Buda, standing in front of the Parish Church of the Holy Virgin and the Old Town House of Buda, was built between 1710 and 1714. In 1916, during World War I, the column was the scene of the coronation of king Charles IV Habsburg. The column was demolished at the end of the 19th century.  \nThe original copperplates for this engraving are also preserved in the museum's collection. There were nine statues on the monument altogether, all of which were carved by Fülöp (Philipp) Ungleich. The three reliefs and coat-of arms were made by Antal (Anton) Hörger. Later, 16 statues were added to the column. The architectural setting surrounding the column also changed several times. During World War II the original statues in the collection of the Budapest History Museum were seriously damaged. A smaller size engraving was also made of the monument decades later.","short_description":"A large-size Baroque engraving representing the Holy Trinity Column, one of Buda’s most precious Baroque monuments.","type":"Engraving","holder":"Budapest History Museum","dates":"1714","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 111 cm; w: 84.6 cm","method_for_datation":"On the basis of the work and its inscription","obtention":"Transferred from the Capital’s collection in 1945","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, p. 37.","artist_deathdate":"Around 1730","artist_deathplace":"Vienna","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["Engraving, Holy Trinity, religious object, plague, Franz Ambros Dietell, Fülöp Ungleich, Antal Hörger, Charles IV Habsburg, Habsburgs, Buda"],"materials":["Engraving on paper"]},"e6775e8c-d02b-5493-bf5e-5bcf66f6cbb0":{"name":"‘*A Short Note on the Design and Issue of Postage Stamps Prepared by the Survey of Egypt for His Highness Husein Emir & Sherif of Mecca & King of the Hejaz*’","short_description":"Prepared for ‘His Highness Husein. Emir & Sherif of Mecca & King of the Hejaz’, this detailed work with an unsigned introduction by Sir Henry MacMahon, details the creation of new postage stamps following on from independence from Ottoman rule. It also describes the design and technical attributions of the stamps, in detail. T.E. Lawrence conducted his initial research on the stamp issue by exploring design motifs in museums and buildings in Cairo. He drew inspiration from monuments such as from the tomb of al-Ghuri and the prayer niche of the mosque of al-Amri and from manuscripts such as Sultan Barquq’s Qur’an, amongst others. In his letters, T.E.Lawrence notes his fascination of the project, at one point suggesting that flavoured gum be used on the reverse of the stamps, to make them less unpleasant. Colonel Cyril Wilson (1873-1938) is now thought to be the main driving force behind the Arab Revolt of 1916-1918. He had an important diplomatic role which was connected to the safe passage of British Muslim pilgrims from India. This was in order to maintain control in Arabia and prevent any disruptions from rebel groups keen to spread anti-British sentiment.","type":"Printed book; print; engraving","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"Dated 15th March 1919","location":"London","dimensions":"28x19.2cm","method_for_datation":"Information on publisher and date is included in the book.","provenance":"Printed and published by the 'Survey of Egypt and Government Press Cairo' in 1918. Only 200 copies of this special edition were printed, with this copy being the 48th, dated 15th March 1919 and presented to Colonel C. Wilson.","bibliography":"Sir Ronald Storrs, *Orientations*, London: Readers Union Ltd, 1939.  \nWalker, P., *Lawrence Legend: the Forgotten Few who Shaped the Arab Revolt*, Oxford: Oxford University Press, 2018.","author":"Qaisra Khan","keywords":["arabesque","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","painting","Paper","pilgrimage","prayer","Prophet Muhammad","Religion","stamp"],"materials":["leather binding","Paper"]},"e696126e-a8d7-5829-87b8-1372eb83e64c":{"name":"A book on the activities of the Italian community in Tunisia, published by the Italian Chamber of Commerce of Tunisia for the 1906 International Exhibition in Milan","short_description":"In 1906, in celebration of the Simplon Tunnel opening between Italy and Switzerland, the Italian government organised an international exhibition in Milan. On that occasion, Italian communities in Egypt and Tunisia published books that described their lives and activities.  \nIn Tunisia, Italians entrepreneurs and professionals set up a committee charged with organising the participation to the exhibition of the Italian community in Tunisia.","type":"Book","holder":"Italian Geographical Society (SGI)","dates":"1906","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"e6b696c1-80fd-5fd5-8b33-a15b88ca3ccb":{"name":"An Italian Pasta Factory in Tunisia","short_description":"According to historian Adriano Salmieri, in 1921 the four Tunisian towns of Tunis, Sfax, Sousse (Susa) and Bizerte had a total of 133 Italian shops making pasta and bread. Making pasta was hard work. In Tunisia, the industrialization of pasta production started only in the 20th century.","type":"Photo from a book","holder":"Italian Geographical Society (SGI)","dates":"First years of the 20th century","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"e6ce0745-bf5d-5a64-ab65-c5f97224e8ef":{"name":"The Hall of Greece donated by the Greek government to the city of Rome, Rome Exhibition, 1911","short_description":"On the occasion of the International Exhibition of Rome in 1911, the complex of the \"Baths of Diocletian” was restored under the direction of the archeologist and topographer Rodolfo Lanciani. The site housed the Archaeological Exhibition dedicated to the Roman culture in the Imperial Era with a particular interest for its positive influence on the ex provinces. Every single nation participated through original reproductions of archaeological materials, often lost. The photo shows material evidence and casts coming from Greece.","type":"Photo from magazine","holder":"Central Institute for Ethno-Anthropology, National Museum of Arts and Popular Traditions","dates":"1911","location":"Rome","provenance":"Italy","copyright":"Copyright image: Roma, Istituto Centrale per la Demoetnoantropologia, ICDE, Archivio storico.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Esposizione Internazionale di Roma","post-unitarian Italian society","nationalism","celebration of Ancient Rome","Roman empire","map","topography","reconstruction","model","exhibition building","exhibitions and urban spaces","archaeological findings in urban context"]},"e6f49abd-8e7a-5131-a593-cada7ee6ab5e":{"name":"Interior of Cattan's Bazaar; Interior of the Pavilion of Abdallah Ben Athia; Interior of the Eskenazi Museum of Antiquities [Paris Exhibition, 1878]","short_description":"International Exhibition in Paris, 1878. Tunisia is represented by the creation of different bazaars. The reporter's descriptions of Cattan's Bazaar report mainly religious objects such as wooden rosary beads, mother-pearl crosses and the biblical plant, the Rose of Jericho. The Ben Athia Bazaar displayed cultural objects from Tunisia: luxury arms, rich materials, embroidery, perfumes of roses, bronze and enamelled jewellery. The Eskenazi bazaar displayed various antique objects.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright images: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","pavillion","exhibition building","Moorish city","exhibitions and urban spaces","Moorish city","Islamic architecture","reinterpretation","exoticism","reproduction","model","suq","curiosities","French","Jews","magazine"]},"e714183d-faa1-5c38-bf56-e05a8f41f61e":{"name":"Bab el-Bhar - Porte de France","short_description":"This copy of a beautiful watercolour from Charles Lallemand's book *Tunis et ses Environs* shows the Porte de la Mer, or the Porte de France, around which both European settlers and Tunisian residents are gathered. Its location was strategic, as it led to both the Tunis medina and the European quarter.","type":"Watercolour","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"19th century","location":"La Manouba, Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Porte de France","Tunis medina","European quarter"],"materials":["Paper"]},"e751862b-fe57-57d5-ba9b-2d07b6938bd0":{"name":"'The war: the winners and… the losers'","short_description":"Italian anti-colonial cartoon, with a clear socialist imprint: according to the author, soldiers of both sides were equal victims of the war, while businessmen of both sides made profits out of the war.","type":"Cartoon","holder":"State Library of Modern and Contemporary History","dates":"1912","location":"Rome","artist_birthdate":"1865","artist_birthplace":"Montelupone (MC)","artist_deathdate":"1937","artist_deathplace":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell","keywords":["cartoon","caricature"]},"e76382a2-64c9-5d5c-8c41-049ddd06c52d":{"name":"Newspaper *al-Hoda*","short_description":"These two issues of *al-Hoda* date to 12 October 1901 and 27 November 1901. *Al-Hoda* was a semi-weekly critical periodical founded by N. A. Mokarzel and written, edited and printed in Philadelphia, USA.","type":"Print; newspaper","holder":"House of the Maronite Patriarchate of Antioch and all the East","dates":"12 October 1901 – 27 November 1901","location":"Bkerki","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Newspaper","Immigrants"],"materials":["Paper, ink"]},"e76f2cd3-86ac-51b9-b076-e4ec90a04fbc":{"name":"*Illustrations of the One Thousand and One Nights, vol. 1*","short_description":"The *One Thousand and One Nights* played an important role in bringing the East and the West closer together. Galland was its first French translator, translating with much liberty what he had been able to understand in the early 18th century. The translated *One Thousand and One Nights* were extremely successful, and became the subject of a variety of art forms, both allowing Europeans to become better acquainted with the Arab world, but also forming the basis for lasting stereotypes.","type":"Print","holder":"National Library of France","dates":"1840","provenance":"France","translator":"Flaminia Baldwin","keywords":["Orientalism"]},"e77f7585-833b-5120-a08a-4e03b131f833":{"name":"*Interior of the Great Temple at Baalbec*","short_description":"This view into the interior of the Temple of Bacchus at Baalbek, Lebanon originally formed appeared in 'Syria, The Holy Land, Asia Minor, &c', illustrated views printed in 3 series over 2 volumes (37 plates, 37 plates, and 48 plates for each series respectively) including maps and title pages. The publication resulted from the 1836-1838 collaboration between the painter William Henry Bartlett, the engraver Ebenezer Challis and the Publishers Fisher, Son and Co. The architectural and artistic details they recorded subsequently inspired European Neoclassical architects and artists such as Robert Adam, who based one of the ceilings at Osterley House on the ceiling of the Temple of Bacchus and the portico of St George's, Bloomsbury on its portico. Since the 1860s, many tourists visited the site, including, in 1898, the German emperor Wilhelm II. Struck by the magnificence of the ruins, he dispatched a German archaeological team, whose subsequent work resulted in a meticulous, illustrated publication that further popularised the site.","type":"Steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Printed 1836–1838","location":"Sharjah","dimensions":"Height 160 mm, width 210 mm","provenance":"London","artist_birthdate":"William Henry Bartlett: 26/3/1809","artist_birthplace":"London","artist_deathdate":"William Henry Bartlett: 13/9/1854","artist_deathplace":"Off the coast of Malta","author":"Ulrike Al-Khamis","materials":["Steel engraving"]},"e794e773-3653-5861-a65a-803eb3349875":{"name":"The trademark for the Italian company Smalto Tripoline, manufacturer of paints and varnishes","short_description":"The trademark of the company “Smalto Tripoline” (a factory producing enamels and paintings), based in Verona (Veneto, the same region as Venice).","type":"Trademark (archival document)","holder":"Central State Archives of Italy","dates":"7 February 1914","location":"Rome","author":"Margherita Martelli","copy_editor":"Anne Dowell"},"e87a28c8-480d-590e-ba3c-b84ef6e8d476":{"name":"Abdul-Mejid I, Sultan of Turkey (1823–1861)","short_description":"Portrait of Abdul-Mejid I, Sultan of Turkey (1823–1861), riding a horse. When he came to power in 1839, he tried to re-occupy lands lost to Muhammad 'Ali Pasha, the ruler of Egypt. In this effort he was supported by Britain and Austria. In 1840 a combined British-Austrian fleet cut off the supply lines of the Egyptian army and forced the Egyptians to sign the 1840 Convention of Alexandria. Abdul-Mejid was able to win back Syria and Palestine. In 1849 he granted the Hungarian refugees exile. In 1861 he died and left his throne to his brother Abdülaziz.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Abdul-Mejid, Sultan of Turkey","Egypt","Syria, Palestine","Hungarian refugees"]},"e89aa553-0859-53ef-ad91-bdaddb8ac231":{"name":"*Hüdavendigar* Paper in Armenian","short_description":"After the *Tanzimat* (reforms), newspapers in Arabic, Persian, Bulgarian, Serbian, Albanian, Kurdish, English, French, Italian and German began appearing in the Ottoman Empire. Some of them were bilingual as Turkish-Greek, Turkish-Armenian and Turkish-Arabic. *Hüdavendigar* was a provincial newspaper of Bursa and it was first published on 19 February 1869. The same year, starting with the 80th issue, the back page was printed in Armenian. The paper was published twice (Wednesday and Saturday) and then four times a week. It was 50 x 25 cm. Subscription for a year was 100 kuruş, for six months was 50 kuruş and one issue was 20 para (1/2 kuruş). It continued to be published until 1953 under different names.","type":"Newspaper","holder":"Bursa Basın Tarihi Müzesi","dates":"1869","location":"Bursa","provenance":"Bursa","copy_editor":"Daniel de la Vega","materials":["Paper"]},"e93e2356-ce89-5c16-b735-40f476c4b07d":{"name":"Gustave Eiffel. The Eiffel Tower in 1889.","short_description":"Today, the Eiffel Tower is one of the great symbols of Paris and of France. This metal structure, a huge technological achievement in and of itself, was constructed by Gustave Eiffel (1823–1923) for the Exposition Universelle (world fair) of 1889, which celebrated the centenary of the French revolution. Many of his contemporaries, such as Guy de Maupassant, considered the structure hideous and called for its demolition. This drawing recalls the tower's function as a symbol of the vitality of French industry, highlighting its exceptional size and its proximity to the great Palais de l'Industrie, which housed the Dôme Central, the first building to use electricity on a large-scale.","type":"Print","holder":"National Library of France","dates":"1889","location":"Paris","translator":"Flaminia Baldwin","keywords":["World fairs","Eiffel Tower","France"]},"e952d626-e57d-5b8e-b2e2-24763b1c7b83":{"name":"Receipt for a subscription among the Italians in Tunisia to buy Italy a plane","short_description":"We do not know whether the Italians living in Tunisia who collected money to buy Italy a plane were aware that Italy would use planes to bomb civilians in Libya. To be sure, they supported Italian expansionist policy.  \nThis receipt bears the signature of the treasurer of the committee that was collecting funding to buy Italy a plane, Giuseppe Di Vittorio, the owner of a successful construction company. The donor, Ugo Moreno, was another “big man” of the Italian community in Tunisia: a lawyer, he established a bank (Banca Italiana di Credito), in 1901 started an oil company (Societé du Pétrole) and in 1919 became town councillor in Tunis.","type":"Archival document","holder":"State Archives of Livorno","dates":"Tunis, 15 April 1912","location":"Livorno","author":"Massimo Sanacore","copy_editor":"Anne Dowell"},"e97ad326-57ea-571c-be97-f63b11fcafbc":{"name":"Chorographical plan of the attack waged by Lord Exmouth against Algiers on 27 August 1816","short_description":"In the spring 1816, a large Anglo-Dutch fleet headed by Admiral Lord Exmouth forced the three Ottoman regencies of the so-called “Barbary Coast” (the coastline of Algiers, Tunis and Tripoli; “Barbary” comes from “Berber”, the name given to the original people and culture of North-West Africa) to release Christian captives and to sign agreements over the abolition of corsairing, or privateering, and the enslavement of captives. In August, the Anglo-Dutch fleet returned to Algiers and made additional demands to the Turkish regent, who refused to comply. Lord Exmouth then ordered a heavy bombardment that destroyed the Algerian navy and part of the city of Algiers.","type":"Plan","holder":"State Archives of Turin","dates":"December 1816","location":"Turin","dimensions":"48,9 x 65,4 cm","author":"Edoardo Garis, Giulia Barrera","copy_editor":"Anne Dowell"},"e9b3ea92-3a5f-5e88-8c8b-35360ed3d3f2":{"name":"*Mosaic from the Christian basilica*","description":"","type":"Paper","holder":"Musée Public National des Antiquités","dates":"1840–1845","location":"Algiers","provenance":"Alger","translator":"Flaminia Baldwin"},"e9d20fa0-c214-51e8-a022-980c7d31384c":{"name":"Tekke panel","short_description":"*Hüsn-i Hat* is a type of calligraphy. Turks probably started to get interested in calligraphy after their arrival to Anatolia. The brightest period was during the Ottoman era. Calligraphy developed well beyond its functional role; it almost played a similar role to the paintings in Western art in terms of the level of its aesthetics. The script *\"Ya Hazreti Şeyh Sultan Yusuf Sümbül Sinan Kaddes Allahu sırrahu\"* (religious text, untranslatable) is written on a black background with *Zerendud* (gilded) calligraphy and designed as the *sikke* (tall felt hat) of the Sünbüli order. It stands over a small table in Rococo style and there are hyacinth flowers on either corner of the upper part. The sides of the plate are surrounded by two borders that are Rococo in design.","type":"Paper","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"Hegira 1311 / AD 1893","location":"Istanbul","dimensions":"54x40 cm.","copy_editor":"Daniel de la Vega","keywords":["Caligraphy","Hüsn-i Hat","plate"],"materials":["Black ink on paper"]},"e9dc3805-7eb0-5025-b948-d69dd0ddfe00":{"name":"*The Citadel of Cairo, the Residence of the Pasha*","short_description":"The citadel of Cairo, here captured by the Scottish artist David Roberts in the 1830s, was undergoing major changes under Muhammad Ali Pasha (1769-1849). Having overcome the Mamluks of Egypt in 1805, Muhammad Ali erased all traces of their rule, including remaining palace and administrative structures. He rebuilt most of the walls, erected four new palaces - his own royal residence in the northern enclosure, a courthouse, an expansive terrace and state-of-the-art accomodation for his army. At the heart of the citadel complex, Mohammad Pasha ordered a memorial mosque for his son Tusun in the Ottoman style. Building work on the mosque lasted from 1828 to 1848. Roberts incorporates the new structures existing in his time, like the palace on the right, cresting the hill - the ongoing building works on the mosque are concealed by the Mamluk structure in the foreground on the right.","type":"Litograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1849","location":"Sharjah","dimensions":"436 mm x 610 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","keywords":["Muhammad Ali Pasha"],"materials":["Litograph"]},"ea0dd19a-059c-55b1-ad56-fcbfe2341d01":{"name":"*Souvenirs d’Egypte; Femme Fellah du Caire*","short_description":"Lithograph, tinted with one tint stone, with additional colouring by hand, depicting a female agricultural worker (or fellah). Half bound in red morocco, in a modern portfolio. Each plate (apart from title page) lettered with title in French, Arabic and English, artists' names, and variously, 'Egypte. Imp. Lemercier, Paris', R'.Colas, Bibliographie Générale du Costume et de la Mode, 2 vols, Paris, 1933', and dated c. 1850.","type":"Print","holder":"Victoria and Albert Museum","dates":"1851 (published)","location":"London","dimensions":"Height: 57.3 cm Size of covers, Width: 38.9 cm","provenance":"Egypt (possibly, drawn); France (published)","artist_birthdate":"1813","artist_deathdate":"1895","author":"Victoria and Albert Museum","keywords":["Egypt","peasants","agriculture","portrait","print","women","work","souvenirs","travel"],"materials":["Paper; hand-coloured lithograph"]},"eaed42bd-51b3-5083-8735-9c1467c68055":{"name":"An example of Italian colonial propaganda: 'Italy takes up the sword of ancient Rome. To the Italian sailors who are fighting in Tripolitania'","short_description":"Italian sailors fighting in Libya are portrayed as the heirs of Roman soldiers. On the ground, one can see the personal military equipment of an ancient Roman soldier. The modern sailor holds in his right hand the Roman soldier’s sword and in his left hand an Italian flag.  \nItalian colonial rhetoric looked at the Roman Empire as a justification for Italy’s colonial conquests of Libya. The current territory of Libya was for centuries part of the Roman empire.","type":"Postcard","holder":"Central Institute for Cataloguing and Documentation (ICCD)","dates":"1911–12","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"eb38e940-7f0e-59a0-8e60-897613089325":{"name":"*Algerian Drinkseller* \\[Paris Exhibition, 1878\\]","short_description":"Within the International Exhibition in Paris, 1878, commercial activities typical of the colony were performed in the park next to Trocadero Pavilion. Working activities were part of the project of the reconstruction of a hypothetical neighbourhood. The picturesque recreation of the Algerian surroundings includes a drinkseller offering lemonade kept fresh inside \"*alcarazas*” made by red earth.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","industrialisation","exhibition building","Moorish city","exhibitions and urban spaces","Moorish style","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"ebc1fbff-c25e-5ca5-86ba-1be3dbc34cbf":{"name":"The Gallery of Machines – Section of French Telegraphic Machines, Marinoni's Continuous Paper Model [Paris Exhibition, 1878]","short_description":"Two of the most important inventions of the 19th century, the rotary and four-colour printing (quadrachrome), are attributed to Augusto Ippolito Marinoni. The new machines changed the printing of journals, achieving up to 18,000 to 20,000 copies per hour. Marinoni had extraordinary success in Paris, where his factory produced 4000 samples of machines which also sold in London, Berlin and Vienna. In Italy at the time, only the journal *Il Secolo* had a \"Marinoni\".","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","pavillion","industrialisation","progress","machine","celebration of progress","reform","social change","technical innovation","printing","press","publication","book","newspaper","journal","magazine"]},"ec198745-bf85-5cf3-a025-264676b49e2d":{"name":"*Histoire de la Princesse Boudour (Conte des mille et une nuits)*, Translation by J.C. Mardrus of *The Story of the Princess Boudour: Tales of a Thousand and One Nights*","description":"François-Louis Schmied (1873–1941) and Jean Dunand (1877–1942) worked together on *Histoire de la Princess Boudour*, the French translation of one of the tales from *The Arabian Nights* by J.-C- Mardrus. The painter, illustrator, engraver, bookbinder and publisher François-Louis Schmied was primarily responsible for producing the graphic design and handling of the text, the illustrations and their wood interpretations. Dunand produced a lacquered metal plaque that transmitted the eroticism and voluptuousness revealed throughout the text. Using warm colours, Princess Boudour is portrayed on a red ground sprinkled with gold, and appears as a very elongated, tubular figure holding a flower with both hands. It’s a limited edition, just twenty copies, it’s a extremely rare Art Deco book.","type":"Book","holder":"Calouste Gulbenkian Museum","dates":"Paris: F.L. Schmied, 1926","location":"Lisbon","dimensions":"28.6 x 24.2 cm","author":"Manuela Fidalgo","keywords":["Orientalism","Literature","François – Louis Schmeed","Jean Dunand George"],"materials":["Binding: black and green morocco by Georges Bretté (1893–1969), with one lacquered plate by Jean Dunond (1877–1942)"]},"ecc37fb3-5606-5413-bfb4-48ac62d9c763":{"name":"Turkey. Inside view of the Scutari Hospital during the Crimean war.","short_description":"Florence Nightingale (1820–1910), a British nurse famous for her commitment to and improvement of the health service, was sent to on a humanitarian mission to Scutari in the middle of the Crimean war. With a team of about 30 nurses, she cleaned the hospital and reorganised the wards in order to prevent the outbreak of epidemics. In this image she is pictured in the sick ward, taking various measures to improve its hygiene.","type":"Print","holder":"National Library of France","dates":"1892","location":"Paris","translator":"Flaminia Baldwin","keywords":["Hospital","Crimean war","Turkey"]},"ece4e33c-7204-5b42-8e58-18b1ae8b4d17":{"name":"*Ruins of Troy: general excavation plan by Mr Schliemann*","short_description":"Heinrich Schliemann (1822–1890) was a German businessman who discovered his passion for archaeology whilst travelling. In 1870 he decided to direct an archaeological campaign in Turkey where he discovered the ruins of Troy. Various scandals (stolen objects, scientific errors) quickly destroyed his reputation, and today he is credited only with having created sites which led to important advances in the field. However, this plan of Troy is evidence for Schliemann's efforts to direct the excavations in a rigorous scientific manner.","type":"Plan","holder":"National Library of France","dates":"1876","location":"Paris","translator":"Flaminia Baldwin","keywords":["Greek antiquities","archaeological excavations","Schliemann","Turkey","plans"]},"edae7a23-07b5-5d83-9c59-298568ea0cc0":{"name":"The Moroccan Embassy in Rome","short_description":"In June 1890, the Sultan of Morocco sent an Ambassador to Italy (Hagi El Maati el Mazamizi), to meet the Italian King and present him with extremely rich gifts.  \nThe Ambassador was received with the highest honours. He met with the Italian Prime Minister and with the King, who offered him a gala dinner.  \nIn this picture one can see Morocco’s Ambassador, his interpreter, two Moroccan dignitaries who travelled with him, an Italian diplomat and another Italian high official.","type":"Photo published in a journal","holder":"State Library of Modern and Contemporary History","dates":"1890","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"ee0cbe27-f7a7-56db-b5c5-18038a38b0c8":{"name":"Omar Pasha (1806–1871)","short_description":"Portrait of Omar Pasha. He was born in Croatia in 1806 near the Turkish-Hungarian border. In 1828 he deserted from the Austrian army and joined the Ottoman administration in Bosnia. After a long career in the Ottoman army, he became the military governor of Bucharest and commanded the Ottoman forces at the siege of Sevastopol in Crimea. In 1862 he suppressed an uprising in Herzogovina and led a victorious campaign against Montenegro. In 1868 he became War Minister and died in 1871 in Istanbul.","type":"Print","holder":"Austrian National Library","dates":"Mid 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Omar Pasha","Croatia","Bosnia","Ottoman empire","Herzegovina"]},"eee2b270-70d5-58ca-a544-89ca4bbc9d54":{"name":"*Armenian Girl*","short_description":"*Armenian Girl* by Frederick Lewis, and important orientalist painter and etcher.","type":"Drawing","holder":"The British Museum","dates":"1841","location":"London","provenance":"?","keywords":["costume","Orientalism","travel","traveller","fashion"]},"ef29d044-78f8-52d1-a065-bb93ee480704":{"name":"Wardrobe of Luigi Elli of Milan [Paris Exhibition, 1878]","short_description":"One curiosity, presented at the Universal Exhibition of Paris in 1878, is a modern \"bed wardrobe\" designed by the Milanese industrialist Luigi Elli. Appreciated more in France than in Italy, and initially excluded from Italian orders, it was reintroduced when the France decided to display it within other French works.","type":"Photo from magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","pavillion","industrialisation","progress","celebration of progress","social change","applied arts","model","furniture","house","middle class","market","trade","industrialists","artistic exchange","magazine"]},"efb40382-898f-59c5-99c9-337e5b9fd997":{"name":"Europeans leaving Alexandria (Egypt) during the antiforeign rioting in June 1882","short_description":"Ahmed Urabi, an army colonel of peasant origins, led a protest movement in 1881 against European domination of Egypt’s affairs and in favour of placing constitutional limits on the Khedive’s power. In 1882 Urabi was appointed minister of war and started working for the creation of a national assembly.  \nIn May 1882, Britain and France, concerned about access to the Suez Canal and intending to protect their financial interests in Egypt, sent a fleet to Alexandria, hoping to weaken Urabi’s nationalist movement. The presence of the fleet only worsened tensions. In June, anti-foreign rioting erupted in Alexandria and left several hundreds dead, including about 50 foreigners.  \n18,665 Italians were living in Egypt at the time, mostly in Alexandria and Cairo.","type":"Drawing in a newspaper","holder":"State Library of Modern and Contemporary History","dates":"1882","location":"Rome","author":"Giulia Barrera","copy_editor":"Anne Dowell"},"efe60dc6-7155-5eb3-a180-d0bfbd548106":{"name":"Revenue stamp","short_description":"A revenue stamp issued in 1888 during the reign of Khedive Muhammad Tawfiq with the value of one dime. Written at the top is “Egypt Post” in Arabic with its French translation below it. To the left is the value of the dime in French, and in the centre is an image of one of the Giza pyramids and the Sphinx. The first postal stamp was issued in England in 1840. It bore the portrait of Queen Victoria, as suggested by Sir Roland Hill. This stamp was issued twice, in red and in blue. The United States of America was the second country in the world to use stamps, and the first Egyptian stamp was issued in 1866 by order of Khedive Ismail.","type":"Stamp","holder":"Bibliotheca Alexandrina","dates":"1888","location":"Alexandria","copy_editor":"Daniel de la Vega"},"f0020c49-694c-556a-855c-e631e86ab20b":{"name":"Survey of Western Palestine","short_description":"Field sheet showing a week’s work mapping the environs of Gaza for the Survey of Western Palestine, dated 29th April, 1875. The SWP was the first detailed and fully accurate map ever made of Palestine, at 1 inch to the mile, for the Palestine Exploration Fund. The Survey Party was commanded by Lieut. Claude R. Conder, R.E., and his assistant, Lieut. H.H. Kitchener.","type":"Field sheet","holder":"The Palestine Exploration Fund (PEF)","dates":"1875","location":"London","provenance":"Levant","keywords":["mapping"]},"f0198935-079b-5690-9940-711aef84795d":{"name":"Postcard","description":"Postcard; printed paper; shows the Hejaz Railway monument, Damascus.","type":"Postcard","holder":"The British Museum","owner":"The British Museum","dates":"1930s (?)","location":"London, United Kingdom","dimensions":"Height: 14cm; width: 8,9 cm","place_of_production":"Damascus","obtention":"Purchased from: East London Postcards in 2013.","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_EPH-ME-1360?selectedImageId=1451015001","keywords":["monument","print","Railway","station"],"materials":["Paper"]},"f1166cb3-b783-5cbf-98fd-cd4d924c210b":{"name":"Main entrance of the Hotel Excelsior at the Lido in Venice","short_description":"The drawing shows the main entrance of the Hotel Excelsior on the beach of the Lido sandbar which separates the Venice lagoon from the sea. Two small towers crowned by domes with decorations stand aside the portal. Particularly interesting is the use of arches in Moorish style, for the main portal and for the loggias in the side wings.","type":"Architectural drawing","holder":"Archivio Progetti – Università Iuav di Venezia","dates":"1907–08","location":"Venice","dimensions":"29,5 x 36 cm","artist_birthdate":"1863","artist_birthplace":"Venice","artist_deathdate":"26 June 1913","artist_deathplace":"Mogliano Veneto","author":"Riccardo Domenichini","copy_editor":"Anne Dowell","materials":["Black ink, transparent paper"]},"f175d1d2-4ea7-502d-8b4f-2dbcdf510fc9":{"name":"*Tunis 2*","short_description":"Designed by Joseph Nash, this is one of the set of views published with accompanying text as Dickinson's Comprehensive Pictures of the Great Exhibition. The prints used the newly available technique of colour lithography to record scenes from the popular 1851 Exhibition. This particular scene shows the Tunisian exhibit, Tunisia being one of few African countries represented at the Exhibition. Exhibits were selected by the bey, Mushir Basha, and included a Bedouin tent. The wealth of material displayed and the charisma of the exhibitors, Hamda Elmkadden and his assistant Saido Belais, ensured that the exhibit proved ‘one of the most remarkable features’ of the Exhibition.  \nFollowing the Exhibition, a government grant was awarded to a committee headed by Henry Cole to purchase items from the Exhibition to form the basis of a Museum of Manufactures (later the V&A).","type":"Print","holder":"Victoria and Albert Museum","dates":"c.1852","location":"London","dimensions":"Height: 38 cm, Width: 56 cm","provenance":"United Kingdom","artist_birthdate":"1808","artist_deathdate":"1878","author":"Victoria and Albert Museum","keywords":["Black History","Great Exhibition","The Great Exhibition","Prints"],"materials":["Colour lithograph"]},"f1948597-53b1-578c-8bd5-dbd5ac4ee6c3":{"name":"*The Great Khan of Damascus*","short_description":"Damascus had long been a major commercial hub in the Middle East, with trading caravans converging on its numerous souqs from all over the Islamic world. Commercial complexes had already flourished in the 18th century and were an integral part of Ottoman modernisation projects in the 19th century. This image gives a wonderful impression of the activities within a traditional Near Eastern khan or market complex in the 19th century. Under high vaulted domes, man and beast are engaged in various activities. Pack animals bring wares or are being unloaded, traders discuss their wares, rest or ponder their accounts. A fountain in the centre provides respite and coolness. On the second floor, figures are visible at the balconies, overlooking the activities below. The print was originally published in Volume I, p. 49, of 'Syria, The Holy Land, Asia Minor &c', printed in 3 series over 2 volumes, drawn by William Henry Bartlett and William Purser, engraved by W. Kelsall, with descriptive text by John Carne. Published by Fisher and Son, with series I and II bound together.","type":"Coloured steel engraving","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Printed 1836–1838","location":"Sharjah","dimensions":"205 mm x 270 mm","provenance":"England; published in Etching depicting *'The Great Khan At Damascus'*, first published in John Carne, *'Syria, The Holy Land, Asia Minor, &c'*, 1836–1838","artist_birthdate":"William Henry Bartlett: 26/3/1809; William H, Kelsall: date of birth unknown","artist_birthplace":"William Henry Bartlett: London; William H, Kelsall: place of birth unknown","artist_deathdate":"William Henry Bartlett: 13/9/1854; William H, Kelsall: date of death unknown","artist_deathplace":"William Henry Bartlett: off the coast of Malta; William H, Kelsall: place of death unknown","author":"Ulrike Al-Khamis","keywords":["khan"],"materials":["Coloured steel engraving"]},"f22befb9-5e91-59ad-a5d6-b1b4804da1d6":{"name":"*Fête Égyptienne: Divertissement de Concert pour Piano: op. 3*","short_description":"French \"Egyptomania\", which began with the campaign in Egypt and lasted the whole 19th century, saw a period of particular intensity during the construction of the Suez Canal. The illustrator of this score, responding to the music's supposedly Egyptian inspiration, focused his illustrations on stereotypical Egyptian images (pyramids, sphinx, palm trees), but notably failed to include images of Egyptian people or daily life.","type":"Sheet music","holder":"National Library of France","dates":"1891","location":"Paris","translator":"Flaminia Baldwin","keywords":["Music","Middle East","Egypt"]},"f23c34bf-814d-5e9e-8baf-ebe84ce157b4":{"name":"*Folies Rambuteau. New quartet from the Auvergne.*","short_description":"The 19th century saw mass rural to urban migration, particularly to Paris, for largely economic reasons. These migrants often settled with people from their region, who offered them work in specific fields. Thus, those from the Savoy region became specialised in chimney-sweeping, those from the Auvergne were water-carriers or coal-merchants, those from Brittany were domestic workers, and so on. Regional solidarity therefore ensured the survival of regional culture. In this image, for example, a quartet from the Auvergne are advertising their performance in a *café-concert* in traditional dress. Music from the Auvergne was the origin of the Parisian *bal-musette* (a dance accompanied by accordion music).","type":"Poster","holder":"National Library of France","dates":"1885","location":"Paris","translator":"Flaminia Baldwin","keywords":["Communities","Paris","Auvergne"]},"f262f19f-c5f9-5c05-bd10-8873d3e30db2":{"name":"*Interview with Mehemet Ali in his Palace at Alexandria 1839*","short_description":"This scene shows Muhammad Ali Pasha, comfortably seated on a diwan with sword and waterpipe by his side, receiving a British Delegation at his palace in Alexandria on May 12th, 1839 - an event at which the artist David Roberts himself was present after receiving an invitation from the British Consul General in Alexandria, Colonel Patrick Campbell, to accompany him to the meeting at the city's Arsenal. On entering the audience room, Roberts noticed the magnificent view of the harbour from the window, and he eternalises this impression at the centre of his composition, accentuating at the same time the separation of the Egyptian ruler and his entourage on the left and the six-strong, British delegation on the right. Campbell is seated closest to the ruler, followed by Thomas Waghorn and David Roberts, eagerly leaning forward to listen and observe. Other identifiable individuals include Bogosh Bey, the Armenian chief minister, standing left of the seated Pasha, Dr Tattam, a Coptic scholar commissioned by the British Museum and Mr Pell. Campbell  was soon to be recalled due to his attempts to influence British politics towards Mehmet Ali, whom he greatly admired.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"Published 1849","location":"Sharjah","dimensions":"434 mm x 613 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","keywords":["Muhammad Ali Pasha","diwan","Thomas Waghorn","Patrick Campbell","Bogosh Bey"],"materials":["Lithograph"]},"f2797aad-043c-51e6-ba00-d9f4afd964a3":{"name":"*Recherches sur l' origine du Blason et en particulier sur la Fleur de Lis*","short_description":"The illustrated publication *Recherches sur l' origine du Blason et en particulier sur la Fleur de Lis* is a study on emblems with references to Mamluk blasons. It contains the ex libris of Antonis Benakis.","type":"Book","holder":"Benaki Museum","dates":"1853","location":"Athens","dimensions":"23 cm","provenance":"Paris","author":"Mina Moraitou","keywords":["Book","design"],"materials":["Printed paper"]},"f2e1525e-6b39-51de-8e19-c3cca74a4562":{"name":"*A Turkish Coffee-House, Constantinople*","short_description":"Preziosi was of noble Maltese birth, but against the wishes of his family rejected their chosen profession of the law to become an artist. From 1842, until his death forty years later, he lived and worked in Istanbul, renowned for his vibrant and evocative images of all the different races and cultures of that most cosmopolitan of cities. He became for a time well-known in Western Europe because many travellers, (including in 1869 the Prince of Wales) took his pictures home as souvenirs of their visit. Demand for his work prompted the publication in Paris in 1858 of a series of lithographs, Stamboul Recollections of Eastern Life.This is a fine example of Preziosi’s keen observation of contemporary Ottoman life, rapidly sketched yet full of accurately depicted detail.","type":"Watercolour","holder":"Victoria and Albert Museum","dates":"1854","location":"London","provenance":"Turkey","author":"Victoria and Albert Museum","keywords":["coffee","music"]},"f31fd223-2144-5b45-8b4a-8cf3c4d36bc5":{"name":"*London-Paris-Constantinople* \\[…\\] *Orient Express. Paris-Munich-Vienna-Budapest-Belgrade & Constantinople: fast and direct service, without your car and without your passport* \\[…\\] *Winter 1888–89 ...*","short_description":"Founded in 1872, the Compagnie Internationale des Wagons-lits was originally a Belgian company. Its founder (Georges Nagelmackers) had the idea of creating a luxury train line, without the need for changes at each border, in order to allow wealthier tourists a more comfortable journey. The opening of the famous Orient Express between Paris and Constantinople in 1883 was an extremely successful example of this.","type":"Poster","holder":"National Library of France","dates":"1888","location":"Paris","translator":"Flaminia Baldwin","keywords":["Railways","travelling","Istanbul"]},"f32db4ad-178e-583f-be68-731a20b86a1a":{"name":"Map of the Hijaz Railway. Designation in Ottoman Turkish and Arabic","description":"The map is part of the Pocket Atlas of the Ottoman Lands: The Geographical and Statistical Conditions of the Ottoman State. It represents territories extending from Egypt and the eastern Mediterranean in the west to the Euphrates River in the east, and from Damascus in the north to the Hijaz region in the south. The map identifies regions, towns, ports, deserts, mountain ranges and maritime routes in Ottoman Turkish written in Arabic script. A route beginning in Damascus and continuing through Darʿa and Maʿan toward Medina corresponds to the Hijaz Railway. The map table heading is given first in Ottoman Turkish and immediately below in Arabic, reading: \"Map of the Hijaz Railway\", with a list of stations underneath. Each location is accompanied by a numerical value expressed in kilometres, indicating cumulative distances measured from Damascus.","type":"Map, pocket atlas","holder":"Wolf-Dieter Lemke Collection","owner":"Wolf-Dieter Lemke Collection","dates":"AH c. 1328 / AD c. 1910","location":"Berlin","dimensions":"Height: 13 cm; width: 9,2 cm","provenance":"Collection of Wolf-Dieter Lemke, Berlin","bibliography":"Nicholson, James, *The Hejaz Railway*, London: Stacey International, 2005.  \n  \nAga Khan Trust for Culture, *Historic Train Stations of the Al-Hijaz Railway Network*, Geneva: Aga Khan Trust for Culture, 2004.","dynasty":"Ottoman","copy_editor":"Danielle Morcom","keywords":["Hijaz","Map","Syria, Türkiye","Trainlines"],"materials":["Paper, printed coloured pocket atlas"]},"f36b7d3e-8e7a-5356-9555-d10076d72a09":{"name":"Muhammad Tawfiq Pasha (1852–1892)","short_description":"Portrait of Muhammad Tawfiq Pasha (1852–1892). After the deposition of his father Ismail Pasha, Muhammad Tawfiq took over the government in Egypt. The Arabi revolution diminished his power radically. In 1882 he asked for help from Great Britain. British troops suppressed the Arabi revolution and occupied Egypt. Muhammad Tawfiq became ruler at the grace of the British government.","type":"Print","holder":"Austrian National Library","dates":"After 1882","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Muhammad Tawfiq Pasha","Egypt","Arabi (Urabi) revolution","Great Britain"]},"f3e4d209-2bec-5851-8ab2-7247da1e8c09":{"name":"*Sepolcro del Giovedì Santo*","description":"This etching documents the main installation created by the sculptors Angelo and Domenico Piò in the church of the Holy Saviour in Bologna. Antonio Cartolari drew the engines, Petronio Nanni built them, Angelo Sarti was the painter and Marco Montanari the scenographer. It was a tradition to keep a drawn memory of ephemera built during the Holy Week in one of the three churches chosen each year among the 60 selected in the diocese of Bologna for this celebration This was a practice created by cardinal Gabriele Paleotti, that took shape in the eighteenth-century, with sumptuous and solemn liturgies. On the Holy Thursday the Catholic Church celebrated the institution of the Eucharist with the Last supper. The host was taken from the tabernacle and put in the Repository, called the Sepulchre, to commemorate the death of Christ. The repository was an installation built to emphasise the tabernacle holding the holy Eucharist. This etching was part of a booklet, helping the faithful to meditate over the Passion and Resurrection of Christ. The analytical description of the sumptuous installation involving the whole church was made in order to preserve the memory of a work created to last only few days.  The work was made to touch the faithful hearts and at the same time to instruct them about the core of the Catholic faith, thus helping them to follow in the right behaviour preached by the Church. On the altar stand the allegories of Holy Grace, Religion, Faith and Fortitude, defeating the devil. On the cartouche we read the words of St. Paul: “Gratia Dei Salvatoris nostri” “Thanks to the Lord our Saviour” (Tit. II. 11). The rest of the church was uniform, thanks to six installations like this one. All the figures were painted in white to convey the idea of marble, while the architectural details, standing inside niches covered with red and gold material, were made to look like travertine. The spirit animating the whole installation reflected the rhetoric and the ostentation of the age.","short_description":"Among the most significant documented ephemera built in the baroque age are the so-called sepolcri (“sepulchres”). This is an effective example. A group of sculptors, scenographers, sceneshifters, architects and painters erected them in churches during the three days before Easter.","type":"Print","holder":"Biblioteca Comunale dell'Archiginnasio","owner":"Biblioteca Comunale dell'Archiginnasio","dates":"1764","location":"Bologna, Emilia-Romagna","dimensions":"530 x 350 mm","place_of_production":"Bologna","method_for_datation":"Dated.","provenance":"This print is part of the booklet *Explanation of the Holy Sepulchre of the Redeemer exposed to the faithfuls piety...*, In Bologna, printing house of St. Thomas Aquinas, 1764","obtention":"Bequest Giovanni Gozzadini (1902).","bibliography":"Guidicini, G. *Descrizioni dei Sepolcri del Giovedì Santo dal 1691 al 1823, raccolte e divise in due volumi da Gio.* *Batta Guidicini*, Archiginnasio Municipal Library, Department of Prints and Drawings, A V. H V 18/1-2.  \nRoncuzzi, V. “La sacra rappresentazione dei Sepolcri del Giovedì Santo durante il triduo pasquale”, *L'Archiginnasio:* XCII, 1997, pp. 374-376*.*  \n*La devozione in tipografia: committenza religiosa in età moderna* (exhibition catalogue) (ed. P. Bellettini), S. L., (1997).  \n*Il magnifico apparato. Pubbliche funzioni, feste e giuochi bolognesi nel Settecento* (exhibition catalogue) (ed. S. Camerini), Bologna, 1982, pp. 74-76.","workshop":"Bolognese Late baroque","artist_birthdate":"1707","artist_birthplace":"Bologna","artist_deathdate":"1782","artist_deathplace":"Bologna","copyright":"Copyright image: Biblioteca Comunale dell’Archiginnasio di Bologna.","author":"Cristina Bersani","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Angelo Piò, Domenico Piò","architectural sculpture","devotional painting","ephemeral architecture","festivity","funerary architecture","liturgy","religious orders","scenography","Sepulchre of Jesus Christ","theatre"],"materials":["Etching on paper"]},"f3ed76b1-bbf6-54cf-8522-0f1b9baf22b6":{"name":"Rich drawing","short_description":"Portrait of a standing Yezidi woman.","type":"Drawing","holder":"The British Museum","dates":"c. 1800–1820","location":"London","provenance":"Iraq","keywords":["Yezidi","traveller","travel","fashion","costume"]},"f441f874-4d85-5d61-a241-aca16296bfa2":{"name":"Programme card for the Exposition Universelle of 1900. Phono-Cinéma-Théâtre.","short_description":"World fairs were an opportunity to discover new inventions, and to make them known worldwide. The \"cinematograph\" was present, in various forms, at the 1900 Exposition Universelle in Paris. The invention of the \"Phono-Cinéma-Théâtre\" brought sound and image together for the first time, and Henri Lioret and Clément-Maurice Gratioulet used a phonograph to combine the voices and images of famous actors such as Sarah Bernhardt.","type":"Programme card","holder":"National Library of France","dates":"1900","location":"Paris","artist_birthdate":"1856","artist_deathdate":"1923","translator":"Flaminia Baldwin","keywords":["World fairs","Paris","cinema","Frères Lumière"]},"f4c22e70-95b9-576e-af85-4267539e8ace":{"name":"Précis Historique de la Traite des Noirs et de l'Esclavage Colonial","short_description":"This illustration, taken from the Précis Historique de la Traite des Noirs et de l'Esclavage Colonial  had didactic objectives. It attempted to show the inhuman treatment slaves were subjected to (yoke, chains, whipping) by traders. In this image, a mother is begging King Charles X of France to spare her son this dark fate and abolish slavery. However, even though the National Convention did abolish slavery in 1794, Napoléon Bonaparte then reintroduced it to most of the territories under French control.","type":"Printed and illustrated text","holder":"National Library of France","dates":"1828","location":"Paris","translator":"Flaminia Baldwin","keywords":["Slavery","Africa","France"]},"f4ee2a86-2553-5a0f-a698-a195e71a3ffd":{"name":"Treaty of the French Protectorate, 12 May 1881","short_description":"This drawing shows an important moment in modern Tunisian history: the signing of the treaty of the French Protectorate over the Tunisian regency, at the Palais Kassar Saïd, in Bardo, on 12 May 1881. The main players are featured in this drawing, namely Sadok Bey who ruled Tunisia from 1859 to 1882, with his hand resting on the table, and to his right the general Jules Aimé Bréart, the leader of the invading French troops.","type":"Photograph","holder":"Institut Supérieur d’Histoire Contemporaine de la Tunisie","dates":"1881","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin","keywords":["French protectorate in Tunisia","Sadok Pacha Bey","General Bréart"],"materials":["Paper"]},"f54c0c7c-ee1e-50ca-aed8-8e94a72d0f30":{"name":"*Exposition d' art Musulman*","short_description":"A catalogue of the *Exposition d’ Art Musulman* which was organized by Gaston Migeon and held in Alexandria in 1925. For each object it contains a description and provenance with no illustrations.","type":"Book","holder":"Benaki Museum","dates":"1925","location":"Athens","dimensions":"21 cm","provenance":"Alexandria","author":"Mina Moraitou","keywords":["collecting","book","Egypt","Greeks"],"materials":["Printed Paper"]},"f5bf8d60-ea7d-51ea-b865-00084437d439":{"name":"A strike of rice weeders in northern Italy: the women on strike try to stop a train carrying workers hired by the landowners to replace them","short_description":"Women were very active in trade unions. In 1906, a woman, Argentina Altobelli, became secretary general of the National Federation of Agricultural Workers (Federazione nazionale dei lavoratori della terra).","type":"Published drawing","holder":"State Library of Modern and Contemporary History","dates":"1909","location":"Rome","author":"Rosanna De Longis","copy_editor":"Anne Dowell"},"f6ba7168-fb9b-59f4-96f4-181869aa5b52":{"name":"*The Battle on Dealu Spirii*","short_description":"In June 1848 revolution broke out in Wallachia. In terms of relations with the Ottoman Empire, Wallachia’s suzerain, revolutionaries claimed the administrative and legislative independence of the country. In the autumn, as negotiations with the revolutionaries proved unsuccessful, the Sublime Porte decided to intervene militarily. On the 13th of September, Bucharest was attacked. The battle that took place on Dealu Spirii between the Ottoman army and the Romanian soldiers helped by a company of firefighters was won by the former. Afterwards, the Ottoman sovereignty over the Romanian countries was re-imposed. The lithograph is entitled *The fight of the Romanian soldiers with the numerous column of the Ottoman army* and below the drawing a short text describes the battle.","type":"Engraving","holder":"National Museum of Romanian History","dates":"1848","location":"Bucharest"},"f6ce25ef-e196-51ea-878e-f582be55dc3a":{"name":"Petrie and typology","short_description":"In 1890 Petrie carried out a six-week season of excavations at Tell el-Hesy (as he transliterated it), which he identified, wrongly, as the ancient city of Lachish.  This was the first proper archaeological excavation ever carried out in Palestine, and in the course of this single season Petrie established the principle of dating strata by the pottery which they contained, thus establishing the outlines of the archaeological sequence, which continues to be refined to this day. This section drawing was made by Frederick Jones Bliss, who continued Petrie’s excavations from 1892–1894.","type":"Section drawing","holder":"The Palestine Exploration Fund (PEF)","dates":"1890’s","location":"London","provenance":"?","keywords":["archaeology"]},"f6f098bc-4e9c-5171-b766-ca9c47aabe50":{"name":"New maps","short_description":"Sgt. George Armstrong, R.E., who was a key member of the Survey Party, later made a 3D ‘Raised Contour Map’ of Palestine from the 2D maps originally produced. This was shown all over the western world, and won him a medal at the St. Louis World’s Fair in 1903. It was the first such map ever constructed of Palestine, and served to introduce scholars and the public to the nature of the landscape in a way that no previous maps had done.","type":"Map","holder":"The Palestine Exploration Fund (PEF)","dates":"c. 1900","location":"London","provenance":"?","keywords":["mapping"]},"f7cee5d1-1e01-5071-9419-091425349403":{"name":"Dictionary of Three Languages","short_description":"The *Dictionary of Three Languages* by Gjorgji Pullevski (1822–1893) shows the political context and coexistence of Macedonians, Albanians and Turks in the territory of Macedonia. It also provides evidence of the awakening of the national spirit of Macedonian people. The dictionary has 190 pages in paperback. It gives words in Macedonian, Albanian and Turkish in three columns. Despite its orthographic errors, the dictionary provides a valuable source for studying of the evolution of the Macedonian language.","type":"Book","holder":"Museum of Macedonia","dates":"1875","location":"Skopje","dimensions":"23 x 10.5 cm","provenance":"Belgrade","artist_birthdate":"1822-3","artist_birthplace":"v. Galichnik","artist_deathdate":"1893","artist_deathplace":"Sofia","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["Dictionary","coexistence"],"materials":["Paper"]},"f939b530-8866-5fba-afa5-e436e2211419":{"name":"Rich drawing","short_description":"Portrait of a standing male Yezidi from Sinjar. Claudius Rich made observations and drawings not only of sites but also of people. Early travellers often studied the customs and costumes of local peoples, as well as drawing landscapes or mapping territories. There was no such thing as a professional archaeologist yet.","type":"Drawing","holder":"The British Museum","dates":"c. 1800–1820","location":"London","provenance":"Iraq","keywords":["Yezidi","travel","traveller","costume","fashion"]},"f94fb43c-ce0a-57b2-b9cb-171b27871fa2":{"name":"*Arabs of the Desert*","short_description":"The constant movement of large Bedouin confederations regularly impacted on the history of the Middle East, in particular when it affected settled societies and cities.This print provides much interesting detail about the dress of the Bedouin at the time David Roberts visited the Near East in 1838/9. The individual in the foreground wears a white turban and short gown with belt, a dark red jacket and a voluminous, all-enveloping blue cloak. His legs remain uncovered, and he wears simple leather sandals on his feet. A formidable dagger or khanjar in its sheath is secured in his belt, and he carries a long slender gun through a sling. The bullets for the gun appear to be secured in an ammunition belt strapped diagonally across his chest. In the background, four male figures wearing striped headscarfs and cloaks as well as short white gowns and holdings lances appear on the right. On the left, a bedouin leads his camels away. The inscription states: *Arabs of the tribe of Benisaid, Feb. 17th 1839*.","type":"Lithograph","holder":"Sharjah Art Museum / Sharjah Museums Authority","dates":"Published 1849","location":"Sharjah","dimensions":"325 mm x 208 mm","provenance":"London","artist_birthdate":"David Roberts: 24/10/1796; Louis Hague: 17/3/1806","artist_birthplace":"David Roberts: Edinburgh, Scotland; Louis Hague: Tournai, Belgium","artist_deathdate":"David Roberts: 25/11/1864; Louis Hague: 9/3/1885","artist_deathplace":"David Roberts: London; Louis Hague: London","author":"Ulrike Al-Khamis","keywords":["khanjar"],"materials":["Lithograph"]},"f99fda0f-bbfe-5494-9147-d4cccb13620e":{"name":"*Théâtre du Châtelet. Germinal*","short_description":"The thirteenth novel in the *Rougon-Macquart* series, *Germinal* (1885), is the most well-known and the most discussed of Zola's works. This naturalist writer took a new approach to depicting workers' lives, shedding light on miners' terrible working conditions and the violence and difficulty of strikes. Fearing that the adaptation of this novel for stage would trigger social unrest, the play was initially banned. It was finally performed for the first time in 1888 at the Théâtre du Châtelet. This poster highlights the most important themes of the novel - life in the mine, strikes, etc.","type":"Poster","holder":"National Library of France","dates":"1880","location":"Paris","translator":"Flaminia Baldwin","keywords":["Strikes","miners","France","Zola"]},"fa167dcd-aecd-50c2-9f06-7fb3d8cf9248":{"name":"*Description de L'Egypte: Antiquités Planches*","short_description":"With the political developments of 19th century, interest in the East increased steadily in the western world. Everything belonging to the East was the centre of interest for western observers. The *Description de l'Égypte* was a series of publications, appearing first in 1809 and continuing until the final volume in 1829, which offered a comprehensive scientific description of ancient and modern Egypt as well as its natural history. It is the collaborative work of about 160 civilian scholars and scientists, known popularly as the savants, who accompanied Napoleon's expedition to Egypt in 1798 to 1801 as part of the French Revolutionary Wars, as well as about 2000 artists and technicians, including 400 engravers, who would later compile it into a full work.","type":"Travel book","holder":"Istanbul Archaeological Museums","dates":"1809–1829","location":"Istanbul","provenance":"Paris","copy_editor":"Daniel de la Vega","keywords":["travel books","travelling","orientalism","Egypt"],"materials":["Paper"]},"fb2abd3f-4014-5c92-a525-a24db70c968b":{"name":"Map of the 1877–1878 war","short_description":"This map shows the theatre of operations during the Russian-Ottoman war of 1877–1878, which for Romania represents her independence war. In April 1877, Romania signed a secret military convention with Russia, who was on the eve of a new war with the Ottoman Empire, allowing her troops to cross the Romanian territory in order to get south of the Danube. Because in May the Ottomans bombed some Romanian ports on the Danube without a previous war declaration, the Parliament proclaimed Romania’s independence and decided the country’s entrance in the war. By the beginning of 1878, the Russo-Romanian army was victorious. At the peace Congress of Berlin (June-July 1878) Romania’s independence was recognized, but she had to cede Russia the south of Bessarabia in exchange for a part of Dobruja.","type":"Map","holder":"National Museum of Romanian History","dates":"1877","location":"Bucharest"},"fb86b66e-ef8d-577e-9f18-2861adbb111f":{"name":"*The Storming of a large Storehouse near Rus al-Khyma where Capt Dancey of H. M. 65th Regt was killed. Nov. 13th 1809*","short_description":"This dramatic scene was recorded by a British soldier participating in the siege and destruction of Ras al-Khaimah, the main stronghold of the Qawasim empire in the lower Gulf. It shows a British contingent, armed with musket guns attacking a large, fortress-like building, surrounded by small dwellings, traditionally built of palm fronds and known as areesh. A soldier in the foreground is taking aim at a local fighter on the roof of the building, while he in turn is defending himself by launching a sharpened log in the attacker's direction. The actual subject of the image, however, is the striken soldier with a headwound, Captain M.M. Dansey, hit by a spear according to eye witnesses and attended to by his comrades in the centre. Nevertheless, after the attacks, the British prided themselves in their 'trifling losses' while estimating that 'from seventy to eighty' of the Qawasim Arabs were killed, and 'many must have fallen in the previous bombardment'.","type":"Coloured etching","holder":"Sharjah Art Museum / Sharjah Museums Department","dates":"First published April 1813","location":"Sharjah","dimensions":"505 mm x 602 mm (framed); image: 215 mm x 358 mm","provenance":"London","artist_birthdate":"William Haines: 21/6/1778","artist_birthplace":"Bedhampton, Hampshire, England","artist_deathdate":"William Haines: 24/7/1848","artist_deathplace":"London","author":"Ulrike Al-Khamis","keywords":["areesh"],"materials":["Coloured etching"]},"fb87a426-40c2-5d5c-a3d0-e7ba69ca00e7":{"name":"*The railway*","short_description":"Epinal prints take their name from the eponymous town in the Vosges region of France. These stencil-coloured lithographies with simple designs became very popular during the 19th century, thanks to their modest price and popular themes. This particular print is aimed at explaining the new railway system to rural communities, by illustrating the different jobs related to this mode of transport (station master, porter), and the types of people interested in faster transportation (soldiers, tourists, merchants). The different classes (from first to third) and their varying levels of comfort are also shown. This helped dispel and ridicule the fear transport had evoked.","type":"Epinal print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Transports","railway","cartoon","caricature"]},"fbde1ba4-0cc0-547e-9260-e7d47c092d47":{"name":"Picture postcard, *Greetings from Pirot*","description":"A picture postcard with the Cyrillic inscription *Pozdrav iz Pirota* (*Greetings from Pirot*) shows a woman from Pirot weaving a kilim, with a child standing by her side. Pirot, a town in south-eastern Serbia, was an important centre of kilim weaving in the Balkans. Pirot kilims were woven on vertical looms (as the one shown in the picture) with a slit weave technique (*klečanje*), which renders both front and back of a weave even and identical. It took one to ten weavers to weave a kilim, depending on its dimensions. The kilims were made of fine, thinly and evenly spun wool which, until 1880’s, was exclusively processed at homes. One of their major characteristics are the studied coloristic effects, achieved by choice and distribution of colours. Natural herb dyes were replaced by the aniline ones at the beginning of the 20th century.","type":"Postcard","holder":"Museum of Applied Art","dates":"Not later than 1903","location":"Belgrade","dimensions":"H: 8.8cm, W: 13.8cm","method_for_datation":"Ref. Perać, J., *Razglednice u Srbiji 1895–1914 = Postcards in Serbia 1895–1914*, Belgrade: Museum of Applied Art, 2009.","provenance":"Pirot","obtention":"Purchased in 1987","bibliography":"Perać, J., *Razglednice u Srbiji 1895–1914 = Postcards in Serbia 1895–1914*, Belgrade: Museum of Applied Art, 2009.  \nVitković-Žikić, M., *Pirotski ćilimi = Les Kilims de Pirot*, Belgrade: Muzej primenjene umetnosti, 2001.","workshop":"National Printers","author":"Draginja Maskareli","keywords":["Kilim","Pirot","postcard","Şarköy","weave"],"materials":["Autotype"]},"fc0202a4-85ca-5193-af7d-ee6857a9426b":{"name":"Arabi, Sayed Ahmed Pasha (1841–1911), Colonel Ali Fahmi Bey, Colonel Abdellal Hilmi Bey","short_description":"Portrait of minister Arabi (Urabi) together with two officers. In 1882, the war minister took power in Egypt and demanded an end to the financial control imposed by the UK and France. This led to an intervention by the British Navy under Admiral Seymour, who defeated the Egyptian army.","type":"Print","holder":"Austrian National Library","dates":"1882","location":"Vienna","copy_editor":"Daniel de la Vega"},"fc5492b4-b79e-5ab6-acf3-8e4d44f66cbc":{"name":"The villa of Paul Draneht in Oggebbio (Verbania, Italy)","short_description":"In 1872, Paul Draneht Bey bought a Villa on the Lago Maggiore (Italy), which he remodelled, mixing oriental and European architectural styles. From this postcard, one can see a tower with an Arabic flavour.  \nIn the interior, there was an “Egyptian hall”, modelled according to the style of an ancient Upper-Egypt temple. The furniture was made by one of the shops in Paris that was making the scenes for the opera *Aida*.","type":"Postcard","holder":"Fulvio Ramoni Collection","dates":"1906 or slightly earlier","author":"Massimiliano Cremona, Ignazio Galella","copy_editor":"Anne Dowell"},"fd4f4f6c-55c9-53ba-b261-f3fda9387dc4":{"name":"The Chapel of the Mihrab at the Oratory of the Cathedral of Cordoba Reproduced by Mr Giuseppe Botana with Pieces of Mother-of-pearl and Shells [Paris Exhibition 1878]","short_description":"Universal Exhibition of Paris, 1878. The Chapel of the Mihrab is a faithful reconstruction of the Mihrab in the beautiful mosque built in Cordoba by the Amir Abd al Rahman I above the previous Christian church. The decoration was created by Giuseppe Botana, who specialised in mother-of-pearl works, and by Zuloaga's, a mosaics' maker.","type":"Photo from  magazine","holder":"National Central Library","dates":"1878","location":"Rome","copyright":"Copyright image: Biblioteca Nazionale Centrale, Roma.","author":"Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Exposition universelle de Paris","pavillion","exhibition building","applied arts","rediscovery of Islamic Spain","Islamic monuments in Spain","Moorish style","Moorish city","Islamic architecture","reinterpretation","exoticism","reproduction","model","magazine"]},"fe6b786f-510f-5112-b531-2e5e437342ab":{"name":"The Empress visits the Orient","short_description":"The Empress Eugénie (Napoléon III's wife) stopped off in Istanbul on her way to Suez, where she was representing France at the inauguration of the Suez Canal. This visit marked the beginning of improving relations between France and Turkey. Eugénie was received with great respect and visited all the great monuments of the city. A fervent Catholic, she could not resist stopping off at the Hagia Sophia mosque, which had once been an Orthodox cathedral.","type":"Print","holder":"National Library of France","dates":"19th century","location":"Paris","translator":"Flaminia Baldwin","keywords":["Constantinople","Turkey","religions buildings","Hagia Sophia","Empress Eugénie"]},"feb66ca9-ced9-518b-8f58-1ac129aebdd4":{"name":"Lazar Sozich (2nd half of the 19th century – 1900)","short_description":"Portrait of Lazar Sozich. He was a commander of Herzegovinian freedom fighters against the Turks in 1876. This insurrection against the Turks provoked the 1878 Congress of Berlin, which led to the occupation of Bosnia-Herzegovina by the Austrian Empire.","type":"Print","holder":"Austrian National Library","dates":"1876","location":"Vienna","copy_editor":"Daniel de la Vega"},"ff18d270-eb9c-5402-a699-82117263e1b6":{"name":"*Navis nundinaria* (The trading ship)","alternate_name":"A ship-shaped theatre for the roast pork feast of 1657","description":"The *Insignia degli Anziani Consoli*, bound in 16 volumes and housed in the Archivio di Stato Bologna, are documents on parchment. They were made every two months, from 1530 to 1796, to celebrate the eight Anziani Consoli and the Gonfaloniere di Giustizia, a group of magistrates ruling the city. From the end of the sixteenth-century, the names of the magistrates were depicted flanked by their coats of arms and a significant event that had taken place during the two months of their charge: an extraordinary visual chronicle illustrating more than two centuries of the city's history with six pictures a year.  \nThis picture (IV bimester of 1657) shows the stage for the roast pork feast. Celebrated every year on the 24th of August, a special installation was ssembled on the main square to host the feast of St. Bartholomew. In 1657 the theatre was shaped as a ship and was occupying nearly all the square, between the palace of the Podestà on the left and the stairs of the basilica of St. Petronius on the right. Along the sides of the ship were the stalls for the feast of the Assumption (from 15th to 24th August) that were going to become on the 24th boxes for the paying audience watching a theatrical representation and taking part in the traditional distribution of roast pork. On the mast waves the flag of the Municipality, under it a standard shows the coats of arms of Pope Alexander VII among those of the cardinal legate and of the archbishop of Bologna. On the aft deck a tent hosts the nine coats of arms of the Anziani Consoli and the Gonfaloniere of the bimester July-August 1657. On top right a Latin inscription in golden ink describes the picture and bears the names of the Anziani Consoli.","short_description":"This illumination represents a theatre in the shape of a ship that was built on the Main Square of Bologna for the feast of the roast pork in August 1657. This was an event that attracted a great number of people every year. The ship sails are the coats of arms of the nine families of the Anziani Consoli and the Gonfaloniere, who ruled Bologna in the bi-mester July-August 1657. On the left side of the ship, is the portico of the Palazzo del Podesta. In the background is the Pavaglione and the Palazzo dei Banchi.  The stairs on the right lead to the church of San Petronio.","type":"Illuminated print","holder":"Archivio di Stato","owner":"Italian State","initial_owner":"The Anziani Consoli of the town of Bologna","dates":"1657 July-August","location":"Bologna, Emilia-Romagna","dimensions":"355 x 460 mm","place_of_production":"Bologna","method_for_datation":"The date and the names of the magistrates are inscribed on the top right of the picture.","provenance":"Archive of the Bolognese Senate","obtention":"This illumination, like the whole series, has always been housed in the archive of the Bolognese senate, inside the municipal palace. It was transferred to the Archivio di Stato in 1874, when it was created.","bibliography":"Plessi, G. *Le Insignia degli Anziani del Comune dal 1530 al 1796. Catalogo-Inventario*, Rome, 1954.  \n*Il Magnifico apparato. Pubbliche funzioni, feste e giuochi bolognesi nel Settecento* (exhibition catalogue) (ed. S. Camerini), Bologna, 1982.  \nMatteucci, A. M. “La cultura dell'effimero a Bologna nel XVII secolo”, *Barocco Romano e Barocco Italiano. Il teatro, l'effimero, l'allegoria* (eds. M. Fagiolo and M. L. Madonna), Rome, 1985, pp. 159-173.  \nZanni Rosiello, I. “Le Insignia degli Anziani: un autoritratto celebrativo”, *Società e storia:* 52, 1991, pp. 329-362.  \nGiansante, M. “Gerarchie e scenografie. La festa della porchetta nelle Insignia degli Anziani Consoli di Bologna”, *I quaderni del M.AE.S.:* 8, 2005, pp. 93-125.","workshop":"Seventeenth-century Bolognese illuminator","author":"Massimo Giansante","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Coats of arms","ephemeral architecture","fairs","Feast","festival","Gonfaloniere","Heraldry","illumination","scenography","theatre","trade"],"materials":["Illuminated print on parchment"]},"ff28cb9b-b4cd-5d7f-8616-1983d1ba7e9b":{"name":"*The last day of the Commune, Paris 1871*","short_description":"The Parisians, who had spent many long months under siege, did not accept the armistice signed with Prussia in 1871. They rose up in revolt in March, as the government was hiding in Versailles. The \"Commune\" of Paris, which organised the city socially and politically, was thus created. Versailles fought the \"communards\" for two months. After a \"bloody week\" and the loss of thousands of lives and many deportations, the government finally regained control of the city, which continued until a general amnesty was reached in 1880. From this point onwards, the period - which had become a taboo - gradually began to be discussed. This poster from 1883 is advertising a play which enacted Paris' takeover by the Versaillais.","type":"Poster","holder":"National Library of France","dates":"1883","location":"Paris","artist_birthdate":"1847","artist_deathdate":"1885","translator":"Flaminia Baldwin","keywords":["War","commune","revolution"]}}