@museumwnf/sharinghistory-data 1.2.9

package/collections.json

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Prusse."}},{"id":"93e9fb8a-c226-517a-9c4f-b4bc95d3eb76","display_order":null,"variant_order":null},{"id":"a17b7286-aa7e-558d-a29e-f79e44468747","display_order":null,"variant_order":null},{"id":"cbb40c71-7aeb-5535-9a2b-a6c47c378b7d","display_order":null,"variant_order":null},{"id":"d711c418-d201-5294-84eb-33050d1c38e5","display_order":null,"variant_order":null},{"id":"e53ef8bc-b5fd-5394-a0a6-a96cbfe4a713","display_order":null,"variant_order":null}]},{"id":"a73a0633-a79e-5ac2-81d2-9ae782fde734","type":"collection","purpose":"national-context","internal_name":"sh_nc_rm_exh_5","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:rm:5","parent_id":"6b99dfaa-ab1c-5153-b0c4-a5823a98f95c","country_id":"rou","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0190d543-2cd0-5440-a72e-8d3aaa9b213d","display_order":null,"variant_order":null},{"id":"091604eb-a567-5302-a732-002454f2d30e","display_order":null,"variant_order":null},{"id":"1d28a601-0c14-5b95-81e6-740fc6f9faef","display_order":null,"variant_order":null},{"id":"208c1dc1-b88b-5692-998c-b8609060ab2c","display_order":null,"variant_order":null},{"id":"26401591-19cd-5f13-81da-9d8af013f583","display_order":null,"variant_order":null},{"id":"61fac5d6-c742-5da5-92f5-ec59e655c9ef","display_order":null,"variant_order":null},{"id":"7a53e149-8c5e-55b3-872c-5fa885952d4e","display_order":null,"variant_order":null},{"id":"a53cabd2-6352-5e68-83d0-fa04fd57b95b","display_order":null,"variant_order":null},{"id":"a967717f-9e55-5ff9-83cb-584a32659274","display_order":null,"variant_order":null}]},{"id":"b66df5f5-bf4d-52d3-9645-83461c1729a7","type":"collection","purpose":"national-context","internal_name":"sh_nc_rm_exh_6","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:rm:6","parent_id":"8bebd45c-0749-50b8-ad43-dc6cb58c395b","country_id":"rou","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"27a53543-d487-57a2-b857-ff4073ddfd96","display_order":null,"variant_order":null},{"id":"3d78d0ed-53aa-5aa5-a737-1979ba941b9a","display_order":null,"variant_order":null},{"id":"61323f63-39e6-5005-88f8-eded65cc445e","display_order":null,"variant_order":null},{"id":"62976cc8-0796-59c0-a85a-93425ffb58d1","display_order":null,"variant_order":null},{"id":"8c813d81-19ee-5e36-861c-d28552ffcd9d","display_order":null,"variant_order":null},{"id":"96ee0fd1-d861-50f2-9e64-2d750b47117a","display_order":null,"variant_order":null},{"id":"a2f82532-585d-587d-a629-11ce170fec48","display_order":null,"variant_order":null},{"id":"aaebcb30-e10b-569a-87a4-adca1fb9e176","display_order":null,"variant_order":null},{"id":"fe9d8ba8-fc46-5082-804a-4dcc06840159","display_order":null,"variant_order":null}]},{"id":"d1e8e13e-5e87-5dbe-a7d9-587b101ccfcc","type":"collection","purpose":"national-context","internal_name":"sh_nc_rm_exh_7","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:rm:7","parent_id":"c3a68819-dcf2-5be4-8f9b-dcc45c8848e4","country_id":"rou","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0c6e6a6b-e344-539f-9f65-7de73b7107c8","display_order":null,"variant_order":null},{"id":"1c5093c4-0ca8-5601-b68d-a667e8aeafad","display_order":null,"variant_order":null},{"id":"33ca4e64-d97b-5a11-b08a-9e471e9524dc","display_order":null,"variant_order":null},{"id":"34e7ade0-9110-5c7b-ba4d-033260f7f736","display_order":null,"variant_order":null},{"id":"85d38d61-25cd-5356-96be-7da578631758","display_order":null,"variant_order":null},{"id":"d3f8650a-4599-5d0e-a22f-cd44a5f3ea38","display_order":null,"variant_order":null}]},{"id":"78407d13-1835-5f74-a89f-7fd83dc6d98f","type":"collection","purpose":"national-context","internal_name":"sh_nc_rm_exh_8","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:rm:8","parent_id":"2353a4ff-1dd5-5807-9b96-c146b09485c2","country_id":"rou","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"08093d1e-a9f3-5e1a-92e0-aa91b5509a81","display_order":null,"variant_order":null},{"id":"e68c55aa-b62f-5bde-ab5e-11bd872f3ad9","display_order":null,"variant_order":null}]},{"id":"2c0f3116-3b69-5497-8dd1-f19b7663f025","type":"collection","purpose":"national-context","internal_name":"sh_nc_rm_exh_9","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:rm:9","parent_id":"c9335788-c5e2-5748-8aca-0d5e79500ab0","country_id":"rou","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0c6c9e0d-6d91-5a65-9ad6-453209d5e729","display_order":null,"variant_order":null},{"id":"1377e865-6eb7-52b2-b341-3f272aa672b1","display_order":null,"variant_order":null},{"id":"185caf7d-b00b-503f-b404-849f373f6498","display_order":null,"variant_order":null},{"id":"50ddacbb-019d-5777-88ff-a6ea1a9c3fe3","display_order":null,"variant_order":null},{"id":"62fb8abc-6f06-5a39-bbc1-bffce98b74e9","display_order":null,"variant_order":null},{"id":"6b45db01-050b-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musée est situé dans l’hôtel de ville, construit dans le style coloniale. Il comprend une importante collection d’objets archéologiques antiques découverts dans la ville et dans les sites de Thaena, Skhira et Achola, mosaïques romaines mais aussi monnaies, céramiques et verrerie.","fr":"Le musée est situé dans l’hôtel de ville, construit dans le style coloniale. Il comprend une importante collection d’objets archéologiques antiques découverts dans la ville et dans les sites de Thaena, Skhira et Achola, mosaïques romaines mais aussi monnaies, céramiques et verrerie."}},{"id":"acb1417e-ded5-525f-a850-94113fa99185","display_order":null,"variant_order":null,"justifications":{"en":"Musée archéologique situé sur la colline de Byrsa à proximité de la cathédrale saint Louis de Carthage, fondé en 1875 dans les locaux autrefois du séminaire des pères blancs. Il porte le nom de Musée Saint Louis jusqu’en 1899 puis musée Lavigerie jusqu’en 1956. On y trouve les plus belles découvertes des fouilles effectuées au XIXè siècle sur les époques puniques et romaines.","fr":"Musée archéologique situé sur la colline de Byrsa à proximité de la cathédrale saint Louis de Carthage, fondé en 1875 dans les locaux autrefois du séminaire des pères blancs. Il porte le nom de Musée Saint Louis jusqu’en 1899 puis musée Lavigerie jusqu’en 1956. On y trouve les plus belles découvertes des fouilles effectuées au XIXè siècle sur les époques puniques et romaines."}},{"id":"b29cbfc5-92ab-5924-883e-7d561e5c7761","display_order":null,"variant_order":null,"justifications":{"en":"Gravure représentant le poète français Chateaubriand sur un monticule face à la mer entouré des vestiges de Carthage. Chateaubriand fut impressionné par le destin de Carthage et l’histoire de ses hommes célèbres comme Hannibal.","fr":"Gravure représentant le poète français Chateaubriand sur un monticule face à la mer entouré des vestiges de Carthage. Chateaubriand fut impressionné par le destin de Carthage et l’histoire de ses hommes célèbres comme Hannibal."}},{"id":"fe6cec92-b619-55f4-a18b-3a0f8fd470af","display_order":null,"variant_order":null,"justifications":{"en":"Le Musée Alaoui du Bardo a été fondé dans le palais Mhamed Pacha Bey par son frère Ali Bey en 1882. C’est l’un des plus grands musées archéologiques du monde avec ses sections consacrées à l’antiquité, à la préhistoire et à l’art islamique. Il est célèbre par sa collection d’un millier de mosaïques de l’époque romaine.","fr":"Le Musée Alaoui du Bardo a été fondé dans le palais Mhamed Pacha Bey par son frère Ali Bey en 1882. C’est l’un des plus grands musées archéologiques du monde avec ses sections consacrées à l’antiquité, à la préhistoire et à l’art islamique. Il est célèbre par sa collection d’un millier de mosaïques de l’époque romaine."}}]},{"id":"424c1607-11db-5b84-8ee9-2c6b4203877d","type":"collection","purpose":"national-context","internal_name":"sh_nc_tn_exh_10","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:tn:10","parent_id":"a64d0674-78bf-5ac3-97ad-7d66056c91e2","country_id":"tun","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"06623ef3-6331-5463-b5c0-79f3249d4f5d","display_order":null,"variant_order":null,"justifications":{"en":"Œuvre de grande valeur artistique, l’art européen s’y manifeste sous la signature de peintre européen de grand talent. C’est aussi une œuvre témoin d’une période d’intense activité diplomatique entre le palais du Bardo et les chancelleries occidentales.","fr":"Œuvre de grande valeur artistique, l’art européen s’y manifeste sous la signature de peintre européen de grand talent. C’est aussi une œuvre témoin d’une période d’intense activité diplomatique entre le palais du Bardo et les chancelleries occidentales."}},{"id":"2669ff94-bd70-55d1-a06b-cc0cbefd980d","display_order":null,"variant_order":null,"justifications":{"en":"La Zitouna a été jusqu’au XIXè siècle la grande université Maghrébine au même titre que la Quarawiyine de Fès ou El Azhar au Caire.","fr":"La Zitouna a été jusqu’au XIXè siècle la grande université Maghrébine au même titre que la Quarawiyine de Fès ou El Azhar au Caire."}}]},{"id":"19e80216-63e3-5e18-854d-109ff0554735","type":"collection","purpose":"national-context","internal_name":"sh_nc_tn_exh_11","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:tn:11","parent_id":"77fd6ce2-6118-5d1c-a682-046646e098fb","country_id":"tun","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"06623ef3-6331-5463-b5c0-79f3249d4f5d","display_order":null,"variant_order":null,"justifications":{"en":"Œuvre de grande valeur artistique, l’art européen s’y manifeste sous la signature de peintre européen de grand talent. C’est aussi une œuvre témoin d’une période d’intense activité diplomatique entre le palais du Bardo et les chancelleries occidentales.","fr":"Œuvre de grande valeur artistique, l’art européen s’y manifeste sous la signature de peintre européen de grand talent. C’est aussi une œuvre témoin d’une période d’intense activité diplomatique entre le palais du Bardo et les chancelleries occidentales."}},{"id":"70423969-df09-5091-ad7b-50e63c993a4d","display_order":null,"variant_order":null,"justifications":{"en":"Œuvre de grande valeur artistique. L’art européen s’y manifeste sous la signature de peintre européen de grand talent. C’est aussi une œuvre témoin d’une période d’intense activité diplomatique entre le palais du Bardo et les chancelleries occidentales.","fr":"Œuvre de grande valeur artistique. L’art européen s’y manifeste sous la signature de peintre européen de grand talent. C’est aussi une œuvre témoin d’une période d’intense activité diplomatique entre le palais du Bardo et les chancelleries occidentales."}},{"id":"8c7b0235-6bb9-503d-ac59-f73f7984f36b","display_order":null,"variant_order":null,"justifications":{"en":"Œuvre de grande valeur artistique du peintre L. Simil représentant le Général de cavalerie Khaireddine en 1852."}},{"id":"dc9bec02-eb7b-5be5-b697-9d2faab3da93","display_order":null,"variant_order":null,"justifications":{"en":"La nouvelle armée tunisienne au temps d’Ahmed Pacha Bey.","fr":"La nouvelle armée tunisienne au temps d’Ahmed Pacha Bey."}},{"id":"fe6cec92-b619-55f4-a18b-3a0f8fd470af","display_order":null,"variant_order":null,"justifications":{"en":"Le Musée Alaoui du Bardo a été fondé dans le palais Mhamed Pacha Bey par son frère Ali Bey en 1882. C’est l’un des plus grands musées archéologiques du monde avec ses sections consacrées à l’antiquité, à la préhistoire et à l’art islamique. Il est célèbre par sa collection d’un millier de mosaïques de l’époque romaine.","fr":"Le Musée Alaoui du Bardo a été fondé dans le palais Mhamed Pacha Bey par son frère Ali Bey en 1882. C’est l’un des plus grands musées archéologiques du monde avec ses sections consacrées à l’antiquité, à la préhistoire et à l’art islamique. Il est célèbre par sa collection d’un millier de mosaïques de l’époque romaine."}}]},{"id":"fb7bd446-38b3-5a0a-a4c6-a75b5d60b26a","type":"collection","purpose":"national-context","internal_name":"sh_nc_tn_exh_3","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:tn:3","parent_id":"5760ea9a-dc6f-52b5-bfd7-2c63dd3da757","country_id":"tun","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"4fe44b43-1a7d-5881-a567-e328acd991f0","display_order":null,"variant_order":null,"justifications":{"en":"Dans la ville nouvelle, on assoie la présence française par la reconstruction de la cathédrale, style gréco-romain, la résidence générale et surtout par l’édification de la statue de Jules Ferry, victorieux à la jonction de l’avenue de France et celle de Jules Ferry (Aujourd’hui Avenue Habib Bourguiba)."}},{"id":"933220c7-ac0f-58a4-bd26-9a2aaf27779a","display_order":null,"variant_order":null,"justifications":{"en":"Construit au cœur d’une cité royale, le palais fut occupé par des princes, des deys, et des beys, en 1858, il abrite le 1er conseil municipal de Tunis, Le Général Hussein président du conseil habita le palais qui porte depuis son nom. De 1882 à l’indépendance, il est le siège du commandement des troupes d’occupation françaises en Tunisie. Le palais reflète les différentes et importantes époques de l’architecture tunisienne."}},{"id":"a10695d2-fbb1-56b0-aaa5-5b25ce6071ac","display_order":null,"variant_order":null,"justifications":{"en":"Cette mosquée a un cachet spécifique, c’est l’une des plus marquées par les influences italiennes. Décors et matériaux sont de style italien."}},{"id":"ae85f44d-6a24-58d0-81d8-1e9715c81ac8","display_order":null,"variant_order":null,"justifications":{"en":"La colonisation a engendré un grand bouleversement dans le mode de vie des tunisiens. Elle a touché particulièrement l’architecture du paysage aussi bien urbain que rural. Un nouveau courant architectural et urbanistique s’est concrétisé en général par un agrandissement de la nouvelle ville par rapport à la cité traditionnelle (Médina).","fr":"La colonisation a engendré un grand bouleversement dans le mode de vie des tunisiens. Elle a touché particulièrement l’architecture du paysage aussi bien urbain que rural. Un nouveau courant architectural et urbanistique s’est concrétisé en général par un agrandissement de la nouvelle ville par rapport à la cité traditionnelle (Médina)."}}]},{"id":"d8cb19cf-3048-541b-994e-64cf4daab6f2","type":"collection","purpose":"national-context","internal_name":"sh_nc_tn_exh_4","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:tn:4","parent_id":"1f123df9-1e8c-522c-833c-709f517c53f5","country_id":"tun","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"661636db-2ce1-5462-80af-0f6986d618f3","display_order":null,"variant_order":null,"justifications":{"en":"Transformation du paysage urbain et surtout rural sous l’effet de la colonisation. Les nouveaux maîtres construisent des fermes, des résidences mais aussi des bâtiments public et une infrastructure, routes et chemins de fer.","fr":"Transformation du paysage urbain et surtout rural sous l’effet de la colonisation. Les nouveaux maîtres construisent des fermes, des résidences mais aussi des bâtiments public et une infrastructure, routes et chemins de fer."}},{"id":"cc27cb2b-74b2-53c7-99e4-842dcfe24334","display_order":null,"variant_order":null,"justifications":{"en":"La poste tunisienne a été inaugurée en 1891, un nouveau courant architectural et urbanistique a marqué le paysage urbain avec le protectorat français. La poste a été conçue dans un style greco-romain.","fr":"La poste tunisienne a été inaugurée en 1891, un nouveau courant architectural et urbanistique a marqué le paysage urbain avec le protectorat français. La poste a été conçue dans un style greco-romain."}},{"id":"f0e5d0e1-0d9f-5dac-9166-a688b53727f8","display_order":null,"variant_order":null,"justifications":{"en":"Acqueduc d’origine romaine, les travaux sont exécutés par l’ingénieur Jean Colin de 1859 à 1862. L’eau est amené dans les tuyaux métalliques de Zaghouan à Tunis. Mohamed Sadok Bey pourvoit la ville de Tunis de fontaines publiques.","fr":"Acqueduc d’origine romaine, les travaux sont exécutés par l’ingénieur Jean Colin de 1859 à 1862. L’eau est amené dans les tuyaux métalliques de Zaghouan à Tunis. Mohamed Sadok Bey pourvoit la ville de Tunis de fontaines publiques."}}]},{"id":"51c74984-90e8-538e-ac52-8f36f1b1e343","type":"collection","purpose":"national-context","internal_name":"sh_nc_tn_exh_5","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:tn:5","parent_id":"6b99dfaa-ab1c-5153-b0c4-a5823a98f95c","country_id":"tun","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"4fe44b43-1a7d-5881-a567-e328acd991f0","display_order":null,"variant_order":null,"justifications":{"en":"Dans la ville nouvelle, on assoie la présence française par la reconstruction de la cathédrale, style gréco-romain, la résidence générale et surtout par l’édification de la statue de Jules Ferry, victorieux à la jonction de l’avenue de France et celle de Jules Ferry (Aujourd’hui Avenue Habib Bourguiba).","fr":"Dans la ville nouvelle, on assoie la présence française par la reconstruction de la cathédrale, style gréco-romain, la résidence générale et surtout par l’édification de la statue de Jules Ferry, victorieux à la jonction de l’avenue de France et celle de Jules Ferry (Aujourd’hui Avenue Habib Bourguiba)."}},{"id":"5401f2b8-18f4-599c-b201-a2d99f1b35ce","display_order":null,"variant_order":null,"justifications":{"en":"C’est une édification du XIXè siècle dans un immense domaine. Marbre et faïence d’Italie mélangent leur élégance avec l’éclat des dorures de l’ameublement et les reflets des glaces et des grands miroirs.","fr":"C’est une édification du XIXè siècle dans un immense domaine. Marbre et faïence d’Italie mélangent leur élégance avec l’éclat des dorures de l’ameublement et les reflets des glaces et des grands miroirs."}},{"id":"72aa413c-a02a-5412-a43e-1c63e804854f","display_order":null,"variant_order":null,"justifications":{"en":"Elle constitue un tournant dans l’histoire de l’enseignement en Tunisie, pour la première fois s’organise un enseignement moderne distinct de l’enseignement traditionnel religieux caractérisé par l’introduction des langues étrangères et sciences exactes. Ce fut enfin la pépinière des militants nationalistes.","fr":"Elle constitue un tournant dans l’histoire de l’enseignement en Tunisie, pour la première fois s’organise un enseignement moderne distinct de l’enseignement traditionnel religieux caractérisé par l’introduction des langues étrangères et sciences exactes. Ce fut enfin la pépinière des militants nationalistes."}},{"id":"918c2c1a-37f3-5178-8124-1d569b29d213","display_order":null,"variant_order":null,"justifications":{"en":"C’est une demeure princière rénovée dans un style italianisant, acquise par un tisserand de soie puis achetée par un peintre français, Albert Aublet. L’Etat tunisien en a fait le Musée des Arts et Traditions Populaires de la grande bourgeoisie tunisoise du XIXè siècle.","fr":"C’est une demeure princière rénovée dans un style italianisant, acquise par un tisserand de soie puis achetée par un peintre français, Albert Aublet. L’Etat tunisien en a fait le Musée des Arts et Traditions Populaires de la grande bourgeoisie tunisoise du XIXè siècle."}},{"id":"ae85f44d-6a24-58d0-81d8-1e9715c81ac8","display_order":null,"variant_order":null,"justifications":{"en":"La colonisation a engendré un grand bouleversement dans le mode de vie des tunisiens. Elle a touché particulièrement l’architecture du paysage aussi bien urbain que rural. Un nouveau courant architectural et urbanistique s’est concrétisé en général par un agrandissement de la nouvelle ville par rapport à la cité traditionnelle (Médina).","fr":"La colonisation a engendré un grand bouleversement dans le mode de vie des tunisiens. Elle a touché particulièrement l’architecture du paysage aussi bien urbain que rural. Un nouveau courant architectural et urbanistique s’est concrétisé en général par un agrandissement de la nouvelle ville par rapport à la cité traditionnelle (Médina)."}}]},{"id":"d437efdd-ae1d-5f10-8ca5-4a00a27af396","type":"collection","purpose":"national-context","internal_name":"sh_nc_tn_exh_6","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:tn:6","parent_id":"8bebd45c-0749-50b8-ad43-dc6cb58c395b","country_id":"tun","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"53ec6f4f-bd40-5ba2-8874-cb460c22b748","display_order":null,"variant_order":null,"justifications":{"en":"Pourvoyeuse de richesse en marchandises et en homme, la course méditerranéenne a représenté du moins au cours de la 1ere moitié du XVIIè siècle, une activité importante et fort lucrative notamment en direction des ports italiens et spécialement Livourne.","fr":"Pourvoyeuse de richesse en marchandises et en homme, la course méditerranéenne a représenté du moins au cours de la 1ere moitié du XVIIè siècle, une activité importante et fort lucrative notamment en direction des ports italiens et spécialement Livourne."}},{"id":"661636db-2ce1-5462-80af-0f6986d618f3","display_order":null,"variant_order":null,"justifications":{"en":"Transformation du paysage urbain et surtout rural sous l’effet de la colonisation. Les nouveaux maîtres construisent des fermes, des résidences mais aussi des bâtiments public et une infrastructure, routes et chemins de fer.","fr":"Transformation du paysage urbain et surtout rural sous l’effet de la colonisation. Les nouveaux maîtres construisent des fermes, des résidences mais aussi des bâtiments public et une infrastructure, routes et chemins de fer."}},{"id":"7c87bedb-5773-5c25-8dc4-6634c1e81d26","display_order":null,"variant_order":null,"justifications":{"en":"Extrait du traité dit du Bardo signé le 12 mai 1881 et conclu entre le gouvernement français et le Bey de Tunis Muhammed al-Sâdiq bey.","fr":"Extrait du traité dit du Bardo signé le 12 mai 1881 et conclu entre le gouvernement français et le Bey de Tunis Muhammed al-Sâdiq bey."}},{"id":"8c7b0235-6bb9-503d-ac59-f73f7984f36b","display_order":null,"variant_order":null,"justifications":{"en":"Œuvre de  grande valeur artistique du peintre L. Simil représentant le Général de cavalerie Khaireddine en 1852.","fr":"Œuvre de  grande valeur artistique du peintre L. Simil représentant le Général de cavalerie Khaireddine en 1852."}},{"id":"f0e5d0e1-0d9f-5dac-9166-a688b53727f8","display_order":null,"variant_order":null,"justifications":{"en":"Acqueduc d’origine romaine, les travaux sont exécutés par l’ingénieur Jean Colin de 1859 à 1862. L’eau est amené dans les tuyaux métalliques de Zaghouan à Tunis. Mohamed Sadok Bey pourvoit la ville de Tunis de fontaines publiques.","fr":"Acqueduc d’origine romaine, les travaux sont exécutés par l’ingénieur Jean Colin de 1859 à 1862. L’eau est amené dans les tuyaux métalliques de Zaghouan à Tunis. Mohamed Sadok Bey pourvoit la ville de Tunis de fontaines publiques."}}]},{"id":"28d79ad0-6bbe-5652-bf37-7e8593110e1f","type":"collection","purpose":"national-context","internal_name":"sh_nc_tn_exh_8","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:tn:8","parent_id":"2353a4ff-1dd5-5807-9b96-c146b09485c2","country_id":"tun","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"4fe44b43-1a7d-5881-a567-e328acd991f0","display_order":null,"variant_order":null,"justifications":{"en":"Dans la ville nouvelle, on assoie la présence française par la reconstruction de la cathédrale, style gréco-romain, la résidence générale et surtout par l’édification de la statue de Jules Ferry, victorieux à la jonction de l’avenue de France et celle de Jules Ferry (Aujourd’hui Avenue Habib Bourguiba).","fr":"Dans la ville nouvelle, on assoie la présence française par la reconstruction de la cathédrale, style gréco-romain, la résidence générale et surtout par l’édification de la statue de Jules Ferry, victorieux à la jonction de l’avenue de France et celle de Jules Ferry (Aujourd’hui Avenue Habib Bourguiba)."}},{"id":"53ec6f4f-bd40-5ba2-8874-cb460c22b748","display_order":null,"variant_order":null,"justifications":{"en":"Pourvoyeuse de richesse en marchandises et en homme, la course méditerranéenne a représenté du moins au cours de la 1ere moitié du XVIIè siècle, une activité importante et fort lucrative notamment en direction des ports italiens et spécialement Livourne.","fr":"Pourvoyeuse de richesse en marchandises et en homme, la course méditerranéenne a représenté du moins au cours de la 1ere moitié du XVIIè siècle, une activité importante et fort lucrative notamment en direction des ports italiens et spécialement Livourne."}},{"id":"640cbdc1-fd31-5fad-89d3-4deff3b9943f","display_order":null,"variant_order":null,"justifications":{"en":"Edifice emblématique de l’art nouveau qui se développe au début du XXè siècle dans le Tunis européen. Plusieurs artistes italiens (sculpteurs, peintres) ont réalisé les superbes moulures, bas-reliefs, corniches, balcons …etc.","fr":"Edifice emblématique de l’art nouveau qui se développe au début du XXè siècle dans le Tunis européen. Plusieurs artistes italiens (sculpteurs, peintres) ont réalisé les superbes moulures, bas-reliefs, corniches, balcons …etc."}},{"id":"69063980-1b98-599a-87aa-a06e11b7637c","display_order":null,"variant_order":null,"justifications":{"en":"Il s’agit d’édifices implantés durant l’époque coloniale. Leur architecture occidentale a marqué le paysage urbain.","fr":"Il s’agit d’édifices implantés durant l’époque coloniale. Leur architecture occidentale a marqué le paysage urbain."}}]},{"id":"6a3e9271-6a39-55f7-8a2a-9fe6c378214c","type":"collection","purpose":"national-context","internal_name":"sh_nc_ua_exh_6","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:ua:6","parent_id":"8bebd45c-0749-50b8-ad43-dc6cb58c395b","country_id":"are","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[]},{"id":"13ba9348-d489-5a0f-90c4-41d6b6bae149","type":"collection","purpose":"national-context","internal_name":"sh_nc_ua_exh_9","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:ua:9","parent_id":"c9335788-c5e2-5748-8aca-0d5e79500ab0","country_id":"are","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[]},{"id":"d1a0caa3-a7c3-5655-a775-73ac08bb1a8b","type":"collection","purpose":"national-context","internal_name":"sh_nc_uk_exh_1","backward_compatibility":"mwnf3_sharing_history:sh_national_context_exhibitions:uk:1","parent_id":"17d4d9ff-a2aa-56ff-af1c-4f5dc3ea3176","country_id":"gbr","display_order":null,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0e467a26-3229-554d-8707-115f086aa0be","display_order":null,"variant_order":null,"justifications":{"en":"Rich was the East India Company’s first Resident in Baghdad. He was a talented linguist. In his spare time he explored ancient sites, producing the first proper plans of Babylon and Nineveh. He hosted important travellers to Iraq, searching for sites of Biblical relevance. In 1821 he died during a cholera outbreak in Shiraz. His collection formed the nucleus of the British Museum’s collection."}},{"id":"80775105-576a-504c-b3ae-7ae96a26ce22","display_order":null,"variant_order":null,"justifications":{"en":"Illustrates the influence of Egyptian motifs on Victorian ceramics. Part of the second wave of Egyptianisation, related to the construction of the Suez Canal. Shown at the Paris exhibition of 1878."}},{"id":"f0020c49-694c-556a-855c-e631e86ab20b","display_order":null,"variant_order":null,"justifications":{"en":"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."}}]},{"id":"17d4d9ff-a2aa-56ff-af1c-4f5dc3ea3176","type":"exhibition","purpose":null,"internal_name":"sh_exhibition_1","backward_compatibility":"mwnf3_sharing_history:sh_exhibitions:1","parent_id":"4b01a0e4-7f13-517c-b774-de51640aacc4","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"00eecee6-1a79-5ca4-885a-64eb797adc19","display_order":null,"variant_order":null},{"id":"025b84b0-d00d-5c21-a749-98f3596f9d77","display_order":null,"variant_order":null},{"id":"0801264d-8475-5c87-a800-17b6d0cc190e","display_order":null,"variant_order":null},{"id":"0ba224c3-c5fc-59df-943c-70ba396625a7","display_order":null,"variant_order":null,"justifications":{"fr":{"curator":null,"partner":"Redécouverte des sites archéologiques algériens."}}},{"id":"1028751a-07f0-53c2-8d14-e1b298d6e008","display_order":null,"variant_order":null},{"id":"18fa1217-5885-554f-bf5c-aed5d4898cb0","display_order":null,"variant_order":null},{"id":"240766f1-2bff-5c21-abf7-80992ebf2e6a","display_order":null,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"Material evidence and casts coming from Spain displayed in the Baths of Diocletian in Rome on the occasion of the International Exhibition in 1911."}}},{"id":"31d6ea38-653b-5a59-a9cf-3d860d963ea6","display_order":null,"variant_order":null},{"id":"4aea7da2-77b0-548c-ab58-60e5f4c3f6e5","display_order":null,"variant_order":null},{"id":"4b5af6a4-7de4-5e18-87de-8bf5e62763db","display_order":null,"variant_order":null},{"id":"5441d082-5cb2-51aa-a412-66acc0afe4b5","display_order":null,"variant_order":null},{"id":"62681131-068c-54e3-b1f2-e3e7012285ab","display_order":null,"variant_order":null},{"id":"79791fd6-4a63-5950-8b88-e5b802feebd3","display_order":null,"variant_order":null,"justifications":{"fr":{"curator":null,"partner":"Redécouverte des sites archéologiques tunisiens."}}},{"id":"884ca90f-561a-57c1-913d-b4aab82da583","display_order":null,"variant_order":null},{"id":"94535829-1f7a-57f3-91f8-a5b331e4d1a1","display_order":null,"variant_order":null},{"id":"a6e39000-fe68-56fd-a598-f2bd48c41311","display_order":null,"variant_order":null},{"id":"a7c8b211-e332-5686-9c0a-beed901d97e7","display_order":null,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"The photo shows archaeological materials and casts displayed in the room dedicated to Austria inside the Baths of Diocletian in Rome on the occasion of the International Exhibition in 1911."}}},{"id":"abac828d-5728-5fdb-8767-366c5beb8fa5","display_order":null,"variant_order":null,"justifications":{"fr":{"curator":null,"partner":"Un café particulièrement réputé pour son architecture en plein Souk de la médina: le souk des turcs."}}},{"id":"cb836758-5e12-5a3f-adea-db7c9212b700","display_order":null,"variant_order":null,"justifications":{"fr":{"curator":null,"partner":"Visite du site archéologique de Bi-Suton (Kurdistan, ancien empire perse)."}}},{"id":"d1b0dbb9-a089-5201-b98d-4ec5ca02951f","display_order":null,"variant_order":null},{"id":"d2153895-57ef-583f-b177-30f75fa578f2","display_order":null,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"The painting is part of a series of studies carried out in Pompei and Paestum in order to document the excavations promoted by the new Italian State."}}},{"id":"d8832d40-d884-5998-a0e8-a3f9f85b3dea","display_order":null,"variant_order":null},{"id":"e6ce0745-bf5d-5a64-ab65-c5f97224e8ef","display_order":null,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"Material evidence and casts coming from Greece displayed in the Baths of Diocletian in Rome on the occasion of the International Exhibition in 1911."}}},{"id":"f30a52d1-4558-58b4-bdf7-91782044f03c","display_order":null,"variant_order":null},{"id":"fe6fa089-3083-5936-9e90-9d863dea6475","display_order":1,"variant_order":null},{"id":"0e467a26-3229-554d-8707-115f086aa0be","display_order":2,"variant_order":null},{"id":"5838c354-7008-5b83-99dc-80cbba207468","display_order":3,"variant_order":null},{"id":"39343989-0847-535d-82c3-ecbf42c6b4d6","display_order":4,"variant_order":null},{"id":"4bacddd8-1bf3-5cf7-ae4b-b8ebd6e26987","display_order":5,"variant_order":null}]},{"id":"31d8ab23-7e7b-5aae-b421-1b6690c3cdc8","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_1","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:1","parent_id":"61060da6-f4f8-5783-8348-d63a8992aaaa","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"b1a53072-23dd-58c0-b8c4-495759373b61","display_order":0,"variant_order":null},{"id":"03194f3e-048b-5d3e-a6af-514f37ac800f","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The massive Assyrian winged animals that protected the doorways of Assyrian palaces captured the imagination of the 19th-century public. They were favourite exhibits in museum collections. Large-scale reproductions of them were incorporated into “The Assyrian Court” at the Crystal Palace Exhibition of 1851. They were awesome, artistically and technically, and made ideal subjects for souvenirs. How did the excavators move such large objects from the sites? How did museums get them through the doors?","partner":null}},"curator_status":"Y"},{"id":"cd05b644-c357-52ab-89b2-eb3a5e54560e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Figurines based on the Assyrian sculptures were popular collecting pieces. Owners displayed their interest in current events. Buyers included the rich and famous, as well as museums. These Parian ware figurines were designed by an artist who was working at the British Museum as a security guard. His series of animals and men draws from the Assyrian sculptures, but uses Victorian poses. These were also exhibited at the Great Exhibition.","partner":null}},"curator_status":"Y"},{"id":"cb52291b-7b0d-5472-b972-2e4f32848e2f","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Austen Henry Layard’s discoveries at the Assyrian city of Nimrud created a lasting sensation. At the Great Exhibition at the Crystal Palace in 1851 (then moved and re-erected at Sydenham in south-east London), a massive, full-colour reconstruction of the “Assyrian Court” was erected. There was also a parallel “Egyptian Court”. Each was based closely on recent discoveries. The exhibition was enormously popular until it burnt down in 1936.","partner":null}},"curator_status":"Y"},{"id":"5bd17908-448f-5c04-945f-101115486457","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"George Scharf illustrated his lectures with enormous paintings. This example is an oil painting showing Assyrian sculpture from Nimrud. It is based on the original drawing by Layard, who excavated the object. Both Layard and Scharf worked on the “Courts” of the Crystal Palace Exhibition.","partner":null}},"curator_status":"Y"},{"id":"82f533fb-66d6-5753-8d34-97a1b983f107","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Scharf was a gifted illustrator who made a series of important drawings of ancient sites in Turkey. He was a dedicated lecturer, communicating his passion for the ancient world to a new generation of students. He made large drawings of important objects for the purpose. Here we see a drawing of a lecture given by him at what was to become Queen’s College, London.","partner":null}},"curator_status":"Y"},{"id":"279d0dc2-0ffe-5cf8-89f7-8199c9c7ec9a","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In British artist Walter Duncan’s *Fantasy in Egyptian Gallery, the British Museum*, a group of sculptures come to life. 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It is said that Queen Victoria admired it very much during a dinner in 1873.","partner":null}},"curator_status":"Y"},{"id":"3578fea3-edb8-5ff7-a0a7-aea81c138ad2","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"19th-century jewellery sometimes drew on recent finds to produce fashionable pieces. Here a gold brooch is based closely on Assyrian reliefs.","partner":null}},"curator_status":"Y"},{"id":"789458d3-49a6-51d8-9be2-897051433c19","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Layard for the rest of his life would be known as “Layard of Nineveh”. This commemorative custom piece was made to honour his achievements. It is closely modelled on the sculptures discovered by him.","partner":null}},"curator_status":"Y"},{"id":"b7a9c747-adba-50e0-a0a8-312875639e02","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"19th-century jewellery sometimes drew on recent finds to produce fashionable pieces. 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He made the “Tunisian Pavilion” for the 1889 Universal Exhibition in Paris, pulling together a mixture of architectures from Tunisia.","partner":null}},"curator_status":"Y"},{"id":"1bb390d7-8753-553f-9174-6119a0f96ab1","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"At the Universal Exhibition of 1867, visitors explored a reconstruction of the Temple of Edfu in the “Egyptian Park”. This reconstitution (mixing different temples) corresponded to a fashion for ancient Egypt and a desire of the French Empire to develop diplomatic relations with contemporary Egypt. Here, indeed, we see the imperial couple in the company of Isma’il Pasha, Viceroy of Egypt. The Temple of Edfu had been excavated by the famous Egyptologist Mariette.","partner":null}},"curator_status":"Y"},{"id":"63946b1b-16ea-516e-a633-bafee1467d3f","display_order":17,"variant_order":null}]},{"id":"2094f1cf-b678-5347-8cdd-d16515f3c8f9","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_10","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:10","parent_id":"5c66c927-955f-576c-b008-4d11ad7275fe","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"49c47898-4a5f-59d7-a4f2-c9772ec5efeb","display_order":1,"variant_order":null},{"id":"f2f8e110-2548-568d-9481-67689f396cdc","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Visiting al-Zubarah is like travelling back in time. 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The ruins are the physical embodiments of the collective memory, of a long-gone ancient culture, economy and life, and the intertwining layers of human history.","partner":null}},"curator_status":"Y"},{"id":"ff78af46-329b-5d7b-810a-cacb6d484374","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"One of Jordan’s most significant heritage sites, it demonstrates the coexistence of different cultures and societies in one urban space.","partner":null}},"curator_status":"Y"},{"id":"6865c8bb-97f7-50ee-addb-18169728d2a9","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The lithograph, which illustrates a site of great archaeological significance, points to a scientific as well as an aesthetic interest in the ancient past. Besides its importance to archaeological studies, artworks such as this were used as reference by artists, designers and architects.","partner":null}},"curator_status":"Y"},{"id":"ac5b0f5f-98d9-556f-869d-b17cc4a654a2","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Studies of different sites are valuable as documents of the urban assets of a city, immortalising it in visual documents at a specific point in time. This lithograph was made at a time when Athens was collating its urban assets. As the first king of Greece following independence from the Ottoman Empire, King Otto wanted to remodel the city and breathe new “new life” into it by recalling the city’s classical past.","partner":null}},"curator_status":"Y"},{"id":"f92e54e2-12d0-5aaf-9ae2-ccb42b9f2df7","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The Hippodrome was one of the main centres of city life in this capital city of the ancient world, Byzantium (then Constantinople). Here, where magnificent works of ancient Egypt, Greek, and Rome are found together, the intertwining layers of time and cultures up until the Ottoman era are revealed.","partner":null}},"curator_status":"Y"},{"id":"2e86f805-0ac2-5af3-82ca-11820cd27c1d","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Every period has left its mark on this site, which has changed ownership many times over the centuries. 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It provides details of the location and the connection between the watercourse and the mainland (the boat and the lighthouse) and also suggests the different building types that are on the banks of the river and the surrounding landscape.","partner":null}},"curator_status":"Y"},{"id":"f3942bb8-28a9-5994-bff0-f962391fad28","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The creation of open, green public spaces such as parks and gardens is central to urban planning. 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The author of this book, a former French ambassador, had plenty to tell those who planned to visit.","partner":null}},"curator_status":"Y"},{"id":"441fd91e-6a8d-5ba0-b0fb-73ae59155d8a","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Before the mid-19th century, travellers setting out on journeys to the East had no access to guidebooks to help them prepare for their journey, but relied on individual travelogues written by those who had visited before them. These authors in general mixed facts with fanciful imaginations, but nevertheless gave readers a useful flavour of what to expect.","partner":null}},"curator_status":"Y"},{"id":"5dda7ef1-1588-576b-a7a3-a8ad499d04b0","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Travelogues, not surprisingly, reflected the preoccupations of their authors. Many artists were inspired by the diaries of the French painter Eugène Delacroix, who travelled extensively in Morocco and Algeria in 1832.","partner":null}},"curator_status":"Y"},{"id":"6bbbfdcd-9af2-5577-92d7-ef4e14938379","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This early French publication about Egypt, comprehensively researched and written by scientists and scholars working in the country in the wake of Napoleon’s invasion in 1798, did much to stoke Europeans’ initial fascination with the country and their desire to visit its fabled sites and cities for themselves.","partner":null}},"curator_status":"Y"},{"id":"138b0748-bba7-544a-afa4-6e44661538d4","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Early European visitors to the East relied first and foremost on ships routed either down the Danube and across the Black Sea, or across the Mediterranean. Before the introduction of steamers, progress was dependent on the weather and, thus, many travellers would wait for weeks or even months for favourable winds.","partner":null}},"curator_status":"Y"},{"id":"28f6f7de-3daa-59e6-960d-f0cac66b210d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In the absence of modern land transportation, earlier travellers relied largely on the traditional transport modes of the region such as horses, donkeys or camels. Some, indeed, chose to undertake parts of their journey with a local caravan, often in disguise so as not to attract unwanted attention.","partner":null}},"curator_status":"Y"},{"id":"fb87a426-40c2-5d5c-a3d0-e7ba69ca00e7","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"With the gradual introduction of railway systems throughout the Middle East and North Africa from the mid-19th century onwards, the progress of travellers in the region was revolutionised and helped set the scene for the onset of modern tourism.","partner":null}},"curator_status":"Y"},{"id":"026616c9-fee9-5185-8c99-d8c781acbd5d","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Important visitors, such as aristocrats or other members of European high society, tended to be accommodated in the diplomatic missions or embassies of their countries during their sojourn to the East.","partner":null}},"curator_status":"Y"},{"id":"75891604-fdb8-540e-af25-a6509a9103f7","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Many European visitors to the region arrived with recommendations to contact accommodating, reliable and helpful compatriots during their visit to the East. Many headed straight to those quarters of the city reserved for foreign communities, such as the Pera district in Constantinople or the Frankish quarter in Cairo.","partner":null}},"curator_status":"Y"},{"id":"9b7af802-1ae8-51cf-9420-82e3e2b1c459","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Beirut was one of the most important arrival points for Western tourists. In the city, some *khan*s were specially designated for travellers, but comfort was still very basic. The first lodgings in the region, designed to meet the standards of comfort expected by Western tourists, sprung up in the 1840s.","partner":null}},"curator_status":"Y"},{"id":"a9495bdc-29e8-5ac4-be85-88883d1f30cd","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Accommodation specifically set up to cater for foreign tourists first appeared in the region in the second half of the 19th century. Madame Josephine’s lodging house in the Pera district of Constantinople was among the earliest hotels to cater for a Western clientele that included Germans, Russians, French, British and even Americans.","partner":null}},"curator_status":"Y"},{"id":"f1948597-53b1-578c-8bd5-dbd5ac4ee6c3","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Traditional lodgings in the Middle East and North Africa were not designed for foreign tourists and catered largely for local needs. Some travellers stopped at *khan*s and caravanserais, designed as such to provide shelter for merchants. All guests required their own carpet as a bed and a coat as a blanket.","partner":null}},"curator_status":"Y"},{"id":"50d50f6e-1e18-535b-a66c-a9263d40ac9e","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Christian parties tended to travel in denominational groups organised and looked after by their respective religious communities. At their destination, in the Holy Land in particular, they could count on the hospitality of Christian hostels or monasteries.","partner":null}},"curator_status":"Y"},{"id":"b5036b5d-8c8a-54bc-9e98-cd2351f8ef63","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"On rare occasions, prominent Europeans chose to settle permanently in the region. Lady Hester Stanhope’s isolated home, an abandoned monastery on a hill top near Joun, Lebanon, attracted visitors from all over the world who were eager to meet the fascinating archaeologist and adventurer.","partner":null}},"curator_status":"Y"},{"id":"c5af0628-6524-5b0d-a3ae-ef6099a54a96","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Away from cities and towns, early European travellers to the East relied on whatever accommodation was available. Those crossing desert regions relied on tents – like the Scottish painter David Roberts who crossed the Sinai with the help of Bedouin guides from the Awlad Said in the 1830s.","partner":null}},"curator_status":"Y"},{"id":"454ea471-63b6-545e-9c35-ea8207b4746b","display_order":5,"variant_order":null,"curator_status":"N"},{"id":"ac5b0f5f-98d9-556f-869d-b17cc4a654a2","display_order":6,"variant_order":null,"curator_status":"N"},{"id":"bd196d3c-3ad7-5a3c-a7bf-f9e67e2fa612","display_order":7,"variant_order":null,"curator_status":"N"},{"id":"10c5da68-3de4-54d1-9e73-5196e05c7ae8","display_order":9,"variant_order":null,"curator_status":"N"},{"id":"868e1d9c-d782-5ab4-a356-d8e849b96e6c","display_order":10,"variant_order":null,"curator_status":"N"},{"id":"dfe6ce78-8f49-57a2-8d22-f6a5967fc725","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"02aa485b-b3bc-53cc-91c5-b9f267c8d3b1","display_order":13,"variant_order":null,"curator_status":"N"},{"id":"bb75e12c-a4e6-5ac9-952c-ce0d0a5fbea2","display_order":14,"variant_order":null,"curator_status":"N"}]},{"id":"b2c9f0f6-220d-5bb9-9485-2573ce987e04","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_106","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:106","parent_id":"06e2b161-1f15-5d64-a574-9e389e995e1a","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0e467a26-3229-554d-8707-115f086aa0be","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Claudius James Rich ushered in a new era in Middle Eastern archaeology. He was appointed to the new position of Resident of the East India Company in Baghdad, promoting British trade, and countering French manoeuvres for influence. During his posting, he explored archaeological sites and published the first accurate map of Babylon. His finds constitute the core of the British Museum’s collections.","partner":null}},"curator_status":"Y"},{"id":"14fa7435-2efe-5c6f-be7f-cc253ffd3d64","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Already in the earliest days of exploration, fake objects were being produced and sold in the Middle East. This type was made by pressing genuine tablets into new clay, thus making a limitless supply of plausible-looking (but backwards-written) tablets.","partner":null}},"curator_status":"Y"},{"id":"574ec553-46f8-5bdf-871c-23a4e10a1779","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Bellino made one particularly important contribution to scholarship before his early death. He invented a clear and accurate style of making hand drawings of inscriptions. Photography did not yet exist, and the small group of international experts hungered for new texts as they tried to decipher the ancient scripts.","partner":null}},"curator_status":"Y"},{"id":"9e674f9b-6875-58c3-9a9a-b05a50df35bb","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Rich’s assistant was a talented German by the name of Karl Bellino. He accompanied Rich on his visits to the sites and greatly impressed him by his scholarship. One of the important objects discovered by Rich and Bellino was a clay cylinder with an inscription of Sennacherib, King of Assyria.","partner":null}},"curator_status":"Y"},{"id":"057b0a91-5753-5a0f-a506-60b096d9eeb0","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"A frequently employed device in Robertson’s Istanbul photographs is the inclusion of one or more people in the foreground. This both creates a more natural scene and gives an idea of scale. Robertson’s photographs are concentrated mainly in and around the districts known today as Sultanahmet, Beyoğlu, Galata and Tophane. This photo captures Saliha Sultan Fountain in Galata.","partner":null}},"curator_status":"Y"},{"id":"423021cf-ae6a-5fd5-a257-4aa4a79ded1d","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"1854 photo by English engraver and photographer James Robertson of the Byzantine Hippodrome in Istanbul. Robertson began his career as an engraver at the Royal Mint in London. In 1841, he moved to Istanbul to help with the modernisation of the Imperial Mint. During his 40 years there, he served no fewer than four sultans. He was also a painter, and became a leading photographer in the 1850s.","partner":null}},"curator_status":"Y"},{"id":"f92e54e2-12d0-5aaf-9ae2-ccb42b9f2df7","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Robertson’s Istanbul photographs are concerned primarily with historical monuments. They reveal the city’s magnificent Byzantine and Ottoman structures from different aspects, and with close-ups, taken using a quite aesthetic approach. In this photo, the monuments in the Hippodrome are surrounded by protective fences.","partner":null}},"curator_status":"Y"},{"id":"340abb76-0aa3-53e7-b9ea-c4ebf5b8737b","display_order":5,"variant_order":null,"curator_status":"N"},{"id":"abbd0b79-644c-5895-a661-e0a4ee3109c6","display_order":6,"variant_order":null,"curator_status":"N"}]},{"id":"31f07725-e875-5b7d-a947-e6e7ca112d2e","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_113","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:113","parent_id":"4ad4669d-acb3-51a1-968b-d59c597839b5","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"2c45ad6b-40d7-5711-b2ec-f75cf2e0ea72","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Sir Thomas Shaw travelled extensively in North Africa and the Middle East. He wrote accounts of his travels, particularly to Tunis. His illustrative maps are among the earliest produced. They mark the names of ancient sites in the region.","partner":null}},"curator_status":"Y"},{"id":"78482946-b8d7-5fca-913f-fd0e2dc38b4a","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This mid-19th-century map shows Morocco and the states of Algiers, Tunis and Tripoli. The place names are given in French. Originally in monochrome, the owner added colour to emphasise boundaries.","partner":null}},"curator_status":"Y"},{"id":"5959e6d7-d24c-578d-ae73-38a0dfc8b00d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The architect Amable Ravoisie was part of a large team of specialists who set out to document the new French colony of Algeria. His drawings lavishly illustrate hundreds of monuments.","partner":null}},"curator_status":"Y"},{"id":"60bbc9e6-fb95-527b-9468-c85f9f19bc5b","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The architect Amable Ravoisie was part of a large team of specialists who set out to document the new French colony of Algeria. His drawings lavishly illustrate hundreds of monuments.","partner":null}},"curator_status":"Y"},{"id":"b53435d5-475a-5278-a725-cc2638c75d77","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The architect Amable Ravoisie was part of a large team of specialists who set out to document the new French colony of Algeria. His drawings lavishly illustrate hundreds of monuments.","partner":null}},"curator_status":"Y"},{"id":"7a02499c-fb97-5223-b10c-18ecc783aeae","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This finely engraved and detailed 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. Maps like this one were provided with each complete set of the lithographs of his works, to help trace the locations Roberts visited and sketched. The map is very helpful in locating those sites, especially as the names used by Roberts were sometimes inaccurate or have since changed.","partner":null}},"curator_status":"Y"},{"id":"6b95b4dd-912b-59ba-93e0-00f63bedc323","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This was the first geological map of Palestine, drawn up in the late 1880s 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.","partner":null}},"curator_status":"Y"},{"id":"f6f098bc-4e9c-5171-b766-ca9c47aabe50","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"George Armstrong, a sergeant in the British Royal Engineers Corps, was a key member of the Survey Party who later made a 3-D “Raised Contour Map” of Palestine from the 2-D 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.","partner":null}},"curator_status":"Y"},{"id":"41f94376-0122-5f5e-ba32-dbcad66db68a","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Watercolour by Claude R. Conder of the British Corps of Royal Engineers, made during the Survey of Western Palestine, showing one of the members of the SWP at work with one of the expedition’s theodolites. The technology used was the latest cutting-edge equipment and techniques available to the British army, which was far in advance of what was being used, for example, by the American army of the day, as was demonstrated when Lieut. Steever of the US Engineers carried out a similar survey in Transjordan.","partner":null}},"curator_status":"Y"},{"id":"5f7be233-5b3b-542f-9b15-c37a25a0932f","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"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 1867–70, which was published in the *SWP* in 1884.","partner":null}},"curator_status":"Y"},{"id":"f0020c49-694c-556a-855c-e631e86ab20b","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Field sheet showing a week’s work mapping the environs of Gaza for the SWP dated 29 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.","partner":null}},"curator_status":"Y"},{"id":"4bacddd8-1bf3-5cf7-ae4b-b8ebd6e26987","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The famous old city of Carthage had long lain in ruins. In the 19th century, the site was rediscovered and made popular through the publication of Gustave Flaubert’s *Salammbô* in 1862. Archaeologists felt the need for maps keenly. In 1833, a Danish naval officer, Christian Théodore Falbe, offers his *Recherches sur l’emplacement de Carthage*. At the end of the 19th century, maps compiled by the British army’s Geographical Service assisted archaeological work, especially on land-use planning known as centuriation.","partner":null}},"curator_status":"Y"},{"id":"0e6a50b3-2b5c-5608-aae5-77ecf66cfde2","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The Algerian Historical Society made this map to facilitate research on the Roman occupation there. It records the major sites, shows how to get there, and includes elements to increase understanding of the Roman presence (marble quarries, the sites of baths, etc.).","partner":null}},"curator_status":"Y"},{"id":"9ba9df9d-f2a1-5166-9182-6b24185296d6","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The place names on this 18th-century map of North Africa are given in Latin. Originally in monochrome, the owner added colour to emphasise boundaries.","partner":null}},"curator_status":"Y"}]},{"id":"dc3c4257-0909-5b5f-8f27-8f300e5495a1","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_114","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:114","parent_id":"766e7876-319d-5edb-809e-b36bb516537c","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"138b0748-bba7-544a-afa4-6e44661538d4","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Istanbul’s location between Europe and Asia has always given it particular strategic and economic importance, especially as it lies on the only sea route that connects the Black Sea with the Mediterranean. By the early 20th century, it was the Ottoman world’s largest port city.","partner":null}},"curator_status":"Y"},{"id":"309c53a9-a0ef-5547-8426-cd89d2b38012","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"During the 19th century, new technologies radically transformed the appearance of Istanbul port. The construction of Galata Pier began in 1892 and was completed in 1900. Two warehouses were built in 1910 and three more added in 1928. From 1925 onwards, the port authority started to provide all the necessary logistic support to visiting ships, including water and coal, loading and unloading, maritime pilotage and marine salvage services.","partner":null}},"curator_status":"Y"},{"id":"d51c4926-dec8-5d72-9ed4-34a107dddbd4","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Istanbul’s location between Europe and Asia has always given it particular strategic and economic importance, especially as it lies on the only sea route that connects the Black Sea with the Mediterranean. By the early 20th century, it was the Ottoman world’s largest port city.","partner":null}},"curator_status":"Y"},{"id":"ffecc84b-856d-5f87-97de-682a1d90e53d","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Sultan Valide Mosque dominates the port of Eminönü on the Golden Horn. Eminönü became a prosperous port in the Ottoman period due to its lively trade with the West. In the wake of industrialisation, its importance was further enhanced by the Galata Bridge, the arrival of steamships, the introduction of electricity and the railway, with the terminal for the Orient Express built close by at the Sirkeci Station.","partner":null}},"curator_status":"Y"},{"id":"2550c1a6-5124-5e2b-bba4-a5c2f062b159","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In the early 1900s, the port of Aqaba gained considerable importance after the construction of the Hijaz railway, which connected it to both Damascus and the Holy City of Medina.","partner":null}},"curator_status":"Y"},{"id":"46e5760e-4ca7-5891-b293-149dd73cdb25","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Arab port cities increased dramatically in importance late in the 19th century. The value of commercial goods handled by the seven principal ports of Syria and Palestine, including Jaffa, rose 68 per cent between the 1880s and 1913.","partner":null}},"curator_status":"Y"},{"id":"7c98ed41-590d-5c29-bafe-19140f7e1bc3","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"From the mid-19th century, the overwhelming majority of British exports to the Middle East arrived through the four major western Anatolian ports of Smyrna (modern Izmir), Trabzon, Samsun and Mersin. As a result, these cities grew rapidly: the population of Smyrna tripled.","partner":null}},"curator_status":"Y"},{"id":"90753f8b-1041-579e-af7d-41a335a9669a","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Ports could hold not only commercial but also military significance. From the late 1700s, Sebastopol was the base of the Imperial Russian Black Sea fleet and a crucial strategic factor in the tsars’ long-held dream of gaining access to the Mediterranean. Badly damaged in the 1850s Crimean war, it nevertheless has served as a Russian naval base to this day.","partner":null}},"curator_status":"Y"},{"id":"cab1d1b6-5bd0-5d68-aaf4-36e8d7c863e4","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The prosperous cosmopolitan port city of Smyrna (modern Izmir) owed as much to the tolerant Tanzimat reforms of the Ottoman empire as it did to its geographic location. Shortly after this scene was recorded, Smyrna was transformed into an industrialised harbour welcoming steamships and railways.","partner":null}},"curator_status":"Y"},{"id":"e99ec60f-9439-5be8-b2c8-63118d0cc859","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In 1887, the Ottoman authorities granted the concession to modernise the port of Beirut to the Ottoman–European Compagnie du Port, des Quais et des Entrepots de Beyrouth. As a result Beirut’s population gradually soared from 10,000 in 1800 to around 150,000 in 1914.","partner":null}},"curator_status":"Y"},{"id":"58b9f9f7-6b17-532d-8f51-0f4b19d4fb8d","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Algiers had long been an important Mediterranean port. After the French invasion of 1830, it was rapidly developed and peopled by foreigners coming in from north of the Mediterranean. By the early 20th century, the majority of Algiers’ residents were Europeans.","partner":null}},"curator_status":"Y"},{"id":"869766dc-71ca-53a7-b67f-e1ed2b58d4ac","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The port of Tunis, La Goulette, was developed into a state-of-the-art facility in the late 19th century. 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In 1904, at the initiative of Sultan Mulay ‘Abd al-Aziz, the authorities commissioned the French Compagnie Marocaine to develop the port.","partner":null}},"curator_status":"Y"},{"id":"e42495ba-7c27-5b68-b246-c0dc7389d3b6","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"From the later 18th century onwards, the ancient port city of Alexandria evolved into a very important international centre for trade and shipping, not least due to its geographic location, giving access to the Mediterranean and overland to the Red Sea. Unfortunately, for the same reasons, it was also a prized asset for European powers and had to witness both Napoleon’s invasion in 1798 and that of the British in 1882.","partner":null}},"curator_status":"Y"},{"id":"ad246261-371b-52ce-a11b-7790d61625de","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"From their fort in the port town of Sharjah, the Al-Qawasim dynasty oversaw an increasingly prosperous pearling trade in the 19th century. Sharjah soon turned into the pre-eminent economic hub on the Arab side of the Gulf coast. At the same time, throughout the 19th century and until the early 1900s, Sharjah, and Ras al-Khaimah remained the only two custom posts on that side of the Gulf.","partner":null}},"curator_status":"Y"},{"id":"c4ffb242-40dd-5fc8-93f2-f3fab7ac9b3b","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"A crucial entrepôt for the India trade, the British annexed Aden in 1839 and made it a free port in 1850. 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Constanţa harbour was built by a British company in 1857. In 1896, the Romanian state entrusted the port’s modernisation to a French company, but the project stalled because of disagreements. In 1899, under the direction of the Romanian engineer Anghel Saligny, and with the help of engineers I.B. Cantacuzino, Gh. Duca, M. Râmniceanu and C. Casimir, the work was completed.","partner":null}},"curator_status":"Y"},{"id":"a3cd6343-e399-52fc-beca-9b8315cf4639","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In 1880, the French Péreire brothers’ Compagnie Générale Transatlantique established itself in North Africa and started an important steamship service involving 12 vessels, including the *Ville de Rome*, out of Marseille.","partner":null}},"curator_status":"Y"},{"id":"baca824e-062d-5426-b385-13a5074e8755","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Livorno’s fortunes always rose and fell according to the economic politics and rivalries of European powers. Napoleon occupied it twice to destroy the British hold on the port and ruin its chances of competing with the French port of Marseille. Its fortunes returned in the 19th century, with increasing industrialisation and the establishment of the Orlando shipyards in 1865.","partner":null}},"curator_status":"Y"},{"id":"1ff4925b-b991-516d-9e19-a6960fbbbed1","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Marseille’s economy was determined by its role as France’s “Gate to the Orient”, linking it with its North African colonies and – via the Suez canal – economic interests further afield. The original trading port at Marseille was later replaced by the Port de la Joliette.","partner":null}},"curator_status":"Y"},{"id":"b94c1c17-a6e6-5cac-b93a-a36603dd4d29","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Marseille’s economy was determined by its role as France’s “Gate to the Orient”, linking it with its North African colonies and – via the Suez canal – economic interests further afield. The original trading port at Marseille was later replaced by the Port de la Joliette.","partner":null}},"curator_status":"Y"},{"id":"be90f64f-96f3-5dda-8345-68adf8244431","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Marseille’s economy was determined by its role as France’s “Gate to the Orient”, linking it with its North African colonies and – via the Suez canal – economic interests further afield. The original trading port at Marseille was later replaced by the Port de la Joliette.","partner":null}},"curator_status":"Y"},{"id":"124efc2d-1a23-56df-83e7-543dbb950692","display_order":9,"variant_order":null,"curator_status":"N"},{"id":"aee0c11d-b05a-5082-9164-78ab982f4882","display_order":10,"variant_order":null,"curator_status":"N"},{"id":"d5146f7c-a989-5ed0-8084-92511311bc67","display_order":11,"variant_order":null,"curator_status":"N"},{"id":"2186b4e6-4e67-5ef6-a1b9-1f095be746ab","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"9b43f3ea-5b0a-57f2-be8e-3ff0d20fe6f6","display_order":17,"variant_order":null,"curator_status":"N"},{"id":"348c2a80-0242-562a-93bb-7572f6c98b1b","display_order":18,"variant_order":null,"curator_status":"N"},{"id":"60b8885d-3137-5d4a-a32b-9222e6ec69cb","display_order":19,"variant_order":null,"curator_status":"N"},{"id":"3322889b-90a0-56de-acf0-715553f9bb35","display_order":20,"variant_order":null,"curator_status":"N"},{"id":"9b7af802-1ae8-51cf-9420-82e3e2b1c459","display_order":21,"variant_order":null,"curator_status":"N"}]},{"id":"a4556bc4-b0f8-59a8-9b01-23d735803fd0","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_118","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:118","parent_id":"03df9cf1-e1db-5beb-a1cb-458edcf0419e","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"670372b2-f67e-5ac4-8b1b-28c10cd4bd8e","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Hijaz Railway is one of the most famous examples of the use of the products of the steel industry. It was built by the Ottoman Sultan ‘Abd al-Hamid, as a work promoting the unity of all the Muslims.","partner":null}},"curator_status":"Y"},{"id":"cf706f6f-69db-525d-a769-9e4a92dc0759","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Hijaz Railway is one of the most famous examples of the use of the products of the steel industry. It was built by the Sultan ‘Abd al-Hamid with the support of Germany and by raising money through donations, revenues of the Ottoman state raised from the sale of stamps, and a special tax.","partner":null}},"curator_status":"Y"},{"id":"019530a6-cc5d-510e-8a02-0122394f5817","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The steel industry also changed warfare as new armaments became widespread. This revolver was used during the Arab Revolt and in World War I.","partner":null}},"curator_status":"Y"},{"id":"ea1f55bf-b075-5e73-a04a-db3e93d8bff2","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The steel industry also changed warfare as new armaments became widespread. This revolver was used during the Arab Revolt and in World War I.","partner":null}},"curator_status":"Y"}]},{"id":"930ef8a3-455e-5c6c-8efa-43c96682ec02","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_123","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:123","parent_id":"5ec1519b-da0d-5ea9-94f2-953fa0a42c81","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"efe60dc6-7155-5eb3-a180-d0bfbd548106","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Khedive Ismail is considered one of the great reformers of administration and infrastructure in Egypt. Among the innovations he introduced were stamps in 1866. After that date, stamps were commonly used in the Egyptian postal system, as this stamp issued by the Khedive Tawfiq shows.","partner":null}},"curator_status":"Y"},{"id":"3d995cca-af40-5f9f-8f23-5a077ea46883","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Post Makhzen, the official postal service, was issued by Mulay al-Hasan I as part of his reforms in 1892. The organisation of postal services was based on local employees, and it was a means of asserting full sovereignty through the control of the postal connections in the cities.","partner":null}},"curator_status":"Y"},{"id":"5b43be53-1e86-5b15-9cc1-477c08fb7fbb","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This document, an official bulletin of the French protectorate in Morocco, gives notice of the establishment of a post office based on an agreement between Sultan Mulay Yusuf and the French authorities.","partner":null}},"curator_status":"Y"},{"id":"5514d06c-0d42-5cd5-ad41-d94d1fe042aa","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"With the creation of Moroccan postal services, the figure of the *rakkas* appeared. The *rakkas* was a postman who distributed the mails, carried in a sack, riding on horseback to the furthest distances.","partner":null}},"curator_status":"Y"},{"id":"5d9c0ecc-1cda-5806-b890-7ae8e461a596","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"A postal stamp issued during the Spanish protectorate in northern Morocco shows one of the railways built to transport people and mineral products. The stamps, introduced in Morocco by the French from 1912, were also used to celebrate the infrastructure built in the protectorate.","partner":null}},"curator_status":"Y"},{"id":"86959e1d-38a4-5f53-9007-4188fc788f51","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"A postcard from 1920 issued by the postal service Poste Cherifienne. Postal services had been introduced in Morocco from 1882 under the reign of Mulay al-Hasan.","partner":null}},"curator_status":"Y"},{"id":"d6ede956-3098-5ac6-8afc-b9788d8dd31f","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"As an element of continuity with local handicraft and woodwork traditions, the technical innovation (the post office and its furniture) was interpreted according to traditional furniture design, made of wood with floral decoration, mixed with Tunisian, Turkish and European decorative elements.","partner":null}},"curator_status":"Y"},{"id":"cc27cb2b-74b2-53c7-99e4-842dcfe24334","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The French protectorate inaugurated the new post office building. Postal and telegraph communications were integrated in the postal service network between the Tunisian protectorate and France, and between Tunisia and Algeria.","partner":null}},"curator_status":"Y"},{"id":"1c45a682-1820-5eee-b604-862620e6fcea","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A painting showing the interior of the post office built in Tunis during the French protectorate. Life in the city was reshaped by the introduction of the communication services: the architecture recalls European buildings and a new concept of public space is introduced into the traditional way of life.","partner":null}},"curator_status":"Y"},{"id":"9599bee6-4ecd-5e61-803d-f6a17fddee21","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Istanbul’s main post office was built by the architect Vedat Tek, a leading figure in the Turkish First National Architecture Movement. This building symbolises technical, urban and artistic trends in the late 19th to early 20th centuries. Located in the Sirkeci quarter of Fatih district, near the Sirkeci railway station and Eminönü port.","partner":null}},"curator_status":"Y"},{"id":"8138d27f-0df1-5e19-884f-c3f2fabf66df","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The inauguration of the main post office was a public event in a cosmopolitan city such as Istanbul. It was built and inaugurated in crucial years for the city, when different political ideas were in conflict, yet the post office was still a visible sign of modernity.","partner":null}},"curator_status":"Y"},{"id":"d815fe5d-36cb-5efe-b0e0-241a5e5e2941","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"b1761f2e-80b8-586f-b4e2-c3736d979725","display_order":13,"variant_order":null,"curator_status":"N"}]},{"id":"eb2bab76-a020-5089-b53b-cc279339f778","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_126","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:126","parent_id":"7888f842-0c26-5030-a87a-95f171c11d78","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"dc9bec02-eb7b-5be5-b697-9d2faab3da93","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"During the 19th century, the fine and applied arts of the Muslim and Ottoman world were significantly influenced by Europe. Local artists, who were influenced both in terms of subject matter and technique, began to paint oil on canvas in a Western style. The Western influence can even be seen in the uniforms of the beylical army, known as the Mahalla, which collected taxes in Tunisia.","partner":null}},"curator_status":"Y"},{"id":"ea69f41d-1b91-5ee4-8097-8aba9db33c0f","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Western influence is apparent in the pictorial genres as well, of which the most common is the European-style portrait. This example shows Count José (Joseph) María Raffo, who was highly influential in Tunisia on account of his relationship with Ahmad Pasha Bey. As a general rule, in the Arab and Ottoman world calligraphy developed as one of the most highly regarded of the fine arts, while painting was not quite as highly regarded as it was in the West.","partner":null}},"curator_status":"Y"},{"id":"8c7b0235-6bb9-503d-ac59-f73f7984f36b","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Portraits of pre-eminent figures of the Arab and Ottoman world were an influence from the West. This mid-19th-century equestrian portrait of General Khayr al-Din shows the early influence of European models; he is wearing a European-inspired uniform, but Tunisian headgear, the fez.","partner":null}},"curator_status":"Y"},{"id":"555612b1-3b0e-5939-af4c-dcd61c208ab2","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Osman Hamdi Bey often depicted architecture (e.g. mosques), carpets, tile panels, calligraphy and decorative arts in order to reflect the colourful scenes of Turkish culture in his paintings.","partner":null}},"curator_status":"Y"},{"id":"a6e38d56-3857-5b4e-a7be-06bb9cacae78","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Osman Hamdi Bey painted scenes of cultural interest in which he was keen to express the beauty of Eastern culture. He was the first to paint the human figure in the Western style.","partner":null}},"curator_status":"Y"},{"id":"54a75fca-9a38-5dc2-9f8e-80faf09f8470","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Halil Pasha – as an example of an artist from the East dealing with Impressionist techniques – provides a distinctly unique analysis of Impressionist light and colour.","partner":null}},"curator_status":"Y"},{"id":"0f8914a6-32b8-5c6c-8562-d748aa45552b","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Both the architectural elements and decorative items are reflected with meticulous workmanship in a harmony of bright and vivid colours.","partner":null}},"curator_status":"Y"},{"id":"b3ffe5a9-b94e-57b4-815b-88dcdb526256","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Şevket Dağ, known as a painter of interiors, used Impressionist techniques involving light and shadow in his work.","partner":null}},"curator_status":"Y"},{"id":"e3bca328-205b-530c-8cb6-99cd21d8c8dd","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"In the work of Osman Hamdi Bey, Ottoman women are portrayed in many ways: as here, playing an instrument, or maybe reading or arranging flowers in her house.","partner":null}},"curator_status":"Y"},{"id":"c16fad3d-de00-51aa-b32f-c08f9761a3dc","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Known as one of the first soldier-painters in Turkish art history, Halil Pasha won a medal at an international exhibition for this portrait.","partner":null}},"curator_status":"Y"},{"id":"d62a8aad-7189-5f2c-a39f-c9a6febe7aa4","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"This watercolour by Hoca Ali Rıza is realistically executed. In his specialism, landscape painting, he made use of light and shadow.","partner":null}},"curator_status":"Y"},{"id":"ec7fd0d9-9cc8-500f-9c45-55773ae4604c","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The work of Osman Hamdi Bey often reflects Ottoman traditions and culture, manifesting a meticulous and realistic approach to all the elements featured in a scene, ranging from daily life to architecture and from objects to ornamentation.","partner":null}},"curator_status":"Y"},{"id":"3583d624-13fa-58e9-9d82-9ef1b2d476f5","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"In this painting, the effects of Western colour techniques are clearly seen.","partner":null}},"curator_status":"Y"},{"id":"9241049c-6cdf-5701-af96-c463f9661bf7","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"‘Abd al-Majid II’s paintings are both realistic and soulful and his use of Western colour techniques is very advanced.","partner":null}},"curator_status":"Y"},{"id":"7e87a4ee-76a2-59b0-995b-b76a7a6ee825","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"In his paintings, Osman Hamdi Bey reflects a more nuanced appreciation of Ottoman society and culture.","partner":null}},"curator_status":"Y"},{"id":"02c575a0-6154-582b-a588-2ae094079d0d","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Interested in the portrayal of people, Duran had little time for non-figurative painting.","partner":null}},"curator_status":"Y"},{"id":"60d42b24-3acf-5ae0-ab4f-e3aae453f313","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The artist is known for his portraits and landscapes, but he was also interested in calligraphy.","partner":null}},"curator_status":"Y"},{"id":"deea46be-8061-564e-a1de-c2f20389f8a7","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"Hüseyin Zekai Pasha followed 19th-century traditions in his paintings, including thinly applied paint and a soft palette.","partner":null}},"curator_status":"Y"},{"id":"f3955418-aaed-57fc-96f9-18195a4d076b","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"In his paintings, the artist combined Impressionist colour techniques with a totality of composition with great dexterity.","partner":null}},"curator_status":"Y"},{"id":"316c3ae7-9ea6-5cac-b035-f8104f24c1ed","display_order":16,"variant_order":null,"curator_status":"N"}]},{"id":"ccd55ae1-a0f4-5328-b3f2-152a50b8ee79","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_128","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:128","parent_id":"43f46690-1d6e-5d64-b190-3e7fd3f18a07","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"04672ba4-7861-5eb6-ae9c-d793731c3fe9","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Known for his interest in the mediaeval world and collecting, the drawings of architecture and objects from this period by the painter Valentín Carderera were widely appreciated. This drawing shows the courtyard of the Royal Monastery of Las Huelgas in Burgos. It may well have inspired the decoration of rooms and buildings in the Neo-Mudéjar or Moorish style.","partner":null}},"curator_status":"Y"},{"id":"c00a74d5-7adc-54fe-85fc-96f35232755e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Leonardo Alenza is a Romantic-period painter born in Madrid. His view of the Hall of Justice at the Alhambra Palace was made by using an engraving by David Roberts, but it also shows the influence of Orientalism. Although Alenza appears never to have visited Granada, he was able to access the engraving that Roberts had made during a visit to Spain, which were published in the British books series “The Tourist in Spain”.","partner":null}},"curator_status":"Y"},{"id":"7c6c4813-f135-5843-8f48-660e13714964","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The engravings, pictures and books on mediaeval Islamic art and architecture, especially in Spain and North Africa, served as inspiration for architects and interior designers. In Germany, this movement began acquiring importance from the mid-19th century, as can be seen in the Moorish Villa at Wilhelma Park, Stuttgart. The building is known as the Alhambra in Germany, on account of the significant influence exerted by the Alhambra Palace during this period in Europe.","partner":null}},"curator_status":"Y"},{"id":"42a12e5a-4f49-5af5-9a9c-e5db696bbced","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"An item of furniture with a clear Neo-Mudéjar influence illustrates one of the ways in which Islamic architecture influenced the applied arts, such as in furniture-making. This is seen not only in terms of form, but also in the decorative techniques used such as in marquetry and arabesques.","partner":null}},"curator_status":"Y"},{"id":"a81b5a25-c516-56c6-b670-eb0ae21f4f03","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The engraving shows the Moorish Banqueting Hall (heavily damaged in 1944 during World War II) at Wilhelma Park, in Stuttgart. Designed by the German court architect Karl Ludwig von Zanth in 1837, he was inspired by the Moorish or Alhambresque style to create a complex of buildings and gardens for celebrations planned by King Wilhelm I of Württemberg. The complex has been described as the Alhambra on the Neckar River.","partner":null}},"curator_status":"Y"},{"id":"82540953-196e-5dad-808a-f0bd9b908d16","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Carrillo represents the rich architectural decoration of this room in great detail, although he invented some of the details himself. Originally from Seville himself, the artist knew the building very well, and he followed the Orientalist trend by including figures dressed in the Arab style, as if representing the palace during the Middle Ages. This type of picture falls within two styles: romanticism, on account of the taste for historical representation, and Orientalism, on account of the subject matter.","partner":null}},"curator_status":"Y"},{"id":"4b5af6a4-7de4-5e18-87de-8bf5e62763db","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Lusterware was one of the most sought-after forms of ceramics during the Middle Ages. In the West, the most important workshops were found in the Spanish Levante, and the techniques used in them lasted up until the 19th-century, when the influence of Orientalism and other revivalist trends gave new impetus to the production of this technique.","partner":null}},"curator_status":"Y"},{"id":"b437a6ed-24fb-56b3-b57f-e110c5ab5d47","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Research and recovery of the decorative and manufacturing techniques of mediaeval Islamic art was a feature of the Orientalist and Neo-Mudéjar applied arts. The importance of lusterware as inspiration can be seen in the large number of objects that were produced using this technique during the last quarter of the 19th century both in Spanish workshops and European factories.","partner":null}},"curator_status":"Y"},{"id":"e80c1234-42a0-5c12-9754-82402e1fca45","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"When museums of decorative arts began to appear in the 19th century, they served both as inspiration for artists and manufacturers and allowed theorists to make a reassessment of the “minor arts”. The collections in these museums were made up of numerous objects dating from antiquity to the 19th century. Exhibiting historical objects, such as this 16th-century lusterware plate, had an important influence on the growth of Orientalism.","partner":null}},"curator_status":"Y"},{"id":"f88cd52e-27ec-5aee-beba-ea252bcda254","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The painting is an Orientalist fantasy designed to pander to Europeans’ fascination for the Alhambra Palace. It is largely influenced by two publications: one, Washington Irving’s *Tales of the Alhambra* and the other the British designer Owen Jones’ book *Plans, Elevations, Sections and Details of the Alhambra*. Direct influence of the book by Owen Jones can be seen in the artist’s elaboration of the colour scheme, especially the stuccoed walls.","partner":null}},"curator_status":"Y"},{"id":"4b63a853-7b5d-5c93-8ec7-7348d5091101","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The fascination for the Alhambra Palace was such that small plaques of painted plaster were produced, reproducing parts of the palace. One of the most important workshops belonged to Rafael Contreras, who was a conservator/decorator at the Alhambra. These reproductions were very popular among architects and designers as inspiration for the decoration of so-called Moorish smoking rooms.","partner":null}},"curator_status":"Y"},{"id":"ce15a428-c117-5ec8-bdb2-e57a6da94a62","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Villa Crespi is an impressive residence on Lake Orta (Piedmont, northern Italy). With a minaret and rich interior decoration, the Orientalist style and decoration of the villa is attributable to the architect Angelo Colla, whose client Cristoforo Benigno Crespi had a taste for Arab architecture that he acquired during trips to Baghdad to buy cotton.","partner":null}},"curator_status":"Y"},{"id":"f913a36e-6a1b-5710-a0b7-52e815a3703a","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The interior decoration of the Arab Room at the residence of the Marquis of Cerralbo (now the Cerralbo Museum in Madrid) shows the influence of Orientalism. This type of room, popular in the grand houses and palaces of Europe and America, would have been used either as a so-called smoking room or to display collections from countries considered to be exotic by Europeans, such as Arabia, China, Asia Minor (Turkey) and Japan.","partner":null}},"curator_status":"Y"},{"id":"47365132-f164-5764-a7d6-518e266d0b96","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Publication of mediaeval Islamic antiquities was a key influence of the Orientalist style. Very few of these pieces from the Nasrid period have survived: large and richly decorated in blue and gold, they are known as “Alhambra vases”. Orientalist artists and designers copied both their form and decorative motifs.","partner":null}},"curator_status":"Y"},{"id":"8d76b341-a93b-5d3a-8003-baf0071d63f7","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"This vase, produced by the Pickman factory in Seville, demonstrates the influence of Nasrid art on the applied arts of the mid-19th century to the early 20th century. This piece reproduces the form known as “Alhambra vases”, which were decorated using the lusterware technique. Pieces of this sort were exhibited at World Fairs and frequently won awards for design and decoration.","partner":null}},"curator_status":"Y"},{"id":"2ae3984e-4d68-5007-ab52-077d0d39f896","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Théodore Deck was a well-known French ceramicist who researched and reproduced mediaeval techniques such as a lusterware. In this case, he reproduced the “Vase of the Gazelles”, which had been produced in the Nasrid workshops before 1400. Interest in Nasrid-era pieces and their reproduction was influenced by publications such as that by Owen Jones on the Alhambra, and other similar works. This vase may have been seen at the 1862 International Exhibition in London.","partner":null}},"curator_status":"Y"},{"id":"82635f79-7381-59a0-8cbe-e72a1b631f83","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The fascination for Spain’s Islamic past breathed new life into the ceramic workshops of the region, the lusterware workshops in Valencia, and the Fajalauza workshops in Granada, for example. In the latter, pieces were produced that were decorated with motifs copied from or inspired by the decoration at the Alhambra Palace or by “Alhambra vases”. As the plate here illustrates, certain motifs were reproduced; the gazelles appear on the “Vase of the Gazelles”, which is kept at the Museum of the Alhambra.","partner":null}},"curator_status":"Y"},{"id":"b2d452de-0ae0-577e-b868-f2761e941b26","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"One of the most interesting aspects of the Neo-Mudéjar and Moorish styles is the re-creation of the mediaeval techniques used to decorate objects. This vase, which reproduces the shape of so-called “Alhambra vases”, is decorated using the damascene technique, which, used in the mediaeval period by Muslim artists, came back into fashion in the 19th century as a result of Orientalism.","partner":null}},"curator_status":"Y"},{"id":"58d8569e-9dce-5ab4-bed2-63c6b0b22bb0","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The influence of the Neo-Mudéjar or Moorish style can be seen in all the decorative arts, from ceramics and metalwork to furniture-making. This cabinet, the shape of which is taken from mediaeval-style furniture, adopts the inlay technique used in the medieval era to provide decoration formed of stars and arabesques.","partner":null}},"curator_status":"Y"},{"id":"36773e08-5d5d-510b-9eaf-d6bc145e39d8","display_order":15,"variant_order":null,"curator_status":"N"}]},{"id":"b6714601-188e-5798-a970-d8e7d25cc3fc","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_131","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:131","parent_id":"339e33ad-1dc9-5dab-bc3d-5c4a56eba689","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"1deb708b-ab5d-5f99-8702-421204b044cf","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Orientalist studio photographers often placed female models in local dress within oriental decor.","partner":null}},"curator_status":"Y"},{"id":"423021cf-ae6a-5fd5-a257-4aa4a79ded1d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"A technique Robertson used frequently in his works is the inclusion of one or more human figures in the foreground: indeed, this is something of a trademark of his work.","partner":null}},"curator_status":"Y"},{"id":"7625cc1a-04cd-541e-97b3-01fa3eac5fdf","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Felice Beato (1825–1903) was photographic assistant to Robertson. The photographs were processed using the wet-plate collodion process.","partner":null}},"curator_status":"Y"},{"id":"a95b3b6a-66a7-5a79-99bd-6be598fec282","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Robertson sometimes overpainted his photographs with watercolours. His photographic works are concerned primarily with the city’s historical monuments of which he took a series of close-up views.","partner":null}},"curator_status":"Y"},{"id":"8ad123be-79dd-59a7-84a8-ffc0f7c6d8e7","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This overpainted photograph is an important work from the standpoint of the history of photography. In every sense it is a coloured counterpart of two other portrait photographs by Robertson.","partner":null}},"curator_status":"Y"},{"id":"000c7f50-ff95-5a24-b26f-2c2401107ffd","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The photograph operated as a tool that it was thought could have a moral influence upon those who viewed them and had the ability to bring viewers closer to the locations of holy events.","partner":null}},"curator_status":"Y"},{"id":"b20d222f-63fe-50b9-acfd-a854de63e772","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Stereoscopic photography creates the illusion of depth of field in a two-dimensional image by using a specific viewfinder, or stereoscope.","partner":null}},"curator_status":"Y"},{"id":"c4179abe-6375-58e2-9109-f22b4b9e5ebd","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Stereographic cards became a popular medium for entertainment from the late 1880s until 1970, reaching its peak of popularity in the first decade of the twentieth century.","partner":null}},"curator_status":"Y"},{"id":"057b0a91-5753-5a0f-a506-60b096d9eeb0","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Robertson’s photographs of landscapes and monuments were usually printed in a 25cm x 30cm format.","partner":null}},"curator_status":"Y"},{"id":"4fba9c3c-f84d-510f-bba6-f6a6783a23b3","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"There were two main reasons for the use of figures in Robertson’s work: first, figures were used as a means of creating a more naturalistic scene; second, the figures provided one or more reference points for viewers, giving them an idea of scale and the dimensions of the scene as well as the size of elements contained within the frame.","partner":null}},"curator_status":"Y"},{"id":"78eecb65-6040-5c83-8995-b8c35cb4d3a6","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Robertson used the wet-plate collodion photographic process invented in 1851. With this method he produced a glass negative from which beautifully detailed prints of his works could be produced.","partner":null}},"curator_status":"Y"},{"id":"f92e54e2-12d0-5aaf-9ae2-ccb42b9f2df7","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"A frequently employed device in Robertson’s Istanbul photographs is the inclusion of one or more human figures in the foreground.","partner":null}},"curator_status":"Y"},{"id":"33c78378-09b9-5e76-bb0d-85f0948fe81c","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"A portrait with the subjects wearing typical Turkish costume. Their apparently easy pose and the setting are in absolute harmony with Orientalist aesthetics.","partner":null}},"curator_status":"Y"},{"id":"47ae1491-a4bf-5c5f-98f7-d10504afcb6c","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The print is part of an album of different photographic views of Istanbul taken by the Abdullah Frères’ studio. The studio was run by three Armenian brothers who, in 1880, opened a headquarters in Istanbul.","partner":null}},"curator_status":"Y"},{"id":"635f5f5e-120a-51d8-b033-3d0504a831cb","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The Abdullah brothers initiated the art of photography in Turkey. For 40 years they photographed the people of Istanbul, its landscapes and various political and social events. The images were then collected into albums to illustrate the monuments, history and culture of Istanbul.","partner":null}},"curator_status":"Y"},{"id":"92edd2fe-ef09-5e83-baba-8f729535104a","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The Abdullah brothers were announced as the official photographers of the Ottoman Palace. Their early photographs of Istanbul were made for the palace archives.","partner":null}},"curator_status":"Y"},{"id":"52eaca9c-9b61-57ba-8d7c-426a9c33c3f1","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"James Robertson is the first photographer of Istanbul known to have taken 360-degree panoramic photographs of the city. The first panorama, which was taken in May 1854 from the Beyazıt Tower of the War Ministry, consists of 12 separate photographs.","partner":null}},"curator_status":"Y"},{"id":"7a6f5cad-f74c-5502-95b2-2068560418a6","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"For 40 years the Abdullah brothers photographed the people of Istanbul, its landscapes and various political and social events. The images were then collected into albums to illustrate the monuments, history and culture of Istanbul.","partner":null}},"curator_status":"Y"},{"id":"41a2680e-8cf9-5ee5-a679-4297b5a1558c","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Pascal Sébah, a pioneer of photography and a fine technician, worked in Istanbul. His reputation as a pioneer is seen in his well-organised, carefully lit compositions, the effective poses of his subjects and attention to detail, as well as the excellent print quality of his photographs.","partner":null}},"curator_status":"Y"},{"id":"f16ca057-a0e1-511d-9754-d9f37c51ca07","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"307c3b5c-a525-55c7-89a1-8342e6da903a","display_order":13,"variant_order":null,"curator_status":"N"},{"id":"01309821-1550-570d-b610-d7e90337db0f","display_order":14,"variant_order":null,"curator_status":"N"},{"id":"48a64aba-b279-5473-911b-51ced2c8a938","display_order":15,"variant_order":null,"curator_status":"N"}]},{"id":"e976f929-f7e9-5891-bd85-f40d4e0e84f9","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_137","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:137","parent_id":"cf217d66-47a0-5a15-a853-9e1af74cdc81","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"f8c2bcec-57eb-5f11-8bfe-5d3461e46436","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The lute was introduced to Europe from the Arab world. While lutes were first played in Spain in the 9th century, their popularity grew from the 13th century through to the Renaissance. Changes in the design of the lute and the greater prevalence of violins led to the eclipse and near-extinction of the lute in nineteenth-century Europe.","partner":null}},"curator_status":"Y"},{"id":"b6227f02-1142-5b04-b3af-734ad8573ce6","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"A common form of drum across the Arab and Ottoman world was the tall *tarijat*, or goblet drum. It was played held horizontally under the arm in combination with stringed instruments. Its body could be made of wood, earthenware or terracotta, but in Fez in Morocco, glazed ceramic was used. Variants of this drum, called *darabukka*, were produced in Syria.","partner":null}},"curator_status":"Y"},{"id":"529b4a95-033c-586c-b6c2-ba606e63c4aa","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The *buzuq* is a variant of the *tanbur*, a long-neck string instrument that is differentiated from the *‘ud* or lute by its relatively small sound-box and neck of extended length. Its strings are plucked with a plectrum. The mother-of-pearl inlay here exhibits the hybridity of ornament in the Ottoman realm in the late 19th century.","partner":null}},"curator_status":"Y"},{"id":"71d1bb15-43f9-5e5d-8a1d-7e157badf90e","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Constructed like a large tambourine, the *daff* provides percussion in combination with stringed and wind instruments. As the miniature *An Entertainment Scene* illustrates, *daff* players also accompanied dancers without other instrumentalists. The *daff* is a social, rather than martial instrument, and its lineage dates to before the time of the Prophet Muhammad.","partner":null}},"curator_status":"Y"},{"id":"0fb21836-e5e1-51dd-ab52-da180f9f90b6","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"This lute has a bent neck, a form that was in use at least as early as the 16th century in both Europe and the Islamic world. With its deep body, its sound was more sonorous than a lute with longer neck and smaller body. It would have been accompanied by percussion in the form of a drum, or *daff*, and possibly a flute.","partner":null}},"curator_status":"Y"},{"id":"14d25094-56e3-5812-add7-3c7c717c6829","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The *mijwiz* is a form of double-reed pipe or clarinet, one of a variety of pipes played by blowing through one end of the pipe rather than a hole in its side, like a flute. The pipes are held together by waxed string. In the 18th-century Ottoman world, multiple reed pipes were played in combination with *zurna* and *daff* as the miniature *An Entertainment Scene* illustrates.","partner":null}},"curator_status":"Y"},{"id":"6361ef20-5b25-59b2-bd56-7f7ed9244291","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The *mijwiz* is a form of double-reed pipe or clarinet, one of a variety of pipes played by blowing through one end of the pipe rather than a hole in its side, like a flute. The pipes are held together by waxed string. In the 18th-century Ottoman world, multiple reed pipes were played in combination with *zurna* and *daff* as the miniature *An Entertainment Scene* illustrates.","partner":null}},"curator_status":"Y"},{"id":"5384b8df-a79b-54a7-bdbf-0c4918314519","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The *qanun* was a very popular instrument in the Middle East and North Africa from at least the 18th century. Thanks to its range of octaves, it is highly versatile and is played alone or in combination with other instruments such as the flute and *kamanche* (*kemençe*).","partner":null}},"curator_status":"Y"},{"id":"b8a6b459-47fa-5a6f-a12b-76e7e938843b","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The *parmak* (little) *cura* is a small specimen in a large family of related string instruments. Because of its size its sound has a higher pitch than the larger *tanbur*. It was used in many regions of the Ottoman world for playing both classical and folk music.","partner":null}},"curator_status":"Y"},{"id":"7c628f29-8443-5e2e-8926-884729f02df3","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The legged violin is one of the types of bowed fiddles played in the Ottoman world. Its materials, the gourd, with a stretched-skin surface to form the sound-box, may indicate that it derives from folk instruments, but the metal leg and fine wooden neck relate more closely to urban products.","partner":null}},"curator_status":"Y"},{"id":"109ed34a-507a-5652-bb30-736569eca0ac","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Although this drum, called a *musahirati* drum, has been used in Jordan for the past century or more to wake people for dawn prayers during the month of Ramadan, its shape is identical to that of the hawking drum. Hunters would attach the instrument to their saddles and beat it to call falcons back to them when they were hunting.","partner":null}},"curator_status":"Y"},{"id":"45aa6bbe-dbdf-5f6e-b23b-222901c8201e","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"This *cümbüş* is an instrument that developed in the early 20th century and is a variant on the *tanbur*\\-type of string instrument. Unlike the *tanbur* its neck is bent and the sound-box is round. Its stretched skin surface is set into a metal frame. The Latin lettering on the frame indicates that it was made after the Ottoman script reform of 1928.","partner":null}},"curator_status":"Y"},{"id":"dff63501-6388-5281-9baf-bb1a3d253e7f","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The *rebab* or *rababa* is a string instrument associated with the Bedouin of Arabia and the Near East. This example consists of a wooden body with a skin belly and wooden neck with one long peg. It has only one string, though other versions have two or three strings. Using a bow, it would have been played in the outdoor encampments of nomads.","partner":null}},"curator_status":"Y"},{"id":"6faa2e57-f95c-52d9-a61f-402154b53322","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The organ designed by Cesare Trionfo, an Italian immigrant to Tunisia, combines the function of a European organ with decoration inspired by the Islamic architecture of North Africa and Spain. The cusped arches, panels of geometric patterns and crenellations derive from palaces and fortresses of the Marinid and Nasrid periods.","partner":null}},"curator_status":"Y"}]},{"id":"21bcf135-ed6e-5443-8cc6-a880a0c462e2","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_14","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:14","parent_id":"24886656-d708-5839-9d18-301fa1b5341e","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"d33416a4-0a7d-53e7-981b-69aa3e40b575","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"A main site of traditional city life that manifests national identity through its form and style.","partner":null}},"curator_status":"Y"},{"id":"ffecc84b-856d-5f87-97de-682a1d90e53d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The mosque represents the core identity of Islamic architecture, a building dedicated to God. Built under the patronage of a royal woman in the old commercial centre of the city, the site also attracted business and trade activities between Muslim and non-Muslim merchants, representing another important layer in the identity of Istanbul.","partner":null}},"curator_status":"Y"},{"id":"abac828d-5728-5fdb-8767-366c5beb8fa5","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"An aquatint depicting the famous Café du Marabout, a vestige of the many that once furnished Arab and Ottoman cities, and which step-by-step Europeans embraced, turning them into fashionable venues for the elite. Cafés are important social spaces in the Arab and Ottoman world that are mainly frequented by men.","partner":null}},"curator_status":"Y"},{"id":"84d5ec45-7bab-5d25-96f2-a48ed1fe7a85","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The engraving focuses on some of the most important identifying factors of Damascus: the mosque complex represents piety, Islam as the basis of an individual’s life as well as the community’s; the merchants symbolise a strong global presence in trade and economics; the Ottoman-style buildings represent the power of the Empire; and the new French-built road signifies the city’s modern era.","partner":null}},"curator_status":"Y"},{"id":"c0dbe8f9-c861-5074-9fb8-b7dfcde583ed","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Depicting one of the oldest and most important universities of the Islamic world, this painting illustrates some salient features of Cairene identity: local history, tradition and lifestyle.","partner":null}},"curator_status":"Y"},{"id":"e9dc3805-7eb0-5025-b948-d69dd0ddfe00","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Built in the Ottoman style, the design and structure of the Citadel of Cairo symbolises Ottoman power and the new ruler.","partner":null}},"curator_status":"Y"},{"id":"509dc50d-cdf0-5d63-8c8f-6dcddd22c1f2","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The style of this building represents the rediscovery of Portugal’s Arabian past and also hosts one of the country’s most significant social events and traditions, the bullfight.","partner":null}},"curator_status":"Y"},{"id":"742e675b-2783-5254-a6e4-abd2e2dc3cd3","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The monument can be considered as an expression of the symbolic interconnections between the three main pillars of Syrian society in the era: political identity (Ottoman Sultan ‘Abd al-Hamid presenting Islam as a unifying factor); modernity (the telegraph system); and religious values (the Islamic *hajj* and the Holy Cities of Mecca and Medina).","partner":null}},"curator_status":"Y"},{"id":"31671ff1-195a-54da-8c1f-6f9b776bf0e8","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The square, which is an important meeting point for the local population in the centre of Tunis, holds an important transnational monument.","partner":null}},"curator_status":"Y"},{"id":"6f83b69e-bc0a-5955-8a8f-46818fc39f26","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The image depicts the daily life of an Arab city-dweller to illustrate Arab culture and handicrafts to the reader of Charles Lallemand’s *Tunis et ses environs*. The “Eastern” style had a huge impact on European arts and crafts.","partner":null}},"curator_status":"Y"},{"id":"96d75b79-58ff-5945-b11e-11a08e7dd7b9","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The image of the “East”, seen in intimate interiors such as this, was one circulated throughout Europe. It inspired not only European art and fashion, but also the tradition of identifying cultures through architecture, ornament, decoration and costume or fashion.","partner":null}},"curator_status":"Y"},{"id":"10a5b375-34b0-5c68-bd08-21bc738e5e36","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"40e3019a-dd02-5de8-b6ab-7922650811cb","display_order":13,"variant_order":null,"curator_status":"N"},{"id":"a0f99391-e379-547b-847b-d300d897239b","display_order":16,"variant_order":null,"curator_status":"N"},{"id":"cafcd6e4-6930-5d23-8538-b552e0f9216e","display_order":18,"variant_order":null,"curator_status":"N"},{"id":"055fd98c-bc6c-5a97-9aae-e3c3ab6ea7fb","display_order":19,"variant_order":null,"curator_status":"N"},{"id":"e24c667e-3e74-52ad-9357-51224ea2c3d0","display_order":21,"variant_order":null,"curator_status":"N"},{"id":"b4f64de8-89f2-5608-a2d6-f642d0ce7827","display_order":22,"variant_order":null,"curator_status":"N"},{"id":"0c3d95fc-e6dc-5e76-8a44-96775f35c8c3","display_order":23,"variant_order":null,"curator_status":"N"},{"id":"0fee6c38-84a6-5884-a476-0a33d319a555","display_order":24,"variant_order":null,"curator_status":"N"},{"id":"54c83199-c653-5912-a4b8-adeaddd7f3e5","display_order":25,"variant_order":null,"curator_status":"N"},{"id":"9b7af802-1ae8-51cf-9420-82e3e2b1c459","display_order":26,"variant_order":null,"curator_status":"N"}]},{"id":"57a868bb-d4a4-55d6-96b3-dfb3642de0ee","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_141","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:141","parent_id":"ed9f89ae-f83d-56eb-87dc-8663cfd7ea9c","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"d7c8788d-6f4d-5251-abb7-406fabefb7b2","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Napoleon Bonaparte (1769‒1821), from a young military leader in 1793, rose to become the First Consul in 1800 and Emperor of France in 1804. Under his direction, economic, legal and educational reforms were initiated and the Napoleonic Code was established. His invasion of Egypt (1798‒1801) had long-term consequences.","partner":null}},"curator_status":"Y"},{"id":"8f10719a-7586-5524-9036-a47811acc887","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Muhammad ‘Ali Pasha (c.1769‒1848) was the founder of modern Egypt. His reign marks a period of rapid and sometimes cruel reform and modernisation of the military, administrative and educational systems; his economic reforms in general and agricultural reforms in particular were especially hard on the Egyptian people.","partner":null}},"curator_status":"Y"},{"id":"a7e91b00-f506-5aa7-8c37-6d1766ce2f71","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Rifa’a al-Rafi’ al-Tahtawi (1801–73) was An Egyptian intellectual regarded as the pioneering figure of *al-Nahda*. Sent to Paris in 1826 by Muhammad ‘Ali Pasha, he returned to Egypt in 1831 to implement reforms summarised in his book *Takhlis al-Ibriz fi Talkhis Bariz* (1834) in which, although he embraced French society also held that reforms should go with the values of Islamic culture.","partner":null}},"curator_status":"Y"},{"id":"45581720-95c0-55d1-9d51-2fee196507d7","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Qasim Amin (1863–1908) was an Egyptian lawyer and activist; the first Egyptian, and the first Arab “feminist” to advocate the liberation of women through education. He is best known for his two books: *Tahrir al-Mar’a* (*The Liberation of Women*, 1899/2000) and *Al-Mar’a Al-jadida* (*The New Woman*, 1900/2000).","partner":null}},"curator_status":"Y"},{"id":"a11b1d80-b600-57d0-8847-691e4f4f087c","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Jamal al-Din al-Afghani (1839–97) was a religious reformist and political activist whose modernist reinterpretation of Islam was closely connected with an anti-colonial doctrine. He called for pan-Islamic solidarity in the face of European threats.","partner":null}},"curator_status":"Y"},{"id":"a12c9928-1d6f-5b1e-814c-74692d5b8de6","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Ahmed ’Urabi (1841–1911) was an Egyptian nationalist and a colonel in the Egyptian army. As a member of Khedive Tewfik’s government he promoted reforms of Egypt’s military and civil administration. ’Urabi’s revolt of 1879 against Anglo-French domination in Egypt is notable as the first case of Egyptian anti-imperialist nationalism.","partner":null}},"curator_status":"Y"},{"id":"b2ddeccc-ca14-5199-bc54-07e8975db8bc","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Huda Sha‘rawi (1879–1947) was a member of the upper classes of Egypt who communicated in Arabic, French, and Turkish. A political and social activist, her best known book is *The Harem Years* (1987).","partner":null}},"curator_status":"Y"},{"id":"c543fb08-2952-5ab3-ad2d-2483c3b72f18","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Muhammad Abduh (1849‒1905) was an Egyptian reformer and a pupil and follower of Jamal al-Din al-Afghani. An unshakable supporter of religious, legal and educational reforms, he is best known for his theological treatise *Risalat al-tawhid*. He called for the emancipation of Muslim women, arguing that women’s oppression at that time stemmed from the moral disintegration of Muslim society.","partner":null}},"curator_status":"Y"},{"id":"20742252-5d4f-565f-8b1e-0849b9510ddd","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"‘Abd al-Majid I (1823–61) succeeded his father Mahmud II in implementing a series of political, economic and civil reforms known as Tanzimat within the Ottoman Empire. To this end he established alliances with the UK and France, which had supported the Ottoman Empire in the Crimean War against Russia.","partner":null}},"curator_status":"Y"},{"id":"bf8ccf55-0b9f-51ab-833d-046d658d52ad","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Sultan Mahmud II (1785‒1839) introduced a series of reforms that began in 1839. The reforms, which encouraged Ottoman patriotism through integration of non-Muslims and non-Turkish ethnic groups into Ottoman society, aimed to prevent the slow decline of the empire. His reforms included changes to the education system and civil liberties, and the establishment of state-run postal and telegraph services, newspapers and railways.","partner":null}},"curator_status":"Y"},{"id":"7e8724de-fcac-5676-b6cf-6627209a6fcc","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Husayn ibn ‘Ali (1854–1931) was Sharif and Emir of Mecca from 1908. He declared the Arab Revolt in 1916 against the Ottoman Empire. In 1917 he acquired himself the title *Malik bilad-al-Arab* (King of Arab Lands), but was recognised internationally only as King of Hijaz. After the abolition of the Ottoman Caliphate in 1924, he proclaimed himself Caliph of all Muslims. Defeated by the Saud family, he abdicated the kingdom and other secular titles added to his name ‘Ali.","partner":null}},"curator_status":"Y"}]},{"id":"ce477b96-95a2-59e4-a4ed-3fffe7f18059","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_149","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:149","parent_id":"74050d04-8c6c-5ad0-9c80-9ac46f59d8c2","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"8951f6af-b5d8-564b-983b-9fd818e52be8","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"During the Orientalist period, traditional Arab and Ottoman instruments, dance and musical compositions were introduced to European audiences.","partner":null}},"curator_status":"Y"},{"id":"71d1bb15-43f9-5e5d-8a1d-7e157badf90e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The 18th-/19th-century Romantic movement in Europe popularised the traditional dance forms of the Arab and Ottoman world. 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Here a Greek bride waits for the groom to finish his ritual shave. The care the artist has taken in showing every detail of the bride’s dress betrays his interest in it.","partner":null}},"curator_status":"Y"},{"id":"b98b5c58-b52f-54a7-85fa-fdea8460caf3","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This painting depicts a bride as she is being helped to dress, but actually illustrates an important moment in the woman’s life as she is about to join another family and perhaps move home. It is the tension of this change that the artist depicts, seen in the bride’s serious expression in contrast to that of her assistants, who joyfully prepare her for the celebration.","partner":null}},"curator_status":"Y"},{"id":"204ad655-e0e1-593a-b96e-0e6675438945","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The Druze, a religious minority from the Middle East, is distinguished by their dress. Druze brides attracted attention on account of their high headdresses, formed using a decorated metal cone or *tantur*. This type of costume and headdress fascinated European visitors, who documented it widely.","partner":null}},"curator_status":"Y"},{"id":"ad65725a-43b5-5119-ab17-edebfab3d1ae","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The *tantur* is a metal cone worn on the head and covered with a veil. This type of headdress, an accessory worn exclusively by Druze women, was worn during ceremonies such as weddings.","partner":null}},"curator_status":"Y"},{"id":"04c6becd-fdd7-5c20-9596-b48f8a6ce25a","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"It is the opulence and expense of wedding dresses that has seen many of them conserved over time, more than grooms’ outfits. The type of headdress or jewellery and the decoration on a dress denote the size of the bride’s dowry, her family status, the region she is from and/or her ethnic group. Among other garments, the outfit would have comprised a richly decorated headdress, or fez, from which coins were suspended.","partner":null}},"curator_status":"Y"},{"id":"9a135c4c-830c-5fdd-a5e6-61129754ecfd","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The jewellery a bride wore sometimes had a practical purpose; this necklace helped to hold up the neckline of her dress. Necklaces of this type are typical of the Ohrid-Prespa region in Macedonia.","partner":null}},"curator_status":"Y"},{"id":"d7bfd409-e2ad-54bc-aea9-cbf7cee1a22d","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The jewels worn by a bride as an expression of the size of her dowry and her family’s wealth could be very heavy. For this reason, jewels were sewn to pieces of fabric much as seen in this jewelled chest piece worn by brides in Belichica Gorna Reka, Macedonia.","partner":null}},"curator_status":"Y"},{"id":"f310be0c-2e4a-5a7a-ab0c-baaa41091e32","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Certain pieces of jewellery were only worn by brides: the *rihana* is a long gold chain bearing another chain of perfumed paste; the dress meanwhile is typical of Nabeul, a coastal region of north-eastern Tunisia. While the gold chain denotes the importance of this ceremony for the family, the dress indicates ethnic group or regional provenance.","partner":null}},"curator_status":"Y"},{"id":"79fded3c-fc12-5fa3-bff4-6820a231b3e4","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The decoration and the colour of the wedding dress reveal the bride’s origin and the wealth of her family. Some of the decorative motifs have apotropaic functions, while others refer to the bride’s future role as mother. In this case, some of the decorative motifs relate to fertility.","partner":null}},"curator_status":"Y"},{"id":"665fead3-3926-5df0-ac85-fe2c13fabcb2","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The groom also wore a special costume for his wedding ceremony. Although the groom’s costume tended not to be as ornate as the bride’s, it did indicate his origin. This bridal coat from Qatar is an example of this.","partner":null}},"curator_status":"Y"},{"id":"be009de4-94db-5ccd-b043-8e9fe6838bd7","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A bride tended to provide a large part of her dowry in the form of jewellery, which she would wear at her wedding. Jewellery worn by brides was made of gold or silver and often decorated with coloured beads or coins; precious stones for the wealthy.","partner":null}},"curator_status":"Y"},{"id":"ca7cde0f-42ef-5233-9987-adf5389bf28f","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Women would wear jewellery, which often came from her trousseau and demonstrated the importance of her family, to important ceremonies and celebrations such as weddings and family reunions. The gold, pearls and precious stones of this necklace suggests how valuable some of this jewellery could be.","partner":null}},"curator_status":"Y"},{"id":"d3db70b3-c132-5835-9372-de3aadb98307","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"This bride’s outfit, which comprised a *hirka* (coat), *entari* (dress) and dress shoes, demonstrates the wedding attire of a 19th-century Ottoman bride, and points to the differences that existed from one Mediterranean region to another. A feature common among all the wedding outfits of this exhibition is the wealth of their decoration and the fine fabrics from which they are made.","partner":null}},"curator_status":"Y"},{"id":"5714f381-6e11-56d5-9801-fef85803c128","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Wedding dresses reflected the wearer’s family status and ethnic origin. Accordingly, they tended to be richly decorated and include many garments and items of jewellery. Some of the decorative motifs could have an apotropaic function, such as seen in the triangles on the sleeves of this garment.","partner":null}},"curator_status":"Y"},{"id":"97603dc7-78b0-567d-995d-706683438f46","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The many types of wedding dresses seen in a single geographical area demonstrate the diversity of customs and traditions. 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This can be explained by the historical development of the region: this item is from Macedonia, a country that was part of the Ottoman Empire, before that part of the Byzantine Empire and in the 20th century came under the influence of the Austro-Hungarian Empire.","partner":null}},"curator_status":"Y"},{"id":"b814bde1-48f9-5356-8789-4fecae32bde0","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The rich decoration on the sleeves and lower portion of this bridal tunic suggest that these were the most visible parts of her outfit. The decoration is embroidered and appliquéd in wool and silver thread.","partner":null}},"curator_status":"Y"},{"id":"541e7afc-c735-5bac-ad3a-928530f9d141","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"It was not only the bride, groom and guests who were expected to dress in their best attire at weddings; animals were richly adorned and decorated for the occasion too. This horse bridle, decorated with bead-pendants, gives an idea of how spectacular the ceremonies could be.","partner":null}},"curator_status":"Y"},{"id":"22b59916-1001-5666-873e-2d7a62f3d991","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"Some wedding outfits were made from reams of cloth and richly decorated with thread and appliqué. The breeches and short-sleeved bodice seen here weigh more than 10 kg; the breeches are more than four meters long and embroidered with silver thread and appliquéd silver sequins, providing an indication of the importance of the ceremony. Given the size and weight of the outfit, the bride would have been seated during the wedding ceremony.","partner":null}},"curator_status":"Y"},{"id":"9729e384-0aab-59c6-bb73-2a5621d81218","display_order":23,"variant_order":null,"curator_status":"N"},{"id":"c3322b4d-5cf0-5412-aee3-1fd52f0cba22","display_order":24,"variant_order":null,"curator_status":"N"},{"id":"593969dc-7368-5182-961d-c81a464474fc","display_order":25,"variant_order":null,"curator_status":"N"},{"id":"602e2e1a-614b-533b-b171-c2a7bb60bc72","display_order":26,"variant_order":null,"curator_status":"N"},{"id":"701d0273-bf02-5200-8f32-6dab9287106b","display_order":27,"variant_order":null,"curator_status":"N"},{"id":"888046f7-3ef2-5941-9017-769431669b16","display_order":28,"variant_order":null,"curator_status":"N"},{"id":"caccb7ea-2e4d-5085-b38b-eaad85d82020","display_order":29,"variant_order":null,"curator_status":"N"},{"id":"bc65e295-73e5-5ae4-84e4-1777b2658828","display_order":30,"variant_order":null,"curator_status":"N"},{"id":"c1679a4a-eb18-5ec1-bd6f-8c176785d5ff","display_order":31,"variant_order":null,"curator_status":"N"},{"id":"8d188108-655f-550e-b130-a0eb24f32b9c","display_order":32,"variant_order":null,"curator_status":"N"},{"id":"b7d0545b-be32-5c47-ab91-272824042882","display_order":33,"variant_order":null,"curator_status":"N"},{"id":"00dfb034-7745-571e-9003-aff48bf346d0","display_order":34,"variant_order":null,"curator_status":"N"},{"id":"696bbefe-4763-59bf-ad00-3b86378355df","display_order":35,"variant_order":null,"curator_status":"N"},{"id":"f9ae9656-29ab-534b-a02c-90fe95d65205","display_order":36,"variant_order":null,"curator_status":"N"},{"id":"5f944369-bc84-59f2-a3a6-21c5dda0f6fe","display_order":37,"variant_order":null,"curator_status":"N"}]},{"id":"9a241bfc-36c8-5a42-8e49-5a62aad5bb9f","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_158","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:158","parent_id":"00a1e3fb-228c-596d-a2a8-95ba8bb14e9c","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"922ac1b0-e425-5db9-98ed-2ceda9b73f82","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Traditional Islamic education emphasised memorisation of the Holy Qur’an, the study of *hadith*, grammar, Islamic jurisprudence and other related subjects such as philosophy and astronomy. In the 19th century, European-inspired schools were founded in the Arab and Ottoman world, coexisting with traditional institutions.","partner":null}},"curator_status":"Y"},{"id":"2669ff94-bd70-55d1-a06b-cc0cbefd980d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Traditional Islamic educational institutions included the *kuttab* (a Qur’an school for children) and the *madrasa*, which provided advanced teaching. In Tunis, Fez and Cairo some *madrasa*s were further connected to a centre of advanced knowledge, a mosque / university like the Qarawiyyin (founded by a woman, Fatima al-Fihriya), al-Azhar and the Zaytuna.","partner":null}},"curator_status":"Y"},{"id":"fbf96292-13dd-5f75-85ae-0dae3b1fb7f8","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Public personalities such as ‘Ali Pasha often established a *madrasa* as a sign of prestige and as a public expression of their commitment to traditional Islamic teaching. Theologians and public servants were trained in *madrasa*s like this one, devoted to the study of Islamic jurisprudence according to the Malikite *madhhab* (juridical school).","partner":null}},"curator_status":"Y"},{"id":"0d4f3f4b-f17c-5cc6-86eb-8f3f56c416b7","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In the 16th and 17th centuries, the Madrasa al-Bashiya offered traditional Islamic teaching and prepared students for advancing to the Zaytuna University nearby. In the 19th century, its role became limited, and it was transformed to provide lodgings for the students of the Zaytuna.","partner":null}},"curator_status":"Y"},{"id":"72aa413c-a02a-5412-a43e-1c63e804854f","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"At the Sadiki school in Tunis during the 19th century, the curriculum included Arabic, foreign languages and scientific subjects. The school offered subjects updated according to Western educational principles and an education considered to be modern. Similar changes were implemented in Egypt and in the eastern territories of the Ottoman Empire at the time.","partner":null}},"curator_status":"Y"},{"id":"2107c2f5-2fd6-5b2a-8227-d2730838e6b4","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"This advanced military school offered a curriculum based on scientific and technical subjects (such as mathematics), literature, Arabic and foreign languages (French and Italian). The polytechnic school of Tunisia offered curricula related to reforms aimed at improving military education and training.","partner":null}},"curator_status":"Y"},{"id":"a8683bd7-cbf6-5821-a911-6ea63acae710","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The Khaldunia school in Tunis was introduced in 1896 as another institution for teaching scientific subjects (such as mathematics and physics) to the students of Zaytuna University.","partner":null}},"curator_status":"Y"},{"id":"18b5dc74-b4d3-5829-af1b-731448b5f7c5","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Traditionally, Lebanon was home to many religious groups, including numerous, diverse Christian communities. This diversity was increasingly reflected in its educational landscape in the 19th century, when Ottoman schools were joined by a wide range of Christian ones such as this Maronite school. The famous Lebanese poet Khalil Gibran studied here.","partner":null}},"curator_status":"Y"},{"id":"695e33b8-130e-58a9-b5e3-7cf462619cb9","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The School of the Three Doctors in Beirut was first established in 1835. Under secular administration, it provided education based on modern Western standards brought from Europe at the time, rather than on Lebanese standards.","partner":null}},"curator_status":"Y"},{"id":"3adb9096-0d5a-502e-a3c7-2ce892e11f6a","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Many Protestant missionary schools sprang up in 19th-century Lebanon. Their sites were chosen to ensure prominent visibility and an authoritative presence in the community they served. The Beirut Evangelical School for Girls and Boys had its roots in an educational institution set up by American Presbyterian missionaries active in Syria and Lebanon in the early 19th century.","partner":null}},"curator_status":"Y"},{"id":"98dd6374-5559-5f34-9752-bbdb0e9ee65a","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"This photograph was taken in the Lebanese village of Tartej. Two of the boys shown hold a sign to celebrate their local school. The sign, written in French, reads “Long live the Academy, Tartej, Lebanon”.","partner":null}},"curator_status":"Y"},{"id":"4c5ec9e7-571c-57c0-a345-64717d007c10","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The Catholic Nazareth School in Beirut was completed in 1877. Situated on the hill of St George, it was established with permission from the Ottoman authorities to provide young local girls with modern education and vocational training.","partner":null}},"curator_status":"Y"},{"id":"27b52e92-40ef-53b5-9de2-ba320998fdf0","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, universities tried to promote scientific knowledge with technical facilities. In Portugal and elsewhere, this important advance had begun as early as the late 18th century when, in the wake of principles emerging from the Enlightenment, the methodology of science subjects such as anatomy, astronomy and mathematics had been improved.","partner":null}},"curator_status":"Y"},{"id":"77cb95e6-9ec9-5628-a3f9-c509f77d9e94","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Founded in Lisbon in 1837 during a period of educational reform in Portugal, the Polytechnic School prepared students for military and technical careers with the study of mathematics, physics, astronomy and engineering subjects. Polytechnic schools first emerged in the late 18th century.","partner":null}},"curator_status":"Y"}]},{"id":"c2e16914-946b-5478-87fd-b1e9a340af75","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_162","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:162","parent_id":"243dad0a-448e-5b25-b9bd-6d85dd21b07a","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"4f6d8c3a-63e3-50c0-b243-faaa3ddd2001","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This work won the silver medal at the Paris exhibition of 1867. It represents the historical fall of Gualtieri di Brienne Duke of Athens and controversial tyrant of Florence (1342‒3). This theme, which the artist had been studying since 1854, is a metaphorical representation of political ambition and national identity against foreign domination.","partner":null}},"curator_status":"Y"},{"id":"3c3428ad-e6d9-50dc-93c0-7e7ab1c900d2","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Studies for *After the Flood*, commissioned by King Vittorio Emanuele II of Italy and shown at the Exhibition held in Paris in 1867, where it obtained the gold medal. In the final work, elements of the “exotic”, which the painter had probably witnessed in France, are integrated with a background story from the Bible.","partner":null}},"curator_status":"Y"},{"id":"2c586151-177a-57bd-9616-76904bd42503","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This work (commissioned in 1869 to mark the opening of the Suez Canal) represents an interesting example of an Occidental artist commissioned by an Islamic patron. The huge painting, presented at exhibition held in Vienna in 1873, realistically depicts the religious procession carrying gifts from Cairo to the Ka’aba at Mecca.","partner":null}},"curator_status":"Y"},{"id":"30b613c8-c840-5eba-a2ea-3334a058e6c5","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In this complex work by Morelli, exhibited at the exhibition held in Paris in 1878, the Orientalist component, linked with intense elements of *verismo* or realism, enhances a strong, mystic, but at the same time, erotic, tension of the hagiographic tale. The painting was probably inspired by Gustave Flaubert’s 1874 *La tentation de Saint-Antoine* (*The Temptation of Saint Anthony*).","partner":null}},"curator_status":"Y"},{"id":"4bc8852b-4eb9-5ea3-a533-cfbbadd4a2f8","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Commissioned by the Kingdom of Serbia and shown at the exhibition held in Paris in 1900, the painting won a gold medal. To prepare the historical subject, Jovanovic travelled for two years throughout Vienna, Constantinople, Venice, Skopje and in Kosovo and Metohija, and then used a *plein air* technique to depict this most epic historical landmark of the nation.","partner":null}},"curator_status":"Y"},{"id":"27f25605-a0d6-5226-be64-b5c88fc6fc1c","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The painting, commissioned by King Aleksandar Obrenović for the Paris exhibition of 1900, represents the inevitable fall of the town which is under attack by the Ottoman Turks. While it was rejected beforehand by the exhibition committee on account of its excessively violent realism, a largely Serbian audience flocked in thousands to admire the work.","partner":null}},"curator_status":"Y"}]},{"id":"c822dd09-0cd5-5672-afd5-3d0b3be08cfa","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_164","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:164","parent_id":"45f48684-0e67-585f-b139-161e8f11bef8","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"2ae3984e-4d68-5007-ab52-077d0d39f896","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The ceramist Joseph-Théodore Deck, who is well known for his “bleu de Deck”, realised this vase from a copy of an extremely rare, so-called “Alhambra vase”, found at the Nasrid-era Alhambra Palace. Deck’s vase was probably shown at the exhibition held in London in 1862. Owen Jones made a study of the Alhambra Palace and its decoration. Built by the Arabs in Spain, the palace became the symbol of the rediscovery and re-interpretation of Islamic art and inspired the production of many objects.","partner":null}},"curator_status":"Y"},{"id":"cf731a2d-eeba-5936-b7db-3a4740cb21ee","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The English architect Owen Jones designed this menu card for a banquet commemorating the exhibition held in Paris in 1867. International Exhibitions played an important role in introducing ornamental styles from abroad; the design of this card echoes illuminated Persian manuscripts, which Jones included in his book *The Grammar of Ornament*.","partner":null}},"curator_status":"Y"},{"id":"f175d1d2-4ea7-502d-8b4f-2dbcdf510fc9","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Tunisia had been a participant at the World’s Fairs since the exhibition held in London in 1851. The Tunisian exhibits, including a Bedouin tent, aroused such interest on account of their peculiarity that they were selected at the end of the exhibition to be used in the newly opened Museum of Manufactures (later the V&A), to serve as inspiration for modern factories.","partner":null}},"curator_status":"Y"},{"id":"ebdb2818-1d18-5e45-8ad1-bf0b9bc145ab","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This mosque-lamp, created in Egypt around 1345, is a good example of how Philippe-Joseph Brocard was inspired by original objects. Mosque lamps were luxury objects and are among the most spectacular achievements of enamelled glass ware from Egypt and Syria during the Mamluk period of the 12th‒14th centuries. They were avidly collected in Paris and elsewhere in Europe during the 1860s.","partner":null}},"curator_status":"Y"},{"id":"17a2df03-43c9-5803-92e9-9cff69d81432","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Brocard, who was one of the first to revive Islamic enamelling techniques, exhibited his work at the Paris exhibition of 1867, making this lamp one his earliest and best executed documented pieces. Brocard’s mosque lamps earned him immense success; they were exhibited in London in 1871, Wien in 1873 and Paris in 1878.","partner":null}},"curator_status":"Y"},{"id":"d3f8650a-4599-5d0e-a22f-cd44a5f3ea38","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The Pietroasa Hoard, attributed to the Goths and dating from the 4th to the 5th century CE, was discovered accidentally in 1837. It was first exhibited on the international stage at the 1867 exhibition held in Paris, where it enjoyed a great success.","partner":null}},"curator_status":"Y"},{"id":"f9bb568b-afa8-55b3-9d37-45f6a17b547a","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"This Moroccan dish, displayed at the 1871 exhibition in London and now in the collection at the Victoria and Albert Museum, is an example of an original that was collected by George Maw, a British manufacturer of ceramic tiles, as a source of inspiration for the products produced in his factory.","partner":null}},"curator_status":"Y"},{"id":"b7ce4f8c-eeaa-5739-a40e-36309170d6fc","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"This bottle, made in Fez, was displayed at the 1871 exhibition held in London and donated by George Maw, founder of Maw & Co., to the V&A. His factory became one of the most important centres of ceramic production at the time, thanks largely to the use of modern steam presses.","partner":null}},"curator_status":"Y"},{"id":"d971e2da-ec43-53d8-9ea9-f48cb8b3eeee","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"These Turkish jugs were bought by the Österreichisches Museum für Angewandte Kunst at the World’s Trade Fair in Vienna 1873. International Exhibitions played a large part in the circulation of objects, which were often purchased by private collectors and museums. It is interesting to compare the actual jugs with the engraving of them, which was probably made for a catalogue.","partner":null}},"curator_status":"Y"},{"id":"1f5adf40-300f-5b78-8290-c958c757a4db","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"This bowl, produced in Ottoman Turkey, was bought along with the group of jugs by the Österreichisches Museum für Angewandte Kunst at the World’s Trade Fair in Vienna in 1873. The purchase relates to the museum’s interest in documenting the production of objects from various part of the Ottoman Empire.","partner":null}},"curator_status":"Y"},{"id":"31ccdf1a-d093-5179-871e-3d968ae1f3b7","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"These Turkish jugs were bought by the Österreichisches Museum für Angewandte Kunst at the World’s Trade Fair in Vienna 1873.","partner":null}},"curator_status":"Y"},{"id":"412af98f-597f-5bd8-9bce-18aac056c045","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"At the exhibition held in Paris in 1878 many glass products from the glass-producing city of Murano were exhibited. By presenting these objects, Italy wanted to proclaim the rebirth of antique art, which in her view had been a long time forgotten, and announce the rebirth of the contemporary glass industry. Their various forms, inspired by ancient, medieval and Byzantine art, corresponded to the sensibilities of the Orientalist fashion at the time.","partner":null}},"curator_status":"Y"},{"id":"3cce65e9-b5bd-5b53-9b90-2b8d522d809b","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The motif of glass filaments worked to look like crests has also been used in this cup with a snake-shaped stem. This object, produced by “The Venice and Murano Glass and Mosaic Company Limited”, are part of the collection at the Museo Artistico Industriale that was established in 1872 in Rome to represent products from antiquity to the 19th century and also as a school for the applied arts.","partner":null}},"curator_status":"Y"},{"id":"a237773b-cce0-5972-a24d-1e563fd1cb62","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"Murano glass tends toward bizarre shapes, often of zoomorphic inspiration, which though not particularly functional is extremely successful aesthetically. This little ewer resembles types from the 17th century. Venetian glass has a long history; a prominent promoter of Renaissance glass in the 19th century was the lawyer Antonio Salviati who opened several workshops and showrooms in Westminster, London, from 1866.","partner":null}},"curator_status":"Y"},{"id":"4b63a853-7b5d-5c93-8ec7-7348d5091101","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The plasterwork realised by the restorer-decorator José Contreras and his son, Rafael (1824–90) was very popular at the World’s Fairs and bought by private collectors and museums, such as the Museum of Manufactures in South Kensington, London (later the V&A).","partner":null}},"curator_status":"Y"},{"id":"e6f7eabb-fc4e-5c98-b6ca-f2544ae496d9","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"This polychrome plaster-cast recalls a window of the Alhambra Palace in Granada. It is possible that it was created in the workshop of Josè Contreras whose plasterwork brought him great success. His works, which were exposed initially at various World’s Fairs, were bought by private collectors and museums.","partner":null}},"curator_status":"Y"},{"id":"0fbf5343-64ee-545a-b2c8-56f70b18ca50","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"This Jordanian samovar suggests how a product could gain worldwide recognition by being exhibited at the World’s Fairs. This samovar, made in Tula (Russia) by the Batashev Factory, has on the bottom an engraved logo that reads: “International Universal Exposition, London, 1898”, which is probably testament to the success the factory enjoyed as a result of exhibiting their wares.","partner":null}},"curator_status":"Y"},{"id":"1182b4e7-198f-51a0-b819-4ec5360c27f8","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"The study of models of Islamic art as inspiration for 19th-century industrial products developed alongside the World’s Fairs which, as the expression of culture and good taste, attracted private and public collectors seeking to acquire items. The exhibition Meisterwerke muhammedanischer Kunst, held in Munich in 1910, was one of the most comprehensive exhibitions of Islamic art ever seen in Europe.","partner":null}},"curator_status":"Y"},{"id":"c1c21018-70eb-5e4f-93fb-c53b4de7b9a0","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"This cista, a sort of lidded casket inspired by a Spanish model known as a *Façon de Venise*, displays Phoenician decoration with evident influences of both “Eastern” and “Western” art. This type of product reproduced glass found by archaeologists. The mass emigration of Murano glass-workers to Spain during the 1600s saw the creation of numerous kilns, which worked according to Murano models but adapted it to the local taste.","partner":null}},"curator_status":"Y"},{"id":"176c309e-be45-54b8-81a1-917857d46338","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"This Nasrid-period textile from Spain was exhibited at the exhibition Meisterwerke muhammedanischer Kunst, held in Munich in 1910, where it was acquired by the Spanish collector Lázaro Galdiano. The textile symbolises in many ways just how significant Islamic art and the rediscovery of the Alhambra Palace had become in the period.","partner":null}},"curator_status":"Y"},{"id":"45cab7c7-4fad-588f-ae17-e78354e7fd67","display_order":18,"variant_order":null,"justifications":{"en":{"curator":"The exhibition Meisterwerke muhammedanischer Kunst, held in Munich in 1910, inspired a new impulse to research, catalogue and collect Islamic Art in the West. Another important World’s Fair was held in Alexandria in 1925. World’s Fairs fuelled the new interest in Islamic art collections.","partner":null}},"curator_status":"Y"}]},{"id":"95900656-c351-56de-8a5b-e8a091af6079","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_166","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:166","parent_id":"bd677873-ce69-5041-be5e-82bf4abfea44","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"a7c58bbd-55c7-5749-907d-dcded54ad771","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Islamic section was placed to one side of the Turkish and Egyptian sections, opposite the Tunisian and Moroccan exhibit, where, according to the Bedouin tradition, their wares were displayed inside tents. The “Tunisian” pavilion was built to host the bey on his visit.","partner":null}},"curator_status":"Y"},{"id":"85842d41-d3a1-5921-ac88-903643f0147a","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The “Moorish Kiosk” was built in 1867 as the Prussian contribution to the Paris Exposition. Ludwig II indulged his passion for Orientalism by buying the building in 1876.","partner":null}},"curator_status":"Y"},{"id":"6129ee64-d66a-53c2-9b9c-8ac38a87b8b9","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The “Moroccan House” was built in Morocco and shipped first to Vienna for the World’s Fair of 1873 and then to Paris for the Exposition Universelle of 1878. It was subsequently acquired by Ludwig II and re-erected at Linderhof Palace Park, where the prince had the interior lavishly furnished in the “Moorish” style.","partner":null}},"curator_status":"Y"},{"id":"08730828-35aa-57ba-a01b-1afeac14fba0","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Inside the “Egyptian” quarter, in front of the main hall together with the Turkish section, a tent recalled the traditions of desert Nomads.","partner":null}},"curator_status":"Y"},{"id":"0c74ae54-ebaf-5ed2-bc1e-2921c31f8219","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The Egyptian section of the Vienna exhibition of 1873 was arranged in a single building in the eclectic taste and dominated by a replica of Sultan Qaytbay’s mausoleum in Cairo (Mamluk, c. 1470) with a minaret. Close by, another minaret was in the style of the first Mamluk period (c. 1300).","partner":null}},"curator_status":"Y"},{"id":"ef31c297-a98b-50e3-8162-5f0f72d82bf1","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Inside the “Egyptian” quarter, in front of the main hall together with the Turkish section, a tent recalled the traditions of desert Nomads.","partner":null}},"curator_status":"Y"},{"id":"7ae3021e-1734-5ae1-8790-803fdcd56e67","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The Palace of the Champ de Mars at the Paris exhibition 1878 was set among other façades within the “foreign section”. It was a prime example of the forced and unnatural union of different styles used to create an architectural “pastiche”, which are so typical of these International Exhibitions. A series of façades set along a linear path was a peculiarity of the so-called “Rue des Nations”.","partner":null}},"curator_status":"Y"},{"id":"c25b97af-3b31-51d4-8c86-07d5d3f06ecd","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Inside the “Egyptian House” a room was dedicated to the opening of the Suez Canal, with numerous photos and albums providing “documentary” evidence of Egyptian fashion as well as travel journals and oases memoirs. The project for this pavilion was supported by the famous French Egyptologist Auguste Mariette Bey, founder of the Cairo Museum.","partner":null}},"curator_status":"Y"},{"id":"77e11861-c38b-50a8-8fb9-b72467f69e2b","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The “Algerian” pavilion of 1878 reflected the colonial policy of France. The main entrance copied the portal of the ‘Ubbad Mosque of Sidi Bumadyan, near Tlemcen, richly adorned with enamelled *majolica* and arabesque decorations; the decoration of the minaret resembled that of Mansoura Mosque.","partner":null}},"curator_status":"Y"},{"id":"29d1744d-d29c-54bc-a8d4-afa1ddd2f9e0","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The “Algerian” pavilion, designed by architect M. Charles Wable under the auspices of General Chanzy had a large garden and central fountain, which made it one of the most impressive and popular attractions of the 1878 exhibition.","partner":null}},"curator_status":"Y"},{"id":"bdc77deb-d803-5076-89a4-a826a7e730aa","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"On the occasion of the 1906 exhibition in Milan, the Italian community in Tunisia chose to represent itself through a blend of Italian and Tunisian material culture.","partner":null}},"curator_status":"Y"},{"id":"7799c614-d39a-57bf-8c89-ac0c4d03ec70","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"At the Paris exhibition of 1878, in front of the Trocadéro Palace, an edifice was built based on one designed in Algeria after the Franco-Prussian War, built for refugees from France by the Society for the Protection of Alsatian and Lorrainese People. The magazine article promotes the exhibition, which was dedicated to the territories donated to the Society, and in the lower part, depicts villagers from Haussonvillers and Boukhalfa.","partner":null}},"curator_status":"Y"},{"id":"81c828fc-8155-513b-b95f-cf8966747f0a","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"In 1865, the United Principalities of Wallachia and Moldavia were invited to participate in the Paris exhibition of 1867. Although the Principalities were under Ottoman sovereignty, the commission agreed to offer them their own pavilions next to the Ottoman Empire’s. The “Romanian” pavilion was a combination of architectural elements characteristic of famous monuments.","partner":null}},"curator_status":"Y"},{"id":"42fe8774-fad6-50ab-b638-8b0201d5f61c","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"At the 1889 exhibition in Paris, at the foot of the Eiffel Tower, in an English garden near a small lake and under some poplars, the “Moroccan” pavilion was dominated by a replica of the minaret of the Great Mosque of Tetouan, forming a most unexpected scene.","partner":null}},"curator_status":"Y"},{"id":"4430deb8-bf37-5372-9e9f-04d0591d1efa","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"At the Paris exhibition of 1900, not far from one of the pillars of the Eiffel Tower, at the Palace of Optics, the architect Henri-Jules Saladin designed the “Moroccan” pavilion. The main body reproduced the appearance of a mosque, around which there was a bazaar. The exhibition itself was inside the mosque comprising a collection of artefacts and objects from the natural world.","partner":null}},"curator_status":"Y"},{"id":"9161faa0-4fe2-54c4-a25b-05a4938ccfd9","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The Ottoman Empire was invited to attend the World’s Columbian Exhibition, also known as the Chicago World’s Fair, in Chicago in 1893. At what was a highly influential social and cultural event, the public was presented with the raw materials and agricultural products of the Ottoman Empire and a display of handicraft and plant products of the palace revenue.","partner":null}},"curator_status":"Y"},{"id":"eb980840-5566-534b-b00f-8d6edd1de101","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"During the Turin exhibition of 1911, due to tension between Italy and the Ottoman Empire following the former’s colonial aspirations for the territory of Tripolitania and Cyrenaica, the “Turkish” pavilion was officially closed. It is interesting to note the similarity between the pavilion and the contemporary cottage in the Liberty style.","partner":null}},"curator_status":"Y"},{"id":"74d83fcd-b7cf-564b-9be7-40732f25938d","display_order":16,"variant_order":null,"curator_status":"N"},{"id":"4dcb750e-6c2b-5848-924b-43fb6905059d","display_order":17,"variant_order":null,"curator_status":"N"},{"id":"1fade942-a5a0-5acc-a653-81665badee69","display_order":18,"variant_order":null,"curator_status":"N"},{"id":"77f7d1f5-f298-526e-8bfa-21c5a75d09f2","display_order":19,"variant_order":null,"curator_status":"N"}]},{"id":"32a52a76-4089-5426-910e-e927ae53cbca","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_21","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:21","parent_id":"72747f8c-e712-5499-a088-c8054e9b4aa6","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"5f76f108-6ffb-5c2b-8fe2-0ec05a6fae48","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"When, at the end of the 18th century, the growing interest of French intellectuals in the “Orient” brought them to Egypt, their main aim was to enrich their knowledge of antiquity. But some of them started to look at aspects of local life and activities. These drawings are a precious record of the traditional hydraulic machines used in Egypt for irrigation.","partner":null}},"curator_status":"Y"},{"id":"4859f5a8-7af7-59f7-8271-982ef083627b","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This is an example of how traditional irrigation systems persisted alongside the innovative dams built by the Egyptian governors. Water had been a core issue for Egypt since antiquity. In choosing to catch a glimpse of everyday life, the photographer produced a valuable historical document.","partner":null}},"curator_status":"Y"},{"id":"59eb8eb8-862f-5124-b1c8-abb0f2db5588","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In Egypt, Louis Maurice Adolphe Linant de Bellefonds collaborated with Muhammad ‘Ali Pasha on the building of the new dams along the Nile. He planned the construction of a canal along the Isthmus of Suez and, with Ferdinand de Lesseps, he obtained the concession for the Compagnie Universelle du Canal Maritime de Suez.","partner":null}},"curator_status":"Y"},{"id":"0b7f2149-f01d-5891-815e-947600259db6","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"New water systems were introduced by the French in Algeria, as shown in this print published in an album called *Les Colonies Françaises*. In this specific case, wells were built in order to place entire communities in permanent settlements and keep them under control.","partner":null}},"curator_status":"Y"},{"id":"154a0f2d-b51b-50e4-a764-5552e98c9b1a","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Water and agriculture were two interconnected elements in the history of Egypt. After the independence of the country, in the 1930s, a museum was opened to explain the history of agriculture from Ancient Egypt onwards. This photograph shows an entire room dedicated to the history of irrigation and water usage in Egypt.","partner":null}},"curator_status":"Y"}]},{"id":"80fc476b-afc9-5dd7-8309-754508f47880","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_30","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:30","parent_id":"b647d8d2-0a0f-5951-af75-816364a08456","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"ffecc84b-856d-5f87-97de-682a1d90e53d","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The port of Eminönü developed in the 19th century as a modern landmark in the centre of Istanbul, where both ancient and modern buildings – mosques, palaces and Sirkeci station for the Orient Express – were located.","partner":null}},"curator_status":"Y"},{"id":"4543ccbf-dceb-5300-941b-8c2f10ba3b29","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Galati (Moldavia) was a port on the Danube waterway strategically and economically organised at the international level. The only port not controlled by the Sublime Porte or Russia, Galati traded with Poland, Hungary and the Ottoman market. A free port between 1837 and 1883, it was the seat of the Commission of the Danube at the end of the Crimean War.","partner":null}},"curator_status":"Y"},{"id":"e2b48175-dfa4-5317-9f12-0d280735f099","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The modernisation of seafaring in the Mediterranean was on the political and economic agenda of the Austrian Empire. After the Congress of Vienna (1815) Venice was incorporated in the Kingdom of Lombardo-Venezia. Austria considered Venice to be the gateway to the Middle East and introduced a railway to connect the port of Venice to the core of the empire.","partner":null}},"curator_status":"Y"},{"id":"51d89765-459f-5a2f-89bb-b09f35a3e9d2","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The modernisation of seafaring went side by side with the construction of railways to improve the efficiency of trade between ports and significant locations. The first railway on Romanian territory and in the European part of the Ottoman Empire, the Constanţa–Cernavodă railway was built after the Crimean War in a strategic position from the Black Sea towards the Danubian waterways.","partner":null}},"curator_status":"Y"},{"id":"869766dc-71ca-53a7-b67f-e1ed2b58d4ac","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The port of La Goulette was restored by Muhammad al-Sadiq Bey as part of his programme of reforms to reinforce the economy, administration and military power of the Regency of Tunis. The aim was to make the port of Tunis a modern port for ships of big tonnage, connected to railways and other infrastructure.","partner":null}},"curator_status":"Y"},{"id":"be44b9c0-4045-581b-a6e2-85c0f3bcd137","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Seafaring and economy were deeply interconnected. Having lost Venice in 1866, Trieste (today an Italian city) became the main port through which Austria conducted commercial relations with Egypt and the Ottoman Empire. The Suez Canal was a further commercial outlet for the Austrian market.","partner":null}},"curator_status":"Y"},{"id":"124efc2d-1a23-56df-83e7-543dbb950692","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Beirut port was renovated from 1887. The Ottoman authority gave the concession of the port to an Ottoman company, the Compagnie du Port, des Quais et des Entrepôts de Beyrouth. The concession was fortified when the company gained from the Customs authority the sole rights to store and carry all the transit goods passing through Customs.","partner":null}},"curator_status":"Y"},{"id":"3018b07a-449e-5452-bb78-bbcfe4a57bdc","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The railway connected the port to the main Beirut station. It was conceived as a continuation of the sea route via Beirut port. It testifies to how the new communication routes opened new ways inland, and to the link between local infrastructure and economic changes in the Ottoman provinces.","partner":null}},"curator_status":"Y"},{"id":"d3e5b12a-a8a7-5f9d-b134-2b5032e3e440","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"In 1904 Sultan Mulay ‘Abd al-Aziz signed a contract with the Compagnie Marocaine, a French company connected to the Schneider industrial group, to develop the port. This happened in a context of delicate balance between the competing European powers to secure influence in Morocco through projects, economic activities or financial assistance.","partner":null}},"curator_status":"Y"},{"id":"61c3f6f4-ae5b-5188-a071-b1ffe734cb27","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Messageries Maritimes was a French merchant shipping company whose story throughout the 19th century was influenced by social, military and political events. Its ships were used during the Crimean War for travel and for trade in the Middle East and on the Atlantic Ocean. It is usually associated with the period of France’s colonial and military interventionism in the Middle East and Asia.","partner":null}},"curator_status":"Y"},{"id":"3f842425-2ace-59ff-ad9e-176b0b58c8f7","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"This map, published by a French maritime company, shows the railways connected to the ports of Tunis and Algiers. At the beginning of the 20th century, railways and ports were efficiently organised in order to allow the maritime companies to bring back to France the minerals extracted in Tunisia and Algeria.","partner":null}},"curator_status":"Y"},{"id":"908862b3-3d2c-5b16-93ce-f2a0873efd37","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"This painting shows the port of Algiers as a French colony. No longer the capital of corsairs, Algiers was reshaped by an infrastructure to match the economic strategies of the colonisers. The industrial port, like many other similar structures, adjusted its traditional landscape to meet the needs of the motherland.","partner":null}},"curator_status":"Y"},{"id":"088cf3bb-ffc3-56ca-8a23-9d69924c19fa","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The ancient port of Alexandria is an example of the continuous development, in the 19th and early 20th century, of traditional ports to meet the needs of industrialisation. The ports, traditionally located in strategic locations, kept and improved through innovation their role as important hubs on communication routes.","partner":null}},"curator_status":"Y"},{"id":"9c2ac3c9-ddf9-5578-9e26-fad8ec3a615c","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"In spite of the introduction of steamships and innovations in seafaring, traditional ships and seafaring did not disappear, both representing a main source of income. The dhow is a traditional wooden ship of Qatar and the Gulf, which was used for pearling, fishing and for trade with India and East Africa.","partner":null}},"curator_status":"Y"},{"id":"ba590c72-051f-5d9a-898f-073b4347852b","display_order":15,"variant_order":null,"curator_status":"N"},{"id":"8f60990a-2e19-50e5-b91c-31a7c8a103fd","display_order":17,"variant_order":null,"curator_status":"N"}]},{"id":"ef1839a2-039f-5f2c-aee6-a8f6df410618","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_38","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:38","parent_id":"7d68e2e9-6d60-5c4f-938e-3972cbd0cc77","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"459c2899-4ce2-5ffd-a17b-a43ffa91c9bc","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This portrait of Miloš Obrenović Prince of Serbia (1815–39; 1858–60) shows the extension and importance of Ottoman art. Serbia, under the rule of Obrenović was part of the Ottoman Empire, but became an autonomous duchy within the empire. The prince is shown dressed in “Oriental” costume and wears a typical headdress – a turban.","partner":null}},"curator_status":"Y"},{"id":"91c9008b-704b-5717-93d7-868bfaa22521","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Arab and Ottoman attire is an important Orientalist motif that reappears often within this exhibition. The European Orientalist painters understood the value of clothing in the Arab and Ottoman world and this is reflected in their paintings.","partner":null}},"curator_status":"Y"},{"id":"e396b7b2-cb07-51d7-86f1-b131b11dbfe2","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"An important Orientalist motif that reappears often in this exhibition is Arab and Ottoman attire. This painting is by Pierre Désiré Guillemet, who worked for the Ottoman Sultan ‘Abd al-‘Aziz. With the help of the sultan, Guillemet established the first private academy of art in Istanbul where he and his wife taught Western-style drawing and painting.","partner":null}},"curator_status":"Y"},{"id":"70b73c8c-526f-5ae3-901a-f7ef4dbf4ea8","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Jean-Horace Vermet was King Louis-Philippe’s and Napoleon III’s official painter. He was in charge of depicting the Conquest of Algeria by the French Army in 1830. His drawings provided an idyllic image of Algeria. This painting, published as an engraving in journals, was widely known.","partner":null}},"curator_status":"Y"},{"id":"254ea7af-536e-5a78-8206-f0d4cc517b93","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This sketch was made by John Frederick Lewis, possibly during the period he spent in Cairo from 1841 to 1850. The time he spent in Egypt and Spain greatly inspired his work.","partner":null}},"curator_status":"Y"},{"id":"e532dd30-df15-5462-88cf-6f2eaa8cf7bd","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"David Roberts was a Scottish painter known particularly for a prolific series of detailed lithographic prints of Egypt and the Near East, which he produced during the 1840s from sketches he had made during extensive tours of the region (1838–9). These, and his large oil paintings of similar subjects, made him a prominent and highly influential Orientalist painter.","partner":null}},"curator_status":"Y"},{"id":"fe898d65-6a28-56fc-93fb-7e1ee70f830f","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The Maltese (British) painter Amadeo Preziosi settled in Istanbul where, like many of his contemporaries, he had been lured by its alleged exoticism. Usually Preziosi painted scenes from daily life; shops amidst streets, coffeehouses, bathhouses, peddlers selling in the streets, a woman collecting water from a fountain. He also painted figures from different ethnic groups in which he tried to reflect the cultural diversity of Istanbul.","partner":null}},"curator_status":"Y"},{"id":"5e51433f-c353-5de6-8d1d-14dc9459c3f2","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"This work was made around 1863 when the artist travelled from Spain to Morocco with the artist Mariano Fortuny. The reason for the journey was to paint the characters and “picturesque” garments, as a way of showing the way of life of the people from Morocco.","partner":null}},"curator_status":"Y"},{"id":"ae42a45e-443f-5a1d-aaab-85cd72bce06d","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Greece, the Balkans and Spain were considered part of the Eastern realms. The Balkans and Greece, which then were then part of the Ottoman Empire, in this century fought to be independent from it. During the Ottoman occupation Greek peasants often retreated to impregnable mountain regions, where they engaged in resistance against the Ottoman Turks. These mountaineers were romanticised by both artists and poets.","partner":null}},"curator_status":"Y"},{"id":"aff0f573-5e91-5646-94a2-26bd51ba0e14","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"This work was made in around 1863 when the artist Francisco Lameyer Berenguer travelled to Morocco with the artist Mariano Fortuny. Within Orientalism, depictions of harems and markets are considered genre painting.","partner":null}},"curator_status":"Y"},{"id":"84f69ff8-6c1a-5173-a0c7-4b706dba6ef1","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Stefano Ussi was part of an Italian diplomatic delegation to Morocco in 1875. Here he painted an Arabian fantasy that documents the “Lab-el-baroud” (Game of Gunpowder), played in the dust, in honour of the Italian delegation. The episode has been masterfully described by the writer Edmondo de Amicis.","partner":null}},"curator_status":"Y"},{"id":"baf9e3e8-08a9-59e2-8c21-17ce2e3a24c6","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"European artist-travellers sought to develop imagery that would capture what they believed to be characteristic not only of cities and landscapes but also the people of the regions they visited. The complex crowd scenes were meant to be read primarily as faithful figurative representations on a panoramic scale.","partner":null}},"curator_status":"Y"},{"id":"ea56c676-8f35-5489-88dc-00a76f28ef9d","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The Maltese (British) artist Amadeo Preziosi settled in Istanbul as a diplomatic translator and artist, specialising in touristic scenes, vistas and portraits. In 1844, Robert Curzon, a British diplomat, commissioned from him an album on the Costumes of Constantinople. In the 1850s and 1860s Le Mercier in Paris published Preziosi’s most popular works as chromolithographs.","partner":null}},"curator_status":"Y"},{"id":"55d4b6d2-fc7e-5bc6-a971-7a640559de05","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The artist Mariano Fortuny travelled to Morocco to paint the Spanish-Morocco War, a trip funded by the local government of Barcelona. Taken by the light and the people of Morocco, Fortuny began a series of painted sketches that were to inspire him over many years. In addition, he became a collector of Islamic artefacts. Fortuny, one of Spain’s most notable artists, was influenced, like many other artists, by his Orientalist experience.","partner":null}},"curator_status":"Y"},{"id":"f03672a7-5a8f-5216-8d53-07817c3aa415","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"Stefano Ussi lived between Florence and Rome. On the occasion of the opening of the Suez Canal the artist went to Egypt, where he realised the first version of *The Prayer in the Desert*, which was exhibited at the Accademia di Belle Arti in Florence. From then on, Ussi painted both history and Orientalist subjects.","partner":null}},"curator_status":"Y"},{"id":"cc673275-b5d7-50ff-bc5e-1a4f9c06e998","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The Italian painter Stefano Ussi was part of a delegation sent by the Italian Embassy to Morocco in 1875. He was joined by the writer Edmondo de Amicis and the painter Cesare Biseo. During this trip, Ussi realised many sketches that later inspired his paintings.","partner":null}},"curator_status":"Y"},{"id":"30b613c8-c840-5eba-a2ea-3334a058e6c5","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"This painting by Domenico Morelli was displayed at the Universal Exposition in Paris of 1878. One of the artist’s more complex works, it was inspired by Gaustave Flaubert’s poem “La Tentation de Saint Antoine”, depicting in the male figure’s attire an Arab influence.","partner":null}},"curator_status":"Y"},{"id":"75ecd1ca-690e-54ec-ae5c-583c92e90430","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"Leopold Alphons Mielich studied in Paris, London and Munich. In 1887, he spent a few years in London and the Middle East. Especially well known are his numerous paintings of Cairo and its surroundings.","partner":null}},"curator_status":"Y"},{"id":"82377c81-2aca-5c1e-8a4c-f15d8d08fec5","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"The Austrian painter Eduard Charlemont lived in Paris for most of his career, but travelled to Italy and North Africa where he took inspiration for many of his paintings following the Orientalist movement. Well known as a painter of portraits and historic genre scenes, the characteristics of these are still seen in this Orientalist scene.","partner":null}},"curator_status":"Y"},{"id":"d7670c25-7540-57e5-9687-097d572b293a","display_order":18,"variant_order":null,"justifications":{"en":{"curator":"This painting by the Spanish artist Joaquín Sorolla was made in Italy (where he lived on a scholarship) at the end of 1885 or the beginning of 1886, a long time before he travelled to Morocco in 1919. This is a typical example of an Orientalist painting made for sale to a fashionable market.","partner":null}},"curator_status":"Y"},{"id":"40ef2328-28fd-59f1-96b3-b75abf4e6c58","display_order":19,"variant_order":null,"justifications":{"en":{"curator":"This print, which shows a Bedouin of the Hawran riding his camel, is an example of the European interest in people from the deserts of the Arab and Ottoman world.","partner":null}},"curator_status":"Y"},{"id":"4e27b872-ecb5-5764-8ab4-12316b90ca21","display_order":19,"variant_order":null,"justifications":{"en":{"curator":"Eisenhut was one of the most important Orientalist painters of the Austro-Hungarian Empire. Although he travelled to Central Asia and North Africa, the “Orient” became his main source of inspiration. He was inspired by the people and daily life, as this view of a caravan attests. The people of the desert, the Berbers and Bedouins, were important subjects in Orientalist painting.","partner":null}},"curator_status":"Y"},{"id":"a5ace29e-e1bf-5a09-9df7-66c7741b63b4","display_order":20,"variant_order":null,"justifications":{"en":{"curator":"At the same time as Orientalism became popular so too did Japonisme, a movement inspired by all things Japanese. This drawing, depicting an odalisque, is influenced by both movements. Many Orientalist engravings were later used in other media, such as in porcelain. In this case, the odalisque can also be found on a vase painted by Victor Rousseau, in 1837, from the Portuguese Vista Alegre factory.","partner":null}},"curator_status":"Y"},{"id":"471bc9ed-d220-539b-b302-0835391b4214","display_order":21,"variant_order":null,"justifications":{"en":{"curator":"Algeria was an important inspiration for French artists. Beginning with Eugène Delacroix through to Auguste Renoir, along with many others, the Algerian landscape and people were depicted many times. In these works an evolution of painting styles can be seen, from “academicism” to the Impressionist movement.","partner":null}},"curator_status":"Y"},{"id":"8eb7973a-8c9e-5910-83bd-ad5e77872aba","display_order":21,"variant_order":null,"justifications":{"en":{"curator":"The well-known Impressionist painter Auguste Renoir travelled to Algeria in 1881. While there, he made several drawings and painted studies among which are many studies of the Algerian people, especially women wearing traditional attire, in this case the *haïk*. Algeria was a one of the most popular destinations for French artists.","partner":null}},"curator_status":"Y"},{"id":"fdf4838a-7764-5f27-afc8-32377c84dfbc","display_order":22,"variant_order":null,"justifications":{"en":{"curator":"Views of domestic interiors and scenes from daily life were a popular genre in Orientalist painting from early on. In this painting, the artist depicts the Palace of Mustafa Pasha – one of the Regency of Algiers’ most famous beys (governors) during the Ottoman period – in the Kasbah of Algiers.","partner":null}},"curator_status":"Y"}]},{"id":"d21eb5d2-cdce-5f72-a917-0fcf9ad47608","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_4","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:4","parent_id":"e5da444f-e56f-5dd3-9d95-62f9f6ceb9f8","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"17926a9d-a6e5-5215-b39f-488c46d6e51c","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The official permit (or *firman*) confirming the appointment of Henry Salt to the post of British Consul in Egypt, dated 23 December 1815. The imperial cipher at the top is flanked by floral motifs. This is a fine manuscript with exquisite Arabic calligraphy and watercolour and gold floral decorations. When Salt arrived in Egypt in 1816 he obtained permission from the Pasha, Muhammad ‘Ali, to collect antiquities for the British Museum.","partner":null}},"curator_status":"Y"},{"id":"678d0b51-8dc7-59f3-818b-402d1bec24d6","display_order":1,"variant_order":null},{"id":"b776a817-c7d7-51b1-8767-4441833fd7a5","display_order":1,"variant_order":null},{"id":"bff5b327-dd8c-55ac-a7f0-49d5bbc62548","display_order":1,"variant_order":null},{"id":"d6d5f11a-71c5-5934-871d-7aa7c6836d79","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"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.","partner":null}},"curator_status":"Y"},{"id":"0c667bca-0934-5597-9606-a0052b8b5720","display_order":2,"variant_order":null},{"id":"3d995cca-af40-5f9f-8f23-5a077ea46883","display_order":2,"variant_order":null},{"id":"51c01d82-0b4a-5399-8607-c519021252c0","display_order":2,"variant_order":null},{"id":"9ba14117-d905-597a-95be-0025b3200e4e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"When Henry Salt and J. L. Burckhardt donated this colossal bust of Ramesses II to the British Museum in 1817, it created a sensation, and came to be known as the “Younger Memnon”. It was removed from the Ramesseum in Thebes by the explorer Giovanni Belzoni, who transported it to Alexandria, from where it was shipped to England.","partner":null}},"curator_status":"Y"},{"id":"cd434504-b9e2-5269-bef4-01b99c2c34ca","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Belzoni used ingenious means to transport the colossal bust of Ramesses II. The details of such logistical exploits fascinated Victorians as much as the objects themselves.","partner":null}},"curator_status":"Y"},{"id":"d1281641-f7a2-5961-be72-73fcc5949104","display_order":2,"variant_order":null},{"id":"ebc1fbff-c25e-5ca5-86ba-1be3dbc34cbf","display_order":2,"variant_order":null},{"id":"f5b47725-414d-52d8-902a-bee467f7d304","display_order":2,"variant_order":null},{"id":"254f2ab4-2fe6-52af-8591-2539a60545f9","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Tracings of the fragile wall paintings from Nebamun’s tomb were made at the British Museum before they were mounted in the 1830s, so that no fragments would be lost.","partner":null}},"curator_status":"Y"},{"id":"49fa2453-a0f1-50d3-9c2e-b116b3fe9fdd","display_order":3,"variant_order":null},{"id":"59eb8eb8-862f-5124-b1c8-abb0f2db5588","display_order":3,"variant_order":null},{"id":"5b43be53-1e86-5b15-9cc1-477c08fb7fbb","display_order":3,"variant_order":null},{"id":"887bfe33-59d1-51d9-bdbb-0669dffbc312","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"“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”. A young man wearing a smock stands in the Egyptian gallery. The colossal stone scarab and a Sekhmet statue are on display, and behind him, on the wall-mounted shelves, two fragments of the Nebamun wall paintings can be seen.","partner":null}},"curator_status":"Y"},{"id":"ca4bf20e-94a9-50b1-bca9-38b4f7855c35","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"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 in the tomb amazed the early travellers.","partner":null}},"curator_status":"Y"},{"id":"dfc4cc0b-d5f3-5aa9-a482-5dd72c63bdf8","display_order":3,"variant_order":null},{"id":"fdd3753f-818b-54d6-aab7-80f375510649","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Copies of correspondence between Henry Salt and the British Museum record 1820 as the date when the tomb of Nebamun, now lost, was first discovered.","partner":null}},"curator_status":"Y"},{"id":"ff2ee02d-c01b-55f1-8514-320080faaf5a","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Salt’s excavator, Yanni d’Athanasi, discovered and removed the exquisite wall paintings from the 18th-dynasty tomb of Nebamun. Here Nebamun counts the flocks of geese being brought before him.","partner":null}},"curator_status":"Y"},{"id":"09c3258d-f288-5759-b1ca-2328bd59ff7d","display_order":4,"variant_order":null},{"id":"0b7f2149-f01d-5891-815e-947600259db6","display_order":4,"variant_order":null},{"id":"1f9cc409-36e4-51f2-828e-77a94d820a08","display_order":4,"variant_order":null},{"id":"388495f6-3f6d-567c-a227-5d28fc8523c3","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Following the successful excavations by Petrie and Jacques De Morgan, Luigi Pigorini decided to expand the Egyptian archaeological collection in the “Museo Preistorico Etnografico e Kircheriano” where he was the director at the time. Most were donated by David Randall-MacIver in 1901 from his work for the Egypt Exploration Fund in el-Amrah, Upper Egypt. In 1905 came material from the Italian Archaeological Mission in Egypt (excavations of Hammamiye) led by Ernesto Schiaparelli, director of the Egyptian Museum in Turin.","partner":"The cosmetic palette in slate is fish-shaped, as many other objects found in both men and women’s graves in Egypt. It is linked to the practise of painting  bodies with colors, probably for magical belief. The palette comes from a tomb excavated by Randall-MacIver in 1902, who subsequently donated it to the Pigorini Museum in Rome. Along with the palette were found three scale models of ships in clay."}},"curator_status":"Y"},{"id":"5514d06c-0d42-5cd5-ad41-d94d1fe042aa","display_order":4,"variant_order":null},{"id":"57af1dd9-6f7e-59ac-a49a-549fb3d6d750","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Following the successful excavations by Petrie and Jacques De Morgan, Luigi Pigorini decided to expand the Egyptian archaeological collection in the “Museo Preistorico Etnografico e Kircheriano” where he was the director at the time. Most were donated by David Randall-MacIver in 1901 from his work for the Egypt Exploration Fund in El-Amra, Upper Egypt. In 1905 came material from the Italian Archaeological Mission in Egypt (excavations of Hammamiye) led by Ernesto Schiaparelli, director of the Egyptian Museum in Turin.","partner":"Probably used to keep cosmetics, the artwork is part of the purchases bought by Roberto Paribeni (later Soprintendente alle antichità di Roma e Lazio, 1928–1933) in 1904 from Ghirghis, the antiquities dealer in Quena, on  behalf of \"Museo Preistorico ed Etnografico\" in Rome."}},"curator_status":"Y"},{"id":"6fb5d317-b1c7-55c6-a5a1-452d17f4b70a","display_order":4,"variant_order":null},{"id":"9dcd91c6-e5a8-5dd3-b2fb-aa1eefe94502","display_order":4,"variant_order":null},{"id":"c2f272ba-64dd-5d2a-a788-bca9e7047ac9","display_order":4,"variant_order":null},{"id":"d993a25c-fe0f-55cb-b4fb-77d8dd825454","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In 1824 King Carlo Felice of Savoy bought the Egyptian antiquities collected by Bernardino Drovetti, General Consul of France in Egypt from 1803 to 1830. He wanted to give to the Piedmontese capital an archaeological museum able to compete with all the other museums around Europe. Together with the material that was already part of Savoy’s collection there were more than 5,000 pieces. A catalogue of the collection was made in around the 1820s by Jean-François Champollion, famous as the decipherer of Egyptian hieroglyphs.","partner":"Drawing showing the arrangement of Drovetti's collection inside the right wing of the building of the Academy of Sciences in 1852. The wall decoration imitates a covering with green stone tiles. The organization of this room remained roughly unchanged until 2006."}},"curator_status":"Y"},{"id":"e89aa553-0859-53ef-ad91-bdaddb8ac231","display_order":4,"variant_order":null},{"id":"154a0f2d-b51b-50e4-a764-5552e98c9b1a","display_order":5,"variant_order":null},{"id":"59764ffc-10d9-5e4d-8967-5888b3e97194","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The Carrancas Palace is a neoclassical palace built by the Moraes e Castro family. Later it accommodated English generals during the Napoleonic invasions, before becoming a royal residence. In 1833, King D. Pedro IV made it the National Museum of Soares dos Reis, Portugal’s first public museum. It was inspired by the spirit of protecting cultural and national heritage so typical of liberalism.","partner":null}},"curator_status":"Y"},{"id":"5d9c0ecc-1cda-5806-b890-7ae8e461a596","display_order":5,"variant_order":null},{"id":"acc57934-ae32-5e43-8f31-305447337577","display_order":5,"variant_order":null},{"id":"b1caaa98-898d-5835-84d6-2569546ecf1d","display_order":5,"variant_order":null},{"id":"e3d1028e-c33d-53a4-a895-0276547994a0","display_order":5,"variant_order":null},{"id":"388c8605-7211-5829-b5d8-9e4bc739a3af","display_order":6,"variant_order":null},{"id":"3e423cff-0065-54f2-9ad6-2060de93303b","display_order":6,"variant_order":null},{"id":"477e3472-eb64-5968-9da0-4243b0453c73","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The first display of Assyrian antiquities anywhere in the world was that of the Louvre, opening in May 1847. It attracted great interest. The objects came from Paul Émile Botta’s excavations at Khorsabad. As well as being French Consul in Mosul, Botta was also a doctor, explorer and archaeologist. Having found little of interest at Nineveh, Botta moved to Khorsabad, where he had heard that interesting objects were being found. Nineveh would later prove a great success for his English friend, Austen Henry Layard.","partner":null}},"curator_status":"Y"},{"id":"86959e1d-38a4-5f53-9007-4188fc788f51","display_order":6,"variant_order":null},{"id":"ad3c4a56-381f-553f-b5a5-133f25218054","display_order":6,"variant_order":null},{"id":"d86bffa6-0320-50d5-b0a4-c47134d7d642","display_order":6,"variant_order":null},{"id":"3018b07a-449e-5452-bb78-bbcfe4a57bdc","display_order":7,"variant_order":null},{"id":"343b5161-2634-5e60-ba87-3693490baf83","display_order":7,"variant_order":null},{"id":"454ea471-63b6-545e-9c35-ea8207b4746b","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"In 1871 the Spanish frigate *Argiles* was dispatched on a scientific mission to document sites and collect antiquities around the Eastern Mediterranean: Italy, Greece, Turkey, Syria, Cyprus and Egypt. The need was felt for the National Museum of Archaeology in Madrid to have collections like those in Britain or France. The results of the expedition were published in lavish volumes.","partner":null}},"curator_status":"Y"},{"id":"9d99f2a0-088c-5411-b1e4-aab5af09edf0","display_order":7,"variant_order":null},{"id":"e2b48175-dfa4-5317-9f12-0d280735f099","display_order":7,"variant_order":null},{"id":"1488ab73-2672-5641-a84a-174c9bfb4fd8","display_order":8,"variant_order":null},{"id":"2de7ed41-7aaa-5c57-b454-3ebdfa97e428","display_order":8,"variant_order":null},{"id":"51d89765-459f-5a2f-89bb-b09f35a3e9d2","display_order":8,"variant_order":null},{"id":"830c2e47-9fe7-5cca-984a-d06b95466a30","display_order":8,"variant_order":null},{"id":"8985fc96-8186-5025-a7f2-72ef2dcdcfcb","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The decoration of the Egyptian collection of the Kunsthistorisches Museum in Vienna is a spectacle in itself. This image shows a copy of the paintings from the “Tomb of Chnum-hotep II in Beni Hassan”, made for the Egyptian Pavilion of the World’s Fair Exhibition held in Vienna in 1873.","partner":null}},"curator_status":"Y"},{"id":"8c849c6a-3e58-57d8-b731-007ad15dcd18","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The decoration of the Egyptian collection of the Kunsthistorisches Museum in Vienna is a spectacle in itself. This image shows a copy of the paintings from the “Tomb of Chnum-hotep II in Beni Hassan”, made for the Egyptian Pavilion of the World’s Fair Exhibition held in Vienna in 1873.","partner":null}},"curator_status":"Y"},{"id":"96da7333-2414-5c15-9ce1-3664f7119887","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The entire set of coffins was made in Thebes for the Amun priest named Nes-pauti-taui. The mummy board and both coffin lids bear the same decorative scheme. We see enormous ornamental collars of foliage and flowers. The hands, which are separately applied, hold the djed-pillar and the blood of Isis. The faces and wigs are also superimposed.","partner":null}},"curator_status":"Y"},{"id":"9fa1fbea-a4e2-5d50-9509-67fa9073a9d8","display_order":8,"variant_order":null},{"id":"a5f9ccce-bdce-5ea9-8c27-06ad29d2353c","display_order":8,"variant_order":null},{"id":"c780b87c-b9b5-50fb-bec8-edf64670ba49","display_order":8,"variant_order":null},{"id":"cc27cb2b-74b2-53c7-99e4-842dcfe24334","display_order":8,"variant_order":null},{"id":"d311e0f0-a40d-5486-8ffe-fa2c56e49115","display_order":8,"variant_order":null},{"id":"ee1f0807-ca9d-507c-adf4-27f446a10f42","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Roman copy of a Greek statue, from Ephesus (Turkey). After competitions in the *palestra* or sports arena, it was customary for the athletes to clean the sand from their oiled bodies with a *strigil*, or scraping iron. The Ephesian athlete seen here has already finished this task and, with his hair still wet with sweat, is now in the process of cleaning the *strigil* itself.","partner":null}},"curator_status":"Y"},{"id":"1c45a682-1820-5eee-b604-862620e6fcea","display_order":9,"variant_order":null},{"id":"64c7bc97-7cc3-58be-9d17-18bd4395053c","display_order":9,"variant_order":null},{"id":"ce2320b1-90a7-587e-a23e-2b91e7aba0bb","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"One of the strengths of the great European collections was the range of material available. Visitors could compare objects from many cultures. This highlighted both diversity and cultural influences, often profound. This relief of a woman and a man from Palmyra (Syria) was given to the Imperial collection by James Samson, an Austrian diplomat of the Ottoman Empire. Palmyra was a cosmopolitan desert city. These Roman-looking citizens are accompanied by a text in Aramaic.","partner":null}},"curator_status":"Y"},{"id":"147b289f-3d6e-58be-8aa0-db105cfb150f","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The National Museum of Archaeology created an “Arab courtyard” from the outset in 1878, unusually early for a European museum. Its displays included 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. The courtyard survived until the Spanish Civil War in 1936.","partner":null}},"curator_status":"Y"},{"id":"39965ec4-de1b-54df-b13b-6f3de0ef242b","display_order":10,"variant_order":null},{"id":"51be354a-b339-5d93-8690-4f26618ea9fb","display_order":10,"variant_order":null},{"id":"9599bee6-4ecd-5e61-803d-f6a17fddee21","display_order":10,"variant_order":null},{"id":"b34a6459-d73e-575a-bf25-d6eeecca51a1","display_order":10,"variant_order":null},{"id":"be44b9c0-4045-581b-a6e2-85c0f3bcd137","display_order":10,"variant_order":null},{"id":"ede0b2ce-0710-54bf-ab1e-1d03d63a1f3d","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The National Museum of Archaeology created an “Arab courtyard” from the outset in 1878, unusually early for a European museum. Its displays included 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. The courtyard survived until the Spanish Civil War in 1936.","partner":null}},"curator_status":"Y"},{"id":"0dc391d9-1f9b-5c22-91bf-a9670c98fa1b","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"There are three mummies in the collections of the National Museum of Antiquities of Romania. They were acquired in 1906, but otherwise nothing is known of their provenance or purchase in Egypt.","partner":null}},"curator_status":"Y"},{"id":"124efc2d-1a23-56df-83e7-543dbb950692","display_order":11,"variant_order":null},{"id":"2fd7dbb0-f684-52f4-93f3-b485ecf82f5e","display_order":11,"variant_order":null},{"id":"385662fc-85ab-5e90-a9e6-c6b945d3350c","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"One of the mummies is that of Bes-An, priest of Amun from Thebes, 22nd–23rd dynasties.","partner":null}},"curator_status":"Y"},{"id":"cd191826-9521-5bf9-9d19-dd2913e5662a","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The civilisations of the Middle East provoked wide interest. As well as the major museum collections, there were many smaller collections in private hands. In time these would often be donated to the public collections. Little is known of the origin of these funerary vessels, but it is known that they were bought by Mihail C. Sutu in 1870. They now form part of the collection of the National History Museum of Romania.","partner":null}},"curator_status":"Y"},{"id":"00c8cda2-d033-5a89-89e5-4f6a4483e3da","display_order":12,"variant_order":null},{"id":"5483dab5-d84f-5427-be2a-f5641e4aecc1","display_order":12,"variant_order":null},{"id":"8138d27f-0df1-5e19-884f-c3f2fabf66df","display_order":12,"variant_order":null},{"id":"90ac8914-3124-5940-a90b-536222104ba2","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The German excavators of the early 20th century moved archaeology into a more professional era with their architectural training. The museum collection in Berlin reflects this, focussing on architectural reconstructions of the Mesopotamian, Hellenistic, Roman and Islamic material. The Pergamon Museum owes its name to the discovery in 1864 of a Hellenistic acropolis in Pergamon, Turkey. German engineer Carl Humann had seen lime-burners burning ancient remains and urged the museum to excavate.","partner":null}},"curator_status":"Y"},{"id":"9a890b71-5d5a-57ef-b26d-c4592e54b5ac","display_order":12,"variant_order":null},{"id":"d815fe5d-36cb-5efe-b0e0-241a5e5e2941","display_order":12,"variant_order":null},{"id":"7a7a871e-70a7-5428-91b9-c5c8fd581ce1","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The Museum of the Ancient Near East in Berlin opened in 1899. One of its most magnificent displays is the Ishtar Gate and Processional Way from Babylon. The German expedition brought back many thousands of fragments from the site. After years of painstaking work, the ancient brickwork was reconstructed for all to see.","partner":null}},"curator_status":"Y"},{"id":"8f55adc5-662c-55f8-a485-b18851210a66","display_order":13,"variant_order":null},{"id":"d3e5b12a-a8a7-5f9d-b134-2b5032e3e440","display_order":13,"variant_order":null},{"id":"614be63b-02e7-5f3d-b90a-32e42c8270fa","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Plaster cast of a Neo-Hittite relief excavated at Carchemish by David Hogarth, Leonard Woolley and T. E. Lawrence between 1911 and 1913. The originals, since damaged, are now in Ankara. There was a tradition in the early 20th century of making casts of objects from digs and in collections, and circulating copies to colleagues. While modern creations, these casts are valuable objects in their own right as they sometimes preserve details no longer visible on the originals.","partner":null}},"curator_status":"Y"},{"id":"61c3f6f4-ae5b-5188-a071-b1ffe734cb27","display_order":14,"variant_order":null},{"id":"07024cd6-c5bb-5d57-96ec-903ad7f248c4","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"The origins of the Museo Nazionale Preistorico Etnografico L. Pigorini in Rome can be traced to the foundation, in 1875, of the Royal National Museum of Prehistory and Ethnography. The purpose of this new institution, in part, was to gather the remains of Italian prehistoric culture and the early cultures of other European and non-European peoples in a central museum located in the new capital of the Kingdom. Above all, it was to support and promote research by palaeo-ethnologists.","partner":"The Museum od Prehistory and Ethnography \"Luigi Pigorini\" in Rome, was founded in 1875 by Luigi Pigorini and it was originally 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."}},"curator_status":"Y"},{"id":"3f842425-2ace-59ff-ad9e-176b0b58c8f7","display_order":15,"variant_order":null},{"id":"4318dbfb-9a52-562e-8cea-6daf8a6a9d78","display_order":15,"variant_order":null},{"id":"97051bf0-5841-5c21-bc4b-4e7e702b5270","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"The origins of the Museo Nazionale Preistorico Etnografico L. Pigorini in Rome can be traced to the foundation, in 1875, of the Royal National Museum of Prehistory and Ethnography. The purpose of this new institution, in part, was to gather the remains of Italian prehistoric culture and the early cultures of other European and non-European peoples in a central museum located in the new capital of the Kingdom. Above all, it was to support and promote research by palaeo-ethnologists.","partner":"The Museum od Prehistory and Ethnography \"Luigi Pigorini\" in Rome, was founded in 1875 by Luigi Pigorini and it was originally 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."}},"curator_status":"Y"},{"id":"a541b832-d774-57c4-adb6-f83fd670fffc","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"The origins of the Museo Nazionale Preistorico Etnografico L. Pigorini in Rome can be traced to the foundation, in 1875, of the Royal National Museum of Prehistory and Ethnography. The purpose of this new institution, in part, was to gather the remains of Italian prehistoric culture and the early cultures of other European and non-European peoples in a central museum located in the new capital of the Kingdom. Above all, it was to support and promote research by palaeo-ethnologists.","partner":"The Museum of Prehistory and Ethnography \"Luigi Pigorini\" in Rome, was founded in 1875 by Luigi Pigorini and it was originally 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."}},"curator_status":"Y"},{"id":"18fd68f6-0db6-5ad7-aa02-07fc4aa8572e","display_order":16,"variant_order":null},{"id":"281a9738-8bd7-5011-a3f4-2866ccff808e","display_order":16,"variant_order":null},{"id":"59c09c6e-e0cc-5963-83cc-fd6b4aea8244","display_order":16,"variant_order":null},{"id":"aee4fe30-32cf-540e-ab4a-7a1e2e832504","display_order":16,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"Stone grinder to pulverize colors or cosmetics. It represents an important relic for the history of the  foundation of the Pigorini Museum. Its label, signed by Giglioli, attests that the object was discovered in Thebes by Ernesto Schiaparelli in January 1892 and then donated by himself to Giglioli three months later. 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Given as gift by the Ottoman Sultan ‘Abd al-Hamid II to Emperor Wilhelm II of Germany, the gesture was seminal to the establishment of the Department of Islamic Art at the Kaiser Friedrich Museum by Wilhelm von Bode in 1904.","partner":null}},"curator_status":"Y"},{"id":"2df6225e-8ea7-5fef-a311-cc29307168e3","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"A most important group of objects came from excavations at Samarra between 1911 and 1913, led by the archaeologist Ernst Herzfeld and the artist, historian and director of the Islamic Art Museum in Berlin, Friedrich Sarre. The study of Samarra, the temporal capital of the Abbasids, has contributed to our understanding of developments and changes in Islamic art at that time.","partner":null}},"curator_status":"Y"},{"id":"85128cd9-af17-5141-b661-afa4f41e6438","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Alois Musil (1868–1944) was a geographer and Arabist who visited Qusayr ‘Amra in Jordan and studied its rich, painted decoration. His study was published in 1907 with drawings by the Viennese artist Alphons Leopold Mielich. Musil’s work made a significant contribution to our understanding of the early figurative art of the Umayyad period.","partner":null}},"curator_status":"Y"},{"id":"c183f4c0-12ee-5c65-bc23-c8e71cccb311","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Exterior view of Qusayr ‘Amra, a Umayyad palace in the Jordanian desert, and a focal point for the study of the Umayyad caliphs.","partner":null}},"curator_status":"Y"},{"id":"251b2b7e-e8f3-5697-9d6d-a33a6facc5ca","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The architect and designer Owen Jones’ influential designs brought together different cultural styles. He illustrated objects from international tours and exhibitions and, at the Great Exhibition at Crystal Palace in London in 1851 for example, he re-created the Lion Fountain of the Alhambra Palace and decorated the building dedicated to this masterwork of art.","partner":null}},"curator_status":"Y"},{"id":"7bdd779c-2cc5-578c-a095-d2093ad30ce0","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The illustration is from the publication *Ornaments Turcs* by the potter Eugène Collinot and the designer Adalbert de Beaumont. Their record of ornamental designs, published in 1859, played an important role in Europe’s familiarisation with Islamic art.","partner":null}},"curator_status":"Y"},{"id":"000c7f50-ff95-5a24-b26f-2c2401107ffd","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Europeans in the Middle East prompted the study of Islamic architecture. Visitors recorded sites in paintings or, later, with the use of photography.","partner":null}},"curator_status":"Y"},{"id":"13a6be55-80b1-576f-be99-bfc3e15b7c3f","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The casket, once part of the Cathedral Treasury, was donated by the Dean of León Cathedral to the National Museum of Archaeology, Madrid, in 1869. It is an example of the importance of Arab workshops and works of art in the Iberian Peninsula during the Middle Ages.","partner":null}},"curator_status":"Y"},{"id":"2c73cd52-5b96-52b7-92d1-8d8619ab444d","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Knowledge about the Alhambra Palace included artifacts associated with it – such as this lamp from the Alhambra Mosque. The most important pieces from Islamic Spain, held in the National Archaeological Museum, Madrid, were selected for publication and thus helped to develop Islamic art and archaeology as an academic discipline.","partner":null}},"curator_status":"Y"},{"id":"31b5f52e-c220-58fe-a02b-2b22d317bc2b","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"This book, by Rafael Contreras, conservator of the Alhambra Palace, published in 1885, gave new light to the monuments built between the 10th and the 14th centuries in al-Andalus (Andalucia) as part of the Arab past.","partner":null}},"curator_status":"Y"},{"id":"47365132-f164-5764-a7d6-518e266d0b96","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Such vases are known as “Alhambra vases” and are considered masterpieces of Islamic art. As these vases are extremely rare, only a small number have become part of museum collections, for example, at the Alhambra Museum and the National Archeological Museum.","partner":null}},"curator_status":"Y"},{"id":"5fa7cbde-981a-5031-afe4-3cc242fd75c7","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The Iberian Peninsula has a rich Arab heritage, which was “rediscovered” during the 18th century. Works of art, monuments and some written sources were all brought together in publications by the National Museum of Archaeology. Acquisition, exhibition and publication of these artworks are acknowledgements of their importance.","partner":null}},"curator_status":"Y"},{"id":"d70e9882-8463-5f48-be2a-a1278275395f","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The scholar Stanley Lane-Poole (1854–1931) worked for the British Museum in London. He visited Egypt in the 1880s, and then, in 1886, wrote an introduction to Egyptian art and architecture entitled *The Art of the Saracens in Egypt*. He later became a professor of Arabic studies at Dublin University.","partner":null}},"curator_status":"Y"},{"id":"1fb1726f-8870-520a-9b34-30b69dacfc97","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The first encyclopaedia dedicated to the study of the Islamic world, which covered many cultural and historical aspects, was published in 1913.","partner":null}},"curator_status":"Y"},{"id":"81c95e16-5933-5305-af8a-2c4021985089","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"A book by the Greek historian and collector Christophoros Nomikos (1883–1951), which the author illustrated with objects from his own collection. In this publication he redefined İznik pottery within the context of Ottoman ceramics.","partner":null}},"curator_status":"Y"},{"id":"81ebd0c7-807d-5447-9cf3-c2bec3c89a89","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Max van Berchem (1863–1921) was a Swiss scholar of epigraphy, who studied inscriptions in Egypt, Palestine and Syria. His published works are considered invaluable for research of the period and later. 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Many Westerners were travelling to the East at the time, not only as tourists, but also to research its religious, artistic, architectural and archaeological history.","partner":null}},"curator_status":"Y"},{"id":"96d75b79-58ff-5945-b11e-11a08e7dd7b9","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The work of Louis Adrien Berbrugger (1801–69) is the first comprehensive study of monuments in Algeria. Published in 1843 and dedicated to King Louis Philippe I of France, in addition to monuments, it illustrates maps and plans as well as inscriptions and Algerian coins.","partner":null}},"curator_status":"Y"},{"id":"ede0b2ce-0710-54bf-ab1e-1d03d63a1f3d","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The National Museum of Archaeology in Madrid was founded in 1867. Its first galleries included pieces from the Islamic period of the Iberian Peninsula. From 1895 to 1936 the museum had an “Arab courtyard” where the most important artworks from the Arab past of the country were exhibited, including a copy of the Lion Fountain from the Alhambra Palace.","partner":null}},"curator_status":"Y"}]},{"id":"adfa7c1a-aa2b-5419-b358-93663ac12de2","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_54","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:54","parent_id":"db572bae-9f2f-5ccf-990b-01976695a7f8","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"825ea881-372b-5499-bcbe-096246ecd917","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"According to this document, in 1868 Venice imported from Egypt 377,200kg of raw cotton. In the 19th century, cotton became Egypt’s leading export after French textile engineer Louis Alexis Jumel, who had been hired by Viceroy Muhammad ‘Ali to manage a textile factory in Cairo, developed a new type of cotton. With the support of Muhammad ‘Ali, the extensive cultivation of Jumel long-staple cotton began in the 1820s.","partner":null}},"curator_status":"Y"},{"id":"bab7404e-f6da-51e5-bfe3-7f236f4ef2b2","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century the cultivation of cotton was expanded in the northern districts of Palestine (the territory of present-day Israel and Palestine, which was then part of the Ottoman Empire). Cotton became the main European import from the region, but by the 1870s the lack of industrialisation led to a decline of cotton production and trade.","partner":null}},"curator_status":"Y"},{"id":"c82a2a26-f746-5771-93c4-6bcceedcab50","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The biggest Palestinian cotton growing and processing centres were Acre during the 19th century and later the hill region Jabal Nablus, both situated in the north of Palestine. The raw cotton and the cotton yarn they produced were imported mainly by France for its textile industry.","partner":null}},"curator_status":"Y"},{"id":"05d601e6-b672-5f09-a5af-f912a7e4475e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Silk became in the 19th century the main agricultural produce of Mount Lebanon, most of it being exported to France. In 1841, three French entrepreneurs – Nicolas, Joseph and Antoine Fortuné Portalis – founded the first silk factory in Mount Lebanon, which was built in Btater, and European spinners were brought to teach the locals the European method of spinning silk threads.","partner":null}},"curator_status":"Y"},{"id":"a7135e6b-1b7e-5ddf-9568-b2daa5ac8d45","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In the 1840s, French silkworms were infected with a new disease called pébrine, which then spread to the rest of Europe and the Middle East, affecting both European and Arab and Ottoman silk industries. In 1865, the French government assigned chemist Louis Pasteur to find the cause of the disease. After studying pébrine for five years, Pasteur discovered a cure that stopped the epidemics in all regions it had reached.","partner":null}},"curator_status":"Y"},{"id":"1a477c20-c077-5125-9fc1-9d8eb04e2681","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, tobacco grown in Latakia (north-east Syria), which was considered the best produced in the province, was especially favoured by the British. The production and export of tobacco was a state monopoly in the Ottoman Empire, but the difficult economic situation that the empire was dealing with in the late 19th century led to the ceding of tobacco revenues to a consortium of three European-owned banks.","partner":null}},"curator_status":"Y"},{"id":"c120b65a-cd13-5c60-a28b-463b99dc6f57","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Oriental water pipes called *huqqa*s (from Persian for “coconut” because they used to be made from coconut shells) or *narghiles*s (in Turkish) are thought to have originated in India, from where they spread to Iran and reached the Ottoman Empire in the 17th century. They later became popular in the Balkans too.","partner":null}},"curator_status":"Y"},{"id":"0703f771-513c-549f-8e72-02d81616e8d9","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Even under the British protectorate, pearl fishing was regulated in the Arab sheikdoms on the east coast of the Arabian Peninsula by the local authorities and was practised only by locals. Furthermore, the British government forbade the exploitation of pearl fisheries by British and foreign companies.","partner":null}},"curator_status":"Y"},{"id":"685a2ad1-af1f-51a1-a4f2-d4dc7fc2a7f0","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Europeans also purchased from the Arab sheikdoms in the Gulf mother-of-pearl, the shiny layer inside some pearl shells, which was used in jewellery making and in decorating buttons, wooden furniture, weapons and liturgical objects.","partner":null}},"curator_status":"Y"},{"id":"7b5dfa6d-5872-5368-aeb3-65783684e2ef","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The economy of Sharjah was largely based until the 19th century on maritime trading with Africa and the Far East and on the building of traditional shipping vessels. But after the British, keen to maintain their monopoly on the trade routes to India, imposed their protectorate over the Arab sheikdoms in the Gulf region and destroyed most of their commercial vessels, Sharjah reoriented its economy to pearl fishing and trading.","partner":null}},"curator_status":"Y"},{"id":"83c3fe83-79b0-588d-a540-cb63c72ac1b4","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Pearl exports constituted the principal source of income for the Arab emirates on the western coast of the Arab-Persian Gulf until the beginning of the 20th century, when the Japanese discovered how to produce cultured pearls.","partner":null}},"curator_status":"Y"},{"id":"9c2ac3c9-ddf9-5578-9e26-fad8ec3a615c","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Dhows, traditional wooden Arabian sailing vessels, could be of various types. 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This monopoly was preserved after Tunisia became a French protectorate, with the annual tax being paid instead into the French Treasury of the Finance Commission.","partner":null}},"curator_status":"Y"},{"id":"6466b53e-7366-59fb-b2d6-6c90c4bac6cd","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Two years after the conquest of Algiers (1830), the French authorities established a set of rules for coral fishing in Algeria. Foreign companies were accepted but had to pay fees for fishing coral, while French boats were exempt from any taxes.","partner":null}},"curator_status":"Y"},{"id":"0e9e0841-ee1f-5aa8-8944-2225bf18b5d7","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Although Yemen lost supremacy in the coffee trade because of coffee produced in the West Indies and commercialised by the British and the French, exports of Yemeni coffee to Europe did not completely cease thanks to its good quality, which had made it famous. And it was still consumed within the Arabian Peninsula, where inhabitants used a traditional coffee pot (*dallah*) to prepare it.","partner":null}},"curator_status":"Y"},{"id":"4d5b7131-33fe-5c5d-8076-ab9568f98e94","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Until the 19th century, coffee was imported in the Middle East from Yemen. But after European powers began cultivating it in their colonies in the Caribbean, these became the main centres for the import of coffee by the Middle East.","partner":null}},"curator_status":"Y"},{"id":"70ae613d-6258-52dc-8ef3-3c83dcfa4fb0","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, the consumption of Yemeni coffee was replaced in the Ottoman Empire with that of coffee brought in from the French and British colonies in the West Indies, which had lower costs due to the use of slave labour. For the port of Smyrna, coffee was one of the principal imported products.","partner":null}},"curator_status":"Y"},{"id":"abac828d-5728-5fdb-8767-366c5beb8fa5","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"In North Africa, as in the Middle East, coffee was imported in the 19th century from European colonies in the West Indies. According to Thomas MacGill, a Scottish merchant who visited Tunisia in 1811, by then Tunisians were already using much more coffee from Martinique, one of France’s West Indian colonies, than from Yemen.","partner":null}},"curator_status":"Y"},{"id":"f0cfcb21-1685-5f85-9cd1-2d1e4de3b917","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"After Algeria became a French colony, most of its coffee was imported from the West Indian colonies of France, whose commercial vessels paid lower custom duties than vessels from other countries for coffee shipments.","partner":null}},"curator_status":"Y"},{"id":"90898679-94a2-5a74-9442-dce1eaec5acf","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Until they obtained their independence in the 19th century, the south-eastern European countries that were under Ottoman suzerainty had to provide the empire with agricultural produce. In the Romanian countries, sheep, and derivative products (wool, lambskin, cheese, meat and tallow), were primarily exported to the Ottoman Empire until Wallachia and Moldavia were granted freedom of commerce through the Treaty of Edirne (1829).","partner":null}},"curator_status":"Y"},{"id":"de20118a-909a-5e03-9c66-a28af38708f8","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Camel hair was imported by European states in the 19th century from the Middle East and North Africa, with Turkey, Algeria and Egypt being the main exporters. Camel hair was used, for example, to make straps, hats and paint brushes.","partner":null}},"curator_status":"Y"},{"id":"9844c72d-8d2f-50e5-8d5b-86ef15a82164","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Although sugar cane grew in the Middle East and North Africa, refined sugar was imported from France and Britain, which obtained sugar from their West Indian colonies. 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Held in Hyde Park, in Joseph Paxton’s pre-fabricated cast-iron-and-glass construction, the essential structure was extraordinarily innovative for the time.","partner":null}},"curator_status":"Y"},{"id":"7d67ccb5-cf82-5111-bc4d-df565effb29b","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This painting of the interior of Crystal Palace is by Owen Jones. It shows how the Exhibition was on two levels, the upper floor hosting exhibitions about “all nations” separated by huge tapestries. Yellow, blue and red dominated the colour scheme used tastefully throughout in accordance with contemporary decorative taste.","partner":null}},"curator_status":"Y"},{"id":"837ec644-be86-5c90-b478-af2509cf304b","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"When the Great Exhibition closed on 11 October 1851 the Crystal Palace Company bought the structure and reconstructed it at huge expense at Sydenham. 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The life-size replicas of Pharaohs and Sphinxes provide a sense of the building’s scale.","partner":null}},"curator_status":"Y"},{"id":"ad19e46b-73be-59de-b600-34195f9350aa","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Palacio da Cristal, built a decade after its template in London, was designed by Thomas Dillen Jones for the International Exhibition held in Porto in 1865. By hosting this exhibition with around 3,000 international exhibitors, Portugal sought not only to keep pace with progress but also to promote its colonial empire.","partner":null}},"curator_status":"Y"},{"id":"0cef7e57-5ce3-5053-ab2a-4e9aa8a78080","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The original Trocadéro Palace, designed by architect Gabriel Daviaud and the engineer Jules Bourdais for the Universal Exhibition held in Paris in 1878, had a domed central body flanked by two wings and two square towers that resembled minarets of North African mosques. The new Trocadéro, which replaced the original building destroyed in 1937, was built in the Neoclassical style.","partner":null}},"curator_status":"Y"},{"id":"f0b74bcf-a0f3-5ba9-8108-5e3c29ea663f","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The 19th-century World’s Fairs signal the transnational networks between the European and the Arab worlds. In 1888, Lisbon, the capital of the Portuguese colonial empire, organised an Industrial Exhibition. This photo, depicting a group of people under the entrance arch, captures the event.","partner":null}},"curator_status":"Y"},{"id":"f1dbc911-ff33-5c12-8784-54044c40e3ad","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"In this general view of the Avenida da Liberdade (Avenue of Liberation) in Lisbon, the top of one of the pavilions built for the Exhibition of 1888 is visible. 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Intermarrying with the local population, the Turks, known as Deys, dominated political life well into the 19th century. 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It decreed that while the “Grana”, Jews who had migrated to Tunisia from Livorno (Tuscany, Italy) in the 17th century, remained under the jurisdiction of the Bey; those who moved to Tunisia from Tuscany after 1822 and registered at the Tuscan Consulate were placed under Tuscan jurisdiction and protection.","partner":null}},"curator_status":"Y"},{"id":"0b914ea4-3750-5949-ba83-6be97904425d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In 1857, under French and British pressure, the Bey of Tunisia issued a declaration of rights known as the “Fundamental Pact”. The Pact granted equal rights to subjects of different religions. 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Merchants like this one sold various refreshing drinks such as coconut juice or lemonade in cafes or on the street.","partner":null}},"curator_status":"Y"},{"id":"0b0283d8-2b68-513e-ac6c-83c7af076357","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"A multitude of minor professions such as this one still existed in Middle Eastern cities, towns and villages during the 19th and early 20th centuries. The public scribe provided his services to illiterate people who were not able to understand or draft a letter, or who needed administrative advice.","partner":null}},"curator_status":"Y"},{"id":"4c22f475-8576-51f3-bde0-fc0eadf0e0ec","display_order":9,"variant_order":null,"curator_status":"N"}]},{"id":"40c3fbb9-7842-59dc-aff3-887ac14765f0","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_91","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:91","parent_id":"667048de-d76b-576f-89d6-595d2cb9b805","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"04fa7b6d-59fb-50fb-92d9-dd7283af4ad2","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Belgium was one of the many European powers to obtain political and economic privileges from Morocco. 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On this occasion, in 1802, Napoleon I dispatched General Hulin, accompanied by Consul Dubois-Thainville, to issue a threat to the Dey of Algiers in response to Algerian “pirate” activity against French ships.","partner":null}},"curator_status":"Y"},{"id":"af5dd515-10f6-573e-bba3-9212bf33f05f","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Sir John Drummond-Hay is shown here as part of a British delegation from Tangier visiting the Moroccan Sultan Sidi Muhammad ‘Abd al-Rahman at his court in Fez in 1868. Drummond-Hay was instrumental in securing an exclusive trade agreement and special relations for Britain.","partner":null}},"curator_status":"Y"},{"id":"f262f19f-c5f9-5c05-bd10-8873d3e30db2","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The scene is a perfect representation of both the European delegations in the region at the time and the broad interests represented by them: in addition to the British Consul General in Alexandria, the group meeting Muhammad ‘Ali includes a businessman, scholars and an artist.","partner":null}},"curator_status":"Y"},{"id":"fcdce33b-73b5-5f44-b815-567a60b30ab7","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In the wake of Italy’s unification, the new nation quickly cast its eye to catching up with the colonial ambitions of other European powers, particularly in North Africa. The visit of this Italian delegation to the Moroccan sovereign in Fez during the 1870s was recorded by the Italian author Edmondo de Amicis, who witnessed it.","partner":null}},"curator_status":"Y"},{"id":"2490e8e8-85c3-5eea-8a98-4c2d970e5157","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The German Emperor Wilhelm II visited Tangiers in the wake of the international Morocco crisis in 1905. While he supported Moroccan independence in defiance of French ambitions in North Africa, he was also keen to advance Germany’s economic and political influence in the region.","partner":null}},"curator_status":"Y"},{"id":"87367afd-5729-556e-a43a-bec2611cfa83","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Napoleon III visited Algeria, already a French colony at the time, in 1860 and in 1865. On both occasions, a triumphant itinerary was staged, in order to clearly demonstrate France’s sovereignty and might, while also symbolising its control of locations and resources of key importance to French interests.","partner":null}},"curator_status":"Y"},{"id":"8d7fb33a-5d98-5c0b-a5f1-fab6b28e82f7","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Since the 1850s, France competed increasingly with Italy and Britain for economic and political power in Tunisia. This meeting, between Muhammad al-Sadiq Bey (r. 1859–81) and Napoleon III in Algiers in 1860, symbolises France’s determination to consolidate its presence in North Africa.","partner":null}},"curator_status":"Y"},{"id":"fe6b786f-510f-5112-b531-2e5e437342ab","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Empress Eugénie actively supported her husband’s ambition to advance French interests in the Middle East and North Africa. During her visit to Constantinople in 1868, however, she incurred the disapproval of the sultan’s mother, when – overconfidently – she broke Ottoman protocol.","partner":null}},"curator_status":"Y"},{"id":"77f52d4b-ff6b-552e-acdb-df8edbe68721","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"On occasion, diplomacy took place on the sidelines of a major international event, such as the opening of the Suez Canal in 1869. On this occasion, the Egyptian Khedive Isma‘il invited – among others – the French and Austrian Emperors, but tellingly excluded all the region’s senior Muslim leaders.","partner":null}},"curator_status":"Y"},{"id":"8c28d282-9632-5ae4-81b1-ed79c1035940","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This poem, by an Italian, honours Franz Joseph I’s visit to Egypt in 1869. European minorities living in the Arab and Ottoman world relied on the protection of their respective countries. Indeed, not only were extensive privileges negotiated for them, but often their presence served as a diplomatic pawn in order to gain influence in another nation’s affairs.","partner":null}},"curator_status":"Y"},{"id":"be44b9c0-4045-581b-a6e2-85c0f3bcd137","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Emperor Franz Joseph I of Austria attended the Suez Canal celebrations, arriving onboard SMS *Kaiserin Elisabeth* in 1869, but used his stay in Egypt to hold diplomatic and trade talks in Cairo and Alexandria as well.","partner":null}},"curator_status":"Y"},{"id":"bf8ccf55-0b9f-51ab-833d-046d658d52ad","display_order":4,"variant_order":null,"curator_status":"N"},{"id":"41d110ef-ea08-56b4-9331-39d56114f999","display_order":5,"variant_order":null,"curator_status":"N"},{"id":"accedc02-c511-5161-ae0b-0e44a11da1d9","display_order":6,"variant_order":null,"curator_status":"N"},{"id":"e80dfa93-78f5-57ec-a258-0a31de9fef63","display_order":8,"variant_order":null,"curator_status":"N"},{"id":"218e138e-ef0b-539c-a7bf-bad9297c5e84","display_order":9,"variant_order":null,"curator_status":"N"},{"id":"ce58ba5d-a393-5547-95fe-76c5d627ffcf","display_order":10,"variant_order":null,"curator_status":"N"}]},{"id":"a976d2d5-cf1b-543a-87b9-93e9b82a1570","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_94","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:94","parent_id":"fec34b6f-d50c-5405-87a3-dcbe8efeef29","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"392f3d7f-32c6-5e59-aeea-0cf54fb842cc","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"It is disputed as to whether it was British explorer John Hanning Speke or his commander Captain Richard Burton who discovered the source of the Nile in 1858. In any case, their quest combined the thirst for knowledge with the imperialist conviction and personal ambitions typical of many 19th-century European explorers.","partner":null}},"curator_status":"Y"},{"id":"4c695d43-f03d-5a2c-8f4d-af48b299d76b","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Austro-Hungarian Empire, like her European competitors, was keen to advance her economic and commercial interests in the Arab and Ottoman world. Knowledge of established regional transport networks as well as intelligence concerning local industries was of vital importance in this endeavour.","partner":null}},"curator_status":"Y"},{"id":"6c58855f-349e-59d4-b95b-645e69fbce46","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Geographic and geopolitical exploration was of great interest to European powers in their quest to effectively penetrate the region in search of raw materials and new markets for trade. Finding the source of the Nile held a fascination for many explorers, for whoever managed to discover it was guaranteed fame and fortune.","partner":null}},"curator_status":"Y"},{"id":"92dacff0-b9ed-51f4-8929-313eefaa5ba9","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In 1897/8, the Austrian Academy of Science dispatched a scientific expedition under Captain Paul Edler von Pott to explore the Red Sea and its shores. A lot of scientific data was gathered, but in addition ethnographically and artistically intriguing items such as this Bedouin coat were collected.","partner":null}},"curator_status":"Y"},{"id":"b5c0d18b-e693-55ac-b0f0-5d2195dc1c3e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This kaftan belonged to the Spanish naturalist and zoologist Manuel Martínez de la Escalera (1867–1949), who undertook scientific expeditions throughout the Middle East in the 1890s. 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The discovery of the tomb of Tutankhamun in 1922 led to a global craze that was fed by the recent availability of mass media.","partner":null}},"curator_status":"Y"},{"id":"85128cd9-af17-5141-b661-afa4f41e6438","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"It was not only ancient Egypt that fascinated European scholars. Qusayr ‘Amra, an early Islamic desert palace in present-day Jordan with a bathhouse complex, was first published by Alois Musil (1868–1944), an Austro-Hungarian polymath – Catholic theologian, explorer, writer and spy.","partner":null}},"curator_status":"Y"},{"id":"32fb3761-3d91-5ac8-b9e9-d93cf46f8c28","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Karl Alexander Anselm Freiherr von Hügel, the owner of this lamp, was an Austrian naturalist and botanist as well as being a diplomat who gathered information for his government. He visited Egypt, Syria, Lebanon and Palestine in 1831 and, like many of his contemporaries collected information outside his field of expertise.","partner":null}},"curator_status":"Y"},{"id":"7348dd0d-ce53-5539-9f72-098f52664a78","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Many scientists, scholars and explorers also secretly gathered information for their governments while in the East. ‘Ali Bey (a pseudonym for Domingo Badia; 1767–1818), was a Spanish explorer and spy who travelled across the Ottoman Empire and North Africa disguised as a Syrian prince.","partner":null}},"curator_status":"Y"},{"id":"ff1cc08e-5e46-58f1-ba2a-f93481917b38","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This waistcoat was collected by Enrique de Aguilera y Gamboa (1845–1922), 17th Marquis of Cerralbo. A Spanish aristocrat, Cerralbo was a highly respected archaeologist and historian, who built up important collections during his travels in the East.","partner":null}},"curator_status":"Y"},{"id":"a91be56f-fdaa-598c-a438-db2d0512a2e7","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In this scene, the French painter Louis Dupré conveys fascinating details about the traditional rituals at an Athenian wedding: the bride is waiting while the groom is ritually shaved. Dupré, like many of his contemporaries contributed to increasing “knowledge” about the Orient in Europe, but unfortunately not all of this contribution was accurate.","partner":null}},"curator_status":"Y"},{"id":"d549811b-c5d8-5fa3-9488-5db916492dba","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Artists conveyed a large amount of valuable scholarly information back to Europe too. The dinner seen here was held in honour of the Irish artist and archaeological writer Edward Dodwell (1767–1832) to mark his return from a journey across Ottoman Greece in search of its ancient roots. Dodwell’s influential books on Ottoman Greece include *A Classical and Topographical Tour* through Greece (1819) and *Views in Greece* (1821).","partner":null}},"curator_status":"Y"},{"id":"d9708463-f720-5673-ac88-cf01adf12b47","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Louis Dupré (1798–1837) was famous in France for his philhellene and Orientalist artworks that, at the time, were perceived to convey accurate ethnographic detail. Travelling in Greece and the Ottoman Empire in the early 1820s, like many, he had set out in search of antiquity but merely by chance had discovered instead the “living” Orient.","partner":null}},"curator_status":"Y"},{"id":"331be2fc-32f2-5ed5-bb67-3f9817fcb2d0","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Many European scientists focused on the flora and fauna of the region. This sheet, a *Herbarium*, shows three fruiting specimens of *Aegilops* ovate, collected in Algeria in May 1840 by the Scientific Commission of Argelia (Algeria) under the supervision of the French naturalist M. Durieu.","partner":null}},"curator_status":"Y"},{"id":"91a520f6-9937-54cd-a224-0a3b83e3587f","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"European research into the flora and fauna of the Arab and Ottoman world was often aimed at establishing where the more desirable raw materials could be secured most easily. This sample of Azurite, a mineral traditionally used as blue pigment, was collected from the Touissit Mine, near Oudja in Morocco, in around 1920.","partner":null}},"curator_status":"Y"},{"id":"7f8a48e3-b8ea-55d5-9114-484b7cc5c0a2","display_order":14,"variant_order":null,"curator_status":"N"},{"id":"52254363-31d0-54f5-bab4-97458eb40b9d","display_order":16,"variant_order":null,"curator_status":"N"},{"id":"8f55adc5-662c-55f8-a485-b18851210a66","display_order":18,"variant_order":null,"curator_status":"N"},{"id":"6542d634-c357-5d32-8439-beffa72dfa02","display_order":19,"variant_order":null,"curator_status":"N"},{"id":"8993cd54-bcab-5bf3-83fb-e37e53bc3db3","display_order":20,"variant_order":null,"curator_status":"N"}]},{"id":"b1c89367-fbdc-533f-84b2-01e1056a36ba","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_95","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:95","parent_id":"8dc5f409-203b-513e-8ba6-bde3a998c835","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"a9a28a05-d857-5694-b162-3b5de65fb8d1","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In France, too, 19th-century architecture included occasional expressions of Orientalist taste. The French novelist Pierre Loti, who travelled extensively in North Africa and other regions of the East, transformed his house in Rochefort into an Orientalist fantasy as a backdrop to his extensive Islamic art collection.","partner":null}},"curator_status":"Y"},{"id":"b15011a9-1d5f-5210-be56-0a51595a1b75","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Turkish Room inside the House of King Ludwig II of Bavaria (1869–72) on Schachen mountain in Germany exudes Oriental fairytale charm. Its design was based on an engraving by the British architect, artist and illustrator Thomas Allom, showing a room built by Sultan Salim III (r. 1789–1807) in the Palace of Eyüb and published in an architectural work on Constantinople.","partner":null}},"curator_status":"Y"},{"id":"b1c29528-ab6c-59ff-80fa-f8975026b285","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Britain’s long-standing involvement with the Arab and Ottoman world and India led to a far-reaching fascination with all things “Eastern”. One of the more spectacular architectural manifestations of this trend is seen in the Royal Pavilion at Brighton, which George IV, Prince of Wales, commissioned John Nash to refurbish in the Orientalist style in 1822.","partner":null}},"curator_status":"Y"},{"id":"68a95c99-7986-5df2-8af1-8a9cc45a55e6","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Damascene Hall in Wilhelmina Park was completed in 1864 by Professor Wilhelm Baeumer, Karl Ludwig von Zanth’s successor. Despite its palatial exterior, it was actually used to house pheasants and chickens!","partner":null}},"curator_status":"Y"},{"id":"7c6c4813-f135-5843-8f48-660e13714964","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In 1837, King Wilhelm I of Württemberg commissioned court architect Karl Ludwig von Zanth to design buildings in the Moorish style for his “Wilhelma” gardens. The aim was to create a sensual fairytale world that, not least, might help him and his guests escape the real one.","partner":null}},"curator_status":"Y"},{"id":"85842d41-d3a1-5921-ac88-903643f0147a","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"King Ludwig II’s Linderhof Palace Park in Bavaria was laid out between 1870 and 1880 according to the plans of the architect Karl von Effner. It was further enhanced by architectural features such as the Moorish Kiosk and the Moroccan House – conjuring up the fabled world of “the Orient”.","partner":null}},"curator_status":"Y"},{"id":"93ae9a92-2eeb-5864-aa3f-f804d80d9877","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In 1837, King Wilhelm I of Württemberg instructed the court architect Karl Ludwig von Zanth to design buildings in the Moorish style for his “Wilhelmina” gardens. The aim of 19th-century Orientalist garden design in Germany was to evoke visions of elegance, luxury, colourful brilliance, seduction and eroticism.","partner":null}},"curator_status":"Y"},{"id":"a81b5a25-c516-56c6-b670-eb0ae21f4f03","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In German lands, monumental Orientalist architecture was often built in the context of elaborate garden projects. The Moorish Banqueting Hall, completed in 1851, forms part of an ambitious Orientalist palace garden, commissioned by King Wilhelm I of Württemberg from the court architect Karl Ludwig von Zanth in 1837.","partner":null}},"curator_status":"Y"},{"id":"eae0553a-c677-57b1-9a70-eda8e6211616","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In 1837, King Wilhelm I of Württemberg commissioned the court architecture Karl Ludwig von Zanth to design buildings in the Moorish style for his palace gardens. The priority was not to re-create an authentic Oriental-Islamic building, but simply to evoke an exotic, otherworldly atmosphere.","partner":null}},"curator_status":"Y"},{"id":"001f116f-84e2-522a-b67a-25d887e4cb0a","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In Germany, Islamic-style designs borrowed from mosque architecture were used in a wide range of contexts, but none of them religious or in line with Islamic principles. This late 18th-century garden “mosque”, in the Turkish style and part of the Schwetzingen Palace complex in Germany, is the earliest of its kind in the country.","partner":null}},"curator_status":"Y"},{"id":"b1a53072-23dd-58c0-b8c4-495759373b61","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This mosque-style building in Potsdam near Berlin was erected in the 1840s to hide a steam-pump engine that was used to pump water up to the main fountains at Sanssouci. The exterior of the building borrows “Oriental” design elements and clearly imitates Moorish architecture.","partner":null}},"curator_status":"Y"},{"id":"055fd98c-bc6c-5a97-9aae-e3c3ab6ea7fb","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The Campo Pequeno Bullring, completed in 1892, shows many architectural features borrowed from the Arab-Islamic, “Moorish” past of the Iberian peninsula. The lands of what is now Portugal were first conquered by Muslim forces in the 8th century and gradually reclaimed from them over some 500 years.","partner":null}},"curator_status":"Y"},{"id":"e06ef895-2b01-5e26-b048-45ebf4f4ecc7","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The Palace of Monserrate in Sintra was completed in 1863. It blends a range of European design features with those of India and the Arab world, the latter a clear reference to the legacy of Arab art and culture in Portuguese history.","partner":null}},"curator_status":"Y"},{"id":"eb85ace1-331f-51ea-a2d6-78f331e3d54f","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Given their long shared history with the Arab world, Portugal, Spain and Italy in particular revived elements of Arab and Islamic architecture in some constructions of the 19th century. The Pena Palace in Sintra – the Royal family’s summer residence – is an eclectic and exotic building that also incorporates neo-Islamic styles.","partner":null}},"curator_status":"Y"},{"id":"eeee249c-f43e-5b78-852f-c10c356bd5fc","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Between 1888 and 1933, the architectural assemblage at Bussaco (Baçaco) took shape. Its eclectic buildings – such as the Palace Hotel – include a wide range of Arab and Islamic details referencing Portugal’s historic encounter with the Arab world.","partner":null}},"curator_status":"Y"},{"id":"4581d2bd-8265-5fa0-b41e-4e88abe7427e","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Spain, with its long and complex history of Arab-Islamic rule between the 8th and the 15th centuries, also followed the pan-European trend of “Orientalising” architectural design features, especially as it considered itself the cradle of the “Moorish” style. The Toledo Railway Station opened in 1919/20.","partner":null}},"curator_status":"Y"},{"id":"6dac0c9a-9cc8-5832-9efa-512fe3c88e4f","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Portuguese interiors, too, could reveal a distinct “Oriental” feel in the 19th century. Most spectacular is the Arabian room at the heart of the Oporto Bourse Palace, with its neo-Moorish features inspired by the Alhambra in Granada, built between 1862 and 1880.","partner":null}},"curator_status":"Y"},{"id":"427783d7-27c6-57e4-9e7c-ee894a6d6e9d","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The grand Hotel Excelsior in Venice, built by Giovanni Sardi and opened in 1908, fuses elements of Moorish architecture such as minarets and domes with aspects borrowed from medieval art and Art Nouveau. Its fanciful appearance emphasizes the character of the building as a glamorous destination for holidays and amusement.","partner":null}},"curator_status":"Y"},{"id":"ae264026-52c5-575e-8918-d09df5811c0b","display_order":10,"variant_order":null,"curator_status":"N"},{"id":"1867f5d4-3b17-57ea-bb1b-bff0861448b8","display_order":12,"variant_order":null,"curator_status":"N"}]},{"id":"3f13a2ed-bcbf-58cd-a77d-c32e230f33eb","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_99","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:99","parent_id":"fd43afd8-f2d6-5070-97cc-13904ef0eb5a","country_id":null,"display_order":1,"latitude":null,"longitude":null,"images":[],"items":[{"id":"275443d0-1d7d-5e19-a7ef-50820f9add5d","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The establishment of the Hijaz Railway that ran from Damascus to Medina allowed much larger numbers of Muslim pilgrims to reach the Holy Places of Islam. Originally the plan had been to extend the railway line all the way to Mecca, but the project was stopped short due to the outbreak of World War I.","partner":null}},"curator_status":"Y"},{"id":"68e8b7c1-4b26-5650-8465-4d55145c3d6c","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Despite the modernisation of transport networks in the later 19th century the train journey to the Hijaz was still a lengthy one for Muslim pilgrims, many of whom spent several nights in makeshift camps specifically set up by the Ottoman authorities for the purpose along the railway line.","partner":null}},"curator_status":"Y"},{"id":"ac213e50-9aa9-50fe-a88f-16a3840fbce1","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Well into the early 20th century, most Muslim pilgrims still headed to Mecca on foot as part of a camel, horse and mule caravan. Cairo, which marked one of the most important starting points for pilgrim caravans heading towards Mecca, was particularly honoured due to the fact that it dispatched the ceremonial *Mahmal* containing a Qur’an manuscript and ritual hangings for the Holy Places of Mecca and Medina.","partner":null}},"curator_status":"Y"},{"id":"074e983d-abec-5f2a-aa65-d155420f43d0","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Known in Arabic as ‘Zamzamiyya’, flasks and bottles like this one have been used by Muslims for centuries to collect Zamzam water. Revered for its spiritual and health-related properties, pilgrims drink Zamzam water while at Mecca and then make every effort to collect some more to take home to share with family and friends.","partner":null}},"curator_status":"Y"},{"id":"0a0e3c68-6be2-5140-b568-bf800fe28f33","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This coloured engraving, made in Spain, depicts the large crowds of Muslim pilgrims visiting the Holy Mosque in Mecca and the Ka’ba during the Hajj season.","partner":null}},"curator_status":"Y"},{"id":"7f0ad603-e425-5eba-b58f-51c6cd6ff38d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This view of Mecca was drawn by the Austrian Andreas Magnus Hunglinger, who accompanied the minister of the King of the Two Sicilies to Constantinople. Forbidden as a non-Muslim to visit Islam’s Holy Places, Hunglinger based the image on a printed illustration in Ignace de mouradja d’Ohsson’s *Tableau General de l’Empire Ottoman*, published in 1781.","partner":null}},"curator_status":"Y"},{"id":"8f8640bd-04ac-5181-ba28-bef663422bf2","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Long orderly queues of Muslim pilgrims converge on the Holy Mosque at Mecca, entering its precinct with the Holy Ka’ba at its heart. Muslims visit Mecca throughout the year for the ‘Umra or lesser pilgrimage, but most importantly they come for Hajj, which is one of the five key duties in Islam and takes place in a particular month of the Islamic calendar, the Dhu al-Hijja.","partner":null}},"curator_status":"Y"},{"id":"b3ad190f-fed9-546e-924a-e3b7f2699f23","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This map, drawn by French traveller Émile Prisse d’Avennes (1807–79), gives a detailed impression of the annual pilgrimage undertaken by Muslims to the Ka’ba at Mecca. The work guided Westerners from afar in their intellectual discovery of the Holy City and allowed them to learn of the importance of the Ka’ba in the spiritual and ritual life of the Muslim community.","partner":null}},"curator_status":"Y"},{"id":"b705e8a3-17fc-5217-8640-d86017b77c66","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"All pilgrims to the Holy City of Mecca will make a point of drinking and collecting water from the sacred Well of Zamzam, located near the Ka’ba within the precinct of the Holy Mosque in Makkah al-Mukarramah. The never-ceasing flow of the Well is considered a miracle by Muslims, and its properties are believed to aid good health and well-being. Under the Ottoman Caliph ‘Abd al-Hamid II (Abdülhamid II), in AH 1333/AD 1915, the Well was relocated away from the area where pilgrims perform their circumambulations of the Ka’ba.","partner":null}},"curator_status":"Y"},{"id":"14763417-a183-5949-ac5d-11f296d400e1","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Traditionally, the interior walls of the Shrine of the Prophet in the Masjid al-Nabawi (the Prophet’s Mosque) in Medina were covered with elaborate hangings. The Ottoman sultans sent new hangings on the occasion of their ascension and also when the textiles needed replacing. 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However, the city only became an international economic, commercial and financial centre in the wake of its 1889 Exposition Universelle, world famous for the spectacular Eiffel Tower, the tallest structure in the world at the time.","partner":null}},"curator_status":"Y"},{"id":"edb1a542-e440-5acd-87bf-c6265376a73a","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Relatively insignificant until 1871, Berlin rapidly developed into an internationally important metropolis by 1914. Industry and infrastructure expanded particularly after the receipt of 5 billion francs in French war reparations, which financed trade, industrial investment and the establishment of financial institutions. 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As the fair grew, the street was extended, with many shops, inns, restaurants and workshops on either side.","partner":null}},"curator_status":"Y"},{"id":"412af98f-597f-5bd8-9bce-18aac056c045","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"8b6d48f1-d450-5891-bb54-198e8d16fb19","display_order":13,"variant_order":null,"curator_status":"N"},{"id":"64c7bc97-7cc3-58be-9d17-18bd4395053c","display_order":14,"variant_order":null,"curator_status":"N"},{"id":"544117f8-c7fb-5075-b36e-315986c47bec","display_order":15,"variant_order":null,"curator_status":"N"},{"id":"6b87d037-edfd-580b-a728-429fe7822c7b","display_order":16,"variant_order":null,"curator_status":"N"},{"id":"257442d0-cc8b-5f59-9bdf-31aeac1cd79c","display_order":17,"variant_order":null,"curator_status":"N"},{"id":"3d414881-32eb-5cec-9499-511e26749367","display_order":18,"variant_order":null,"curator_status":"N"},{"id":"a3c1cda7-3cd5-5acd-9fe6-bbcc3a97be64","display_order":19,"variant_order":null,"curator_status":"N"}]},{"id":"f178ae75-fcd3-5d5e-8479-e07596b2511f","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_119","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:119","parent_id":"03df9cf1-e1db-5beb-a1cb-458edcf0419e","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"b776a817-c7d7-51b1-8767-4441833fd7a5","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The European popular imagination was astonished by the new inventions of the 19th century and by the steam engine in particular. Prints and drawings expressed this astonishment, often humourously. It was common to imagine the future as a science fiction novel.","partner":null}},"curator_status":"Y"},{"id":"b1a53072-23dd-58c0-b8c4-495759373b61","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"A good example of a design associating the innovation of the steam engine with the interest in “exotic” architecture promoted in Sanssouci Palace in Potsdam, Germany, during the Romantic period.","partner":null}},"curator_status":"Y"},{"id":"0377755d-a4a5-57ef-8cca-716b1fdb2ad1","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Progress was conceived in terms of technical modernisation. Kings, sultans and local rulers were personally involved in the effort to keep their lands up to date with technology and rival the competition among the great powers that involved all the countries on the playing field. Steamships were one symbol of progress.","partner":null}},"curator_status":"Y"},{"id":"4bef9a7e-ee5d-50e6-bbc2-ad9258836fd3","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In 1838 many states existed on Italian territory, such as the Grand Duchy of Tuscany. The relationship of these states with Mediterranean countries was of fundamental importance. Steamships intensified these contacts as the movements of goods and people became easier.","partner":null}},"curator_status":"Y"},{"id":"830c2e47-9fe7-5cca-984a-d06b95466a30","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"A drawing included in a book published in 1848 shows one of the first steamships used by the UK in the possession of Aden (Yemen). Aden became a British possession in 1839, a market and station for British steamships on the route to India.","partner":null}},"curator_status":"Y"},{"id":"579a1e8e-d0d1-5139-bb97-214a66f11b68","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Sultan Mahmud II, facing the decline of the Ottoman navy after defeat in the Battle of Navarino, decided to modernise the Ottoman fleet, introducing a new imposing battleship, the *Mahmudiye*, built in the Imperial Naval Arsenal on the Golden Horn. From 1828 he introduced steamships into the Ottoman navy.","partner":null}},"curator_status":"Y"},{"id":"826abea9-d0a5-5b38-9d39-fb3cd81ac626","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Şirket-i Hayriyye was a joint British–Ottoman steamship company. The new fashion for travelling and the increasing pace of trade were the main reasons for the introduction of steamships crossing the Bosphorus, traditionally a vital economic, cultural and social crossroads.","partner":null}},"curator_status":"Y"},{"id":"08b771ac-afdd-58cc-bc71-eaaef0f074bc","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The steam locomotive, one of the best-known steam devices, soon became a widespread tool and a symbol of the advancements in communication. In Morocco the first railway had been built in 1859 by the Spanish to connect Tetouan and el Marchi river (Rio Martin).","partner":null}},"curator_status":"Y"},{"id":"e3029e51-8121-5e09-b08a-bd958da4cd09","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"This postcard shows the inauguration of a railway engine in Libya. A piece of Italian colonial propaganda, it aimed at showing “superior” technology and the “civilisation” brought to the colonised territories, by using technical innovations to build a message of propaganda and legitimate mastery over the colonised country.","partner":null}},"curator_status":"Y"}]},{"id":"bf266bd8-1fcd-5149-9bc6-cd75d44f6660","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_127","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:127","parent_id":"7888f842-0c26-5030-a87a-95f171c11d78","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"1aa20f81-288f-5491-bfba-4d0a1e219f27","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This is a copy of the Qur’an decorated with Ottoman and Western elements. It was made by artisans trained in the palace workshops of Istanbul.","partner":null}},"curator_status":"Y"},{"id":"e53bb5a4-b7fc-5802-a8fd-9ee4197aa491","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The 19th-century Qur’an manuscripts produced in Istanbul and in other cities in the Ottoman Empire continued many Islamic traditions in art, but could not entirely escape the increasing taste for Western aesthetics.","partner":null}},"curator_status":"Y"},{"id":"057b0a91-5753-5a0f-a506-60b096d9eeb0","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Saliha Sultan Fountain as captured in 1857 by the photographer James Robertson. This 18th-century fountain, decorated in the baroque style, is a good example of the effect European design had on Ottoman art, creating a unique blend of motifs that influenced the arts of the 19th century.","partner":null}},"curator_status":"Y"},{"id":"5cf8b622-bc23-5c90-a393-46a79bb0514b","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The reliquary containing the head of St George Chiopolites, who was martyred in Aivali in 1807, has rococo decoration with ribbons, bows, roses and blank heraldic shields. Aivali was a prosperous commercial centre, and the inscription refers to the goldsmiths and the guild of soap-makers, both of which were important industries in the town.","partner":null}},"curator_status":"Y"},{"id":"685a2ad1-af1f-51a1-a4f2-d4dc7fc2a7f0","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In the Middle Eastern cities of the 19th century the desire to furnish mansions in the Western style led to the introduction of items of furniture that previously would not have had any place in a traditional domestic setting. This European-style sideboard, probably executed in Damascus, may have come from a Christian household, to judge by the inscriptions used on it.","partner":null}},"curator_status":"Y"},{"id":"f8cd2cbd-0428-53e7-a7ce-f3ee1f3011f9","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This European-style shelf, decorated with arches and floral motifs, was made in Algeria by a craftsman who has signed his name “Becghtache”.","partner":null}},"curator_status":"Y"},{"id":"55e346ff-6f0e-5e17-90fe-1d309d2d7056","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The exterior decoration consists of Ottoman rococo motifs of fruit, flowers and female figures. On the inside of the lid is a depiction of an idyllic landscape dominated by two Ottoman horsemen and a group of people on foot, all of whom are dressed in European clothes. The piece was made on the Greek island of Mytilini.","partner":null}},"curator_status":"Y"},{"id":"022636e4-0dfa-5ef8-9246-5b40c6f3adf2","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The marriage casket was produced in Algeria in a style inspired by Italian prototypes.","partner":null}},"curator_status":"Y"},{"id":"8096854b-be45-5588-b075-3b50e753c3ac","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The writing box is decorated in the European style according to the taste of the period. Its owner was Sultan ‘Abd al-Majid I, who himself was a calligrapher.","partner":null}},"curator_status":"Y"},{"id":"174a686d-d71c-5900-ac66-c2dba02914eb","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The 19th-century workshops around Beykoz produced glass in the European style. The first workshop was founded by the Mevlevi dervish Mehmet Dede during the reign of Salim III. European craftsmen also worked in the workshops, producing cups, bottles and jugs made from colourless or opaque glass, as well as the filigree motif seen here.","partner":null}},"curator_status":"Y"},{"id":"f9f0db9c-6034-5d02-b5c8-8b68a3f973f3","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Ottoman glass was developed in order to compete with imported glass from Venice and Bohemia. The technique is European, but the decoration is Ottoman.","partner":null}},"curator_status":"Y"},{"id":"d2105247-15f5-56b4-9a41-1c51ab776885","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"A lamp made in Istanbul with neoclassical motifs. The neck is decorated with large acanthus leaves; hanging from the base is a tassel from which Ottoman coins hang. The chains are suspended from cast caryatids holding plinths on their heads, an element that follows Venetian prototypes. The lip is stamped with a semi-obliterated *tuğra*.","partner":null}},"curator_status":"Y"},{"id":"56669d0c-f1dc-5ef6-92fc-a676c2150aa7","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Shelves, such as this one from a traditional house in the town of Ksar Hilal in Tunisia, are seen typically in the 19th century with painted stylised decoration with fish and floral motifs, reminiscent of the Italian style.","partner":null}},"curator_status":"Y"},{"id":"cb48c75d-bd2a-5fb9-9430-da529ee7f01a","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A further example of wooden furniture with painted decoration from Tunisia. Here the decorative scheme includes flowers, birds, fish and baskets of fruit.","partner":null}},"curator_status":"Y"},{"id":"97234026-b759-5b5b-ada5-8fc567b89260","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"A canopy bed of European influence (pseudo-baroque) made for a Muslim clientele in workshops in the Lower Kasbah. The craftsmen who made beds like these, who were both coppersmiths and blacksmiths, were organised into a separate guild.","partner":null}},"curator_status":"Y"},{"id":"be8c9494-f659-53be-b44a-b763609d1e3d","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"This object shows the Ottoman aesthetic, the rites and traditions of which were brought to Lebanon, in addition to the lifestyle, architecture and elements of design. The artistic influence of such luxury objects reflects the authority and power of the Ottomans in the region.","partner":null}},"curator_status":"Y"},{"id":"123030ca-d6ea-5a9d-b948-0601ad74e192","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"New decorative styles began to appear in Moroccan fine and applied arts of the 19th century. This dish, from Fez, dates to 1894. It is decorated in a blue-and-white design of star-shaped floral garlands. The use of material such as cobalt blue was imported from Britain.","partner":null}},"curator_status":"Y"},{"id":"23916cb8-b949-51f4-9771-383db0e095cb","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"New decorative styles began to appear in Moroccan fine and applied arts of the 19th century. This dish, from Fez, is decorated in a blue-and-white design of star-shaped floral garlands. The use of material such as cobalt blue was imported from Britain.","partner":null}},"curator_status":"Y"},{"id":"4b719ab5-caa8-53d7-a185-809f12af918c","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"A mirror, in the Italian style, carved and gilded with gold leaf. Italian work was highly sought after for palatial furniture and noble residences in the 19th century.","partner":null}},"curator_status":"Y"},{"id":"736574db-9cd1-5e72-95d5-f1860d3596ad","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"An architectural decorative element typical of the 19th-century aesthetic of blending styles. The characteristic *mashrabiyya* is seen frequently in Arab domestic architecture, but here it is used in a design that is not of Arab origin.","partner":null}},"curator_status":"Y"},{"id":"29f9716b-3b17-5ea5-b1e6-06de5e5b0e3e","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The exchange of motifs in the fine and applied arts was common during the Ottoman period. Such influence is detected in works such as this *funda* (bridal headpiece).","partner":null}},"curator_status":"Y"},{"id":"fcf825c0-6979-528e-9ead-d92db4b19652","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"A vase, decorated in polychrome enamel, with a design of birds and flowers combined with Arabic calligraphy. It reflects the arts of Jordan in the late 19th and early 20th centuries.","partner":null}},"curator_status":"Y"},{"id":"66051236-e6f5-50e1-94a9-729e97d849a2","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"Once the rituals of tea-drinking had been established in Morocco, craftsmen began to create relevant ware inspired by Chinese and European prototypes. The local name for a tea tray such as this one is *Siniyya*, meaning “the Chinese”. The decorative scheme of this plate, a central star motif surrounded by multi-petalled flowers, is influenced by European designs.","partner":null}},"curator_status":"Y"},{"id":"d9c388f4-ae74-56f2-b3d4-341eda234a0f","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"A ceramic tile panel decorated with a central vase surrounded by floral motifs. The inspiration for the design looks back to the arts of al-Andalus (Andalusia) and also makes use of Ottoman design.","partner":null}},"curator_status":"Y"},{"id":"b65922f4-01d3-5457-a9bc-98f6df701f87","display_order":18,"variant_order":null,"curator_status":"N"}]},{"id":"0d51bd80-a9c8-585a-96a8-911b8ae8d9f5","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_129","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:129","parent_id":"43f46690-1d6e-5d64-b190-3e7fd3f18a07","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"8609522c-18c6-5b1c-9149-7c3bb976c5b7","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This table or stand is an example of Mamluk revivalist work. It copies a famous Mamluk Qur’an stand at the Museum of Islamic Art in Cairo, inscribed with the name of the Mamluk Sultan al-Nasir Hasan ibn al-Nasir Muhammad ibn Qalawun (who reigned three times between 1294 and 1340), and made by Muhammad ibn Sunqur al-Baghdadi al-Sanqari.","partner":null}},"curator_status":"Y"},{"id":"e72a56fc-762a-58a7-9573-a53ca4ec40e7","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"A further example of revivalist art made in Egypt during the late 19th century. In this instance, the Mamluk original has been faithfully copied.","partner":null}},"curator_status":"Y"},{"id":"d0201dc5-b133-5197-929c-a269917b72e1","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Émile Prisse d’Avennes, an archaeologist, architect and admirer of Arab art, recorded monuments and decorative designs in a three-volume work published in 1877. This was one of the most influential works for the study of Islamic design during the latter part of the 19th century.","partner":null}},"curator_status":"Y"},{"id":"dd7e299b-4a4e-544f-b652-be813f7bf7be","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This bowl was made during the last quarter of the 19th century, possibly in Egypt. In shape, decoration and technique it is inspired by Mamluk metalwork made in the 13th and 14th centuries.","partner":null}},"curator_status":"Y"},{"id":"d199debb-1836-5a98-80c3-90ef128b824b","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This mosque lamp may have been made in 19th-century Hebron, a century-old centre for glass manufacture, which survived despite the influx of cheap, mass-produced goods from Europe. While the shape continues a style popular in Mamluk times, its etched and gilt decoration relates to other Mamluk revivalist artefacts produced for European tourists at the time.","partner":null}},"curator_status":"Y"},{"id":"32fb3761-3d91-5ac8-b9e9-d93cf46f8c28","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Franz Steindachner (1834–1919) was a Viennese zoologist who joined an Austrian expedition to explore the Red Sea. During this trip, Steindachner acquired this lamp in Aden from a Yemenite from San’a in 1896; and while the lamp follows Mamluk prototypes, the design is a 19th-century interpretation.","partner":null}},"curator_status":"Y"},{"id":"7cb05e6b-507b-594c-9ddd-3e9a0460ae93","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Appliqués of this type were often used to embellish tents. The decoration on this example echoes the bold geometry of Egypt’s Mamluk period. The format, calligraphy above a central roundel with trefoils, is similar to other artworks created during the revivalist period of the 19th century.","partner":null}},"curator_status":"Y"},{"id":"b69b45bc-18ac-5427-86ca-9f760fc47793","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"This box was made during the last quarter of the 19th century in Egypt. In shape, decoration and technique it is inspired by Mamluk metalwork made in the 13th and 14th centuries.","partner":null}},"curator_status":"Y"},{"id":"0fca5a3a-17d8-542b-bada-abe14d89b5ed","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, many European influences characterised the Moroccan craft industry’s materials and manufacturing techniques, decorative forms and styles. The geometric decoration on this piece shows affinities with typical Mamluk decoration as seen in the architecture and woodwork of the period.","partner":null}},"curator_status":"Y"},{"id":"17a2df03-43c9-5803-92e9-9cff69d81432","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Philippe-Joseph Brocard was a restorer and collector who greatly admired Mamluk glass, pieces of which he acquired, and used as models for his own creations. One of the first to revive the enamelling techniques of the Mamluk period, his work was exhibited at the Paris Exposition of 1867, making this lamp one his earliest documented pieces. The lamp was acquired by the British Museum in 1902.","partner":null}},"curator_status":"Y"},{"id":"9c872904-bce3-5aa4-b6f0-1ecfaddfcbd1","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Philippe-Joseph Brocard was a restorer and collector of antiques who greatly admired the Mamluk glass he saw at the Musée de Cluny in Paris. Acquiring some pieces himself, he used these as models for inspiration. Among the first to revive Islamic enamelling techniques of the Mamluk period, his work was exhibited at the Paris Exposition of 1867, making this piece one his earliest documented pieces.","partner":null}},"curator_status":"Y"},{"id":"4ba698dd-340a-5068-ac6e-53bd809620f8","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Enamelled glass was particularly popular with collectors during the latter part of the 19th century. This publication, compiled by Gustav Schmoranz in 1899, details the works of enamelled glass in private and public collections.","partner":null}},"curator_status":"Y"},{"id":"072d1017-5755-51e9-a465-680b0053022c","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Two cups produced in the Lobmeyr factory, which during the second half of the 19th century was run by the owner’s two sons Josef and Ludwig. One is decorated with an Arabic inscription and the other with an arabesque design.","partner":null}},"curator_status":"Y"},{"id":"c43680f3-bb80-5a99-b6af-2065eec44e61","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The glass factory of Josef Lobmeyr was founded in Vienna in 1823. One of the decorative styles the factory adopted was inspired by Islamic design. Here, both the design and the enamel-painting technique are inspired by the Mamluk period, which was highly fashionable at the time. The bottle bears an inscription with the name “Muhammad” written twice in mirror view.","partner":null}},"curator_status":"Y"},{"id":"366a9ff1-e485-57a9-ad1c-a5eb7cf07698","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Inlaid wood is a typical decorative technique of the Mamluk period. While this chest of drawers is English in shape, it has rich floral designs inlaid in mother-of-pearl, and an Arabic inscription that details the date and the maker’s name.","partner":null}},"curator_status":"Y"},{"id":"685a2ad1-af1f-51a1-a4f2-d4dc7fc2a7f0","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The urban elite in 19th-century Middle Eastern cities were keen to furnish their mansions in the Western style. This led to the introduction of furniture that would not previously have had a place in a domestic setting. While this elaborate sideboard is made in the European style, the decoration is in the Neo-Mamluk style, seen especially in the carved openwork and mashrabiyya ornamentation.","partner":null}},"curator_status":"Y"},{"id":"d467849e-57d5-56af-821f-861425864b86","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"In the context of the European fascination for everything “Oriental” in the 19th century, the Neo-Mamluk style acquired a new sense of modernity. Inlay of mother-of-pearl, or ivory set in wood of various qualities and colours, are often found in pieces of this kind, which became the perfect accessories for the re-creation of Eastern exoticism.","partner":null}},"curator_status":"Y"},{"id":"3854487a-c60c-5835-adc0-fa6fe0ed8d59","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Giuseppe Parvis emigrated from Italy to Cairo in 1859. Here, he produced furniture inspired by the Mamluk style with mother-of-pearl and metal inlay. A successful businessman with many students, his firm continued to operate until the early 20th century, having won awards at the Universal Exposition in Paris in 1867 and subsequently in Vienna and Philadelphia.","partner":null}},"curator_status":"Y"},{"id":"b1a53072-23dd-58c0-b8c4-495759373b61","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"The building is remarkable for its Orientalist exterior, the only building of its kind in Potsdam, Germany. The design borrows elements that relate to Mamluk architecture, especially in Syria.","partner":null}},"curator_status":"Y"},{"id":"0c74ae54-ebaf-5ed2-bc1e-2921c31f8219","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"The Egyptian Pavilion forming the Egyptian Palace of the Vienna Exhibition of 1873 was inspired by Mamluk architecture, which was popular during the 19th century.","partner":null}},"curator_status":"Y"},{"id":"2b2f8bbd-a9f5-5da8-a561-886281458b0f","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"Made in the 19th century, this box is an example of the inlay technique on metalwork that was typical during the 13th and 14th centuries. It is an example of the use of this aesthetic, not only on luxury objects, but also on objects for everyday use.","partner":null}},"curator_status":"Y"},{"id":"4ae45f56-80f0-5f31-82a5-680fa0d249f9","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"This is a further example of a basin decorated using an inlay technique commonly seen on metalwork.","partner":null}},"curator_status":"Y"},{"id":"bc71fd0a-a9bf-5d5a-881e-ff89569de8a9","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"Made in the 19th century, this small basin uses the inlay technique that was typical during the 13th and 14th centuries. It is an example of the use of this aesthetic, not only on luxury objects, but also on objects for everyday use. 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On the right, men play *daff*, *zurna* and pan-pipes for dancers holding castanets.","partner":null}},"curator_status":"Y"},{"id":"9a2b6628-fecf-51cc-8501-edcd12db0810","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Wadih Sabra (1876–1952) was a leading figure in modern Lebanese music. A composer and pianist, he studied at the Paris Conservatoire. He composed the Lebanese national anthem in 1927 and founded and directed the Institute of Music in Beirut, later the National Higher Conservatory of Music. He combined Western and Eastern traditions in his operas, symphonies and chamber music.","partner":null}},"curator_status":"Y"},{"id":"78ffdbad-67b9-5e33-ad6b-19aeeee48f10","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Metri el-Murr (1880–1969) was a composer of songs using his own poetry as well as chants based on Eastern Orthodox models and translated into Arabic. 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While the title may reflect the romantic view of the photographer, the style of music associated with Muslim Spain was perpetuated in various centres in Morocco. This performance takes place in a tented enclosure.","partner":null}},"curator_status":"Y"},{"id":"70d8300c-308e-5b69-9c40-e4c3750f6ab8","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"This musician is posed standing holding his violin and bow rather than actually performing. He would certainly have been part of a group of musicians which could have included the lute, *nay*, piano, and drum. Under European influence in the 20th century musical ensembles grew in size, at times almost to that of an orchestra.","partner":null}},"curator_status":"Y"},{"id":"c671443a-8a37-5c35-975f-840074e8db8a","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"This pastel portrait of a woman playing a lute is the work of Fausto Zonaro (1854–1929) who settled in Istanbul and was one of the European artists employed by the Ottoman sultan. 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Bayham was also one of the founders of the Syrian Scientific Association in 1857 in collaboration with Ibrahim al-Yaziji, Butros al-Bustani and Muhammad Arsalan.","partner":null}},"curator_status":"Y"},{"id":"0dd30a0a-1b26-5aa8-95ed-2abdad17a184","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The newspaper *Tercüman-ı Ahvâl* was first published in 1860, containing articles on current affairs alongside new literary works and reviews. 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He gained fame for publishing his observations as a traveller and other works, including *O Mandarim* (*The Mandarin*, 1880); a serialised Portuguese translation of Henry Rider Haggard’s *Mines of king Solomon* (*As Minas de Salomão*, 1885); and *A Relíquia* (*The Relic*, 1887).","partner":null}},"curator_status":"Y"},{"id":"2e69a533-f8e1-5f1a-92fc-fc2a6fbcefa3","display_order":6,"variant_order":null,"curator_status":"N"}]},{"id":"b3e7e8fe-2b55-50c0-b838-0314a78ef8b4","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_15","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:15","parent_id":"24886656-d708-5839-9d18-301fa1b5341e","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"736574db-9cd1-5e72-95d5-f1860d3596ad","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The *mashrabiyya*, made from stone, glass or wood and seen throughout the Middle East and Southern Mediterranean countries, represents an important social observation: the separation of public and private space, seen ubiquitously in the architecture of the traditional Arab house.","partner":null}},"curator_status":"Y"},{"id":"7a05190e-1927-5037-ba2d-10e15038ab09","display_order":1,"variant_order":null},{"id":"bc05121b-1942-54f8-ba62-84b29282f089","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Glazed tiles were used widely in the Arab and Ottoman world to decorate buildings or garden structures. 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The external walls are covered with a marble mosaic of different shapes and sizes and colours to create geometric patterns, which is a very particular design element of the Arab and Ottoman world.","partner":null}},"curator_status":"Y"},{"id":"057b0a91-5753-5a0f-a506-60b096d9eeb0","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"Public fountains are important urban design elements in the Arab and Ottoman world that are often built by royal patronage to provide a public water source. Fountains hold special significance in most European cities as well, where often they are built through the patronage of a royal or papal procurer.","partner":null}},"curator_status":"Y"},{"id":"b9ee7653-5f89-5cc9-b8cc-d6b70b1e48ce","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Clock towers, once they were introduced from Europe, became a fairly ubiquitous design element of Arab and Ottoman cities. 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This clock tower is a manifestation not only of traditional architecture and ornamentation from various provenances of Turkey and beyond, but also a re-rendition, by a French architect, who reintroduced it into the recaptured city of the Ottoman Empire.","partner":null}},"curator_status":"Y"},{"id":"b5762c66-bf5b-5b77-bfe4-6c9e135ce487","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"An example of the interconnected design elements of traditional Arab and Ottoman art and architecture: the walls are high and windowless to protect the privacy of its inhabitants; a delicately carved, openwork alcove or *mashrabiyya* projects above the entrance portal, which allows air and light into the room behind it and provides those within the chance to observe outside life discreetly from within.","partner":null}},"curator_status":"Y"},{"id":"a318db34-bac0-5d0f-a3b5-606f258a4cf5","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"The Ortaköy Mosque demonstrates the intertwining elements of traditional Arab and Ottoman design and form and European art and architecture: a neo-baroque building decorated with a dome and minarets.","partner":null}},"curator_status":"Y"},{"id":"934b04dc-f3d9-52a1-b4a6-850226ba2bd7","display_order":17,"variant_order":null,"curator_status":"N"},{"id":"10420cae-bec5-5219-ac37-b2d0536040b3","display_order":18,"variant_order":null,"curator_status":"N"},{"id":"d7b44516-bffd-5b76-8377-02433184be03","display_order":19,"variant_order":null,"curator_status":"N"},{"id":"6f1032fa-b287-57a0-81ee-3a8c6977d38a","display_order":20,"variant_order":null,"curator_status":"N"},{"id":"21dee5ec-7459-5915-8d20-a2fe4b38d5d8","display_order":22,"variant_order":null,"curator_status":"N"},{"id":"bd610f90-dbc3-5a38-87c0-75bb5979c752","display_order":23,"variant_order":null,"curator_status":"N"},{"id":"8be256e6-ef08-535a-9646-fcfbd6751a6c","display_order":24,"variant_order":null,"curator_status":"N"},{"id":"ff3e8256-d8ee-5d47-b909-e92dca381df5","display_order":25,"variant_order":null,"curator_status":"N"},{"id":"f1166cb3-b783-5cbf-98fd-cd4d924c210b","display_order":26,"variant_order":null,"curator_status":"N"},{"id":"fc5492b4-b79e-5ab6-acf3-8e4d44f66cbc","display_order":27,"variant_order":null,"curator_status":"N"},{"id":"7a673124-7bea-543e-8cdf-59c06cdc2216","display_order":28,"variant_order":null,"curator_status":"N"},{"id":"5213376b-6aff-55de-afcc-32cf7bfb66d1","display_order":29,"variant_order":null,"curator_status":"N"}]},{"id":"f31c4cb0-afc2-5ece-9b16-ec1afa4d98d2","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_150","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:150","parent_id":"74050d04-8c6c-5ad0-9c80-9ac46f59d8c2","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"b7735908-2a85-5159-97b8-d8499ee4ac07","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The women of the harem invite a female guest to their quarters and amuse her and themselves with dance, music, comedy and similar forms of entertainment.","partner":null}},"curator_status":"Y"},{"id":"c2ef4889-9f51-575f-8794-b1fe85502111","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"During the classical period of the Ottoman Empire, the sultan organised public entertainment and ceremonies to mark important dates and events.","partner":null}},"curator_status":"Y"},{"id":"6204d094-907f-5ef3-b378-936a43e07247","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Ceremonies and entertainment events at court demonstrated political prowess; 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So distinctive is this type of headdress that it is able to distinguish the Druze from other women.","partner":null}},"curator_status":"Y"},{"id":"7f865df5-a1bf-51f2-943d-4a9bec647c8f","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The outfits worn by Constantine Jews were longer than other Jewish communities; the length of their garments distinguished them.","partner":null}},"curator_status":"Y"},{"id":"e50ae40d-d2e5-50ff-9f8d-f861d8f298d4","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Jews living in Algeria and North Africa were identifiable by the outfits and headdresses they wore, as shown in this picture of a young Constantine Jew in northern Algeria.","partner":null}},"curator_status":"Y"},{"id":"cf7760c0-6a87-5a55-85b5-9801367d91fb","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Jewellery is an important indicator of ethnic origin, or in this case regional origin. This necklace is from Astorga, a province of León (northern Spain), and is characteristic of this specific region.","partner":null}},"curator_status":"Y"},{"id":"53ced43a-3cc4-5ee9-99c2-17e1671a1356","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Kabylie, a region in northern Algeria, is inhabited by the Berber and Kabyle peoples, who are identifiable by the clothes and jewellery they wore.","partner":null}},"curator_status":"Y"},{"id":"f5eca8aa-876e-503f-b619-df15835f81aa","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The jewellery worn by the Kabyle distinguished them from other populations in the region. 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In this case, the shirt adorned with black embroidery is typical of Huelva (al-Andalus, Spain).","partner":null}},"curator_status":"Y"},{"id":"714736c9-97a7-5e87-b9d2-fc5d38aed09f","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Turkish tradition dictated that young brides would take a belt from their parents’ house. The decoration varied depending on the ethnic group to which the young woman belonged, and this denoted her origin.","partner":null}},"curator_status":"Y"},{"id":"42b5c7f1-cc74-5b88-8ab4-25e33352b53f","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Waistcoats or gilets like this one were worn among Algerian, Jewish and Muslim women. This type of garment, plus accessories, would have been worn on top of other clothes that were indicative of the woman’s origin.","partner":null}},"curator_status":"Y"},{"id":"cc3eb98f-be74-5f38-85da-465d5c36d52e","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A headdress is a garment that denotes the tribal identity or origin of the person wearing it. This headdress, with Ottoman coins sewn onto the side tassels, would have been worn by women from Beersheba, Palestine.","partner":null}},"curator_status":"Y"},{"id":"522f2144-3034-5e4d-9bc3-6ef8c6f5ecd0","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The decorative motifs used in embroidery differ from region to region, and even from village to village in a specific region, as the shawl pictured here demonstrates about the villages of Ashdod and Hebron in Palestine. Folkloric patterns, known as “amulets” and “keys”, along with other motifs, decorate this shawl.","partner":null}},"curator_status":"Y"},{"id":"0ba2e663-9318-562e-9c2a-099d167e8112","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Earrings are an item of jewellery that women wore often and which was crafted to indicate the wearer’s ethnicity, social status, etc. The use of precious metals, coral and coins, as in this case, suggests the important social function of jewellery.","partner":null}},"curator_status":"Y"},{"id":"a2f41b51-30af-503a-a290-05cb553751f2","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Jewellery is a sign of where the wearer comes from economically and socially. 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The work was exhibited at Vienna’s first International Exhibition in 1873, where it won the gold medal. The marble version was exhibited in 1878 at the Paris exhibition, where it won the Medal of Honour.","partner":null}},"curator_status":"Y"},{"id":"3cc5829d-ae99-58ec-bc85-707e431d5db4","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The engraving celebrates the work of Monteverde. Contemporary reports say that at the 1878 Paris exhibition the marble version of the sculpture was awarded the Medal of Honour and the public received it enthusiastically.","partner":null}},"curator_status":"Y"},{"id":"cc3b74af-a7c4-51db-b788-69489a7072e4","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The sculpture denounces the brutal hopelessness of rural work with solemn realism. 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It was cast in bronze at the request of the Ministry of Education in 1895 and exhibited at the Paris exhibition of 1900.","partner":null}},"curator_status":"Y"},{"id":"89b9e8c6-f3d0-5b3f-8890-c5a4ed5ba8cf","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"First presented at the International Exhibition of Art in Florence, this portrait attracted the attention and critical acclaim of the public since its first appearance in 1897. In fact, so admired was the work that it was reproduced on postcards.","partner":null}},"curator_status":"Y"},{"id":"c16fad3d-de00-51aa-b32f-c08f9761a3dc","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"This portrait won the bronze medal at the Paris exhibition of 1889, the year after it was painted. Halil Pasha, who was part of the *Asker Ressamlar* (Soldier Artists), founded a new Ottoman art tradition inspired by the Western style, and worked with Jean Leon Gérôme at his atelier in Paris.","partner":null}},"curator_status":"Y"},{"id":"e38d66f4-10f9-566e-84d8-1278b05a6847","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Shown in 1911 at the International Exhibition of Fine Arts in Rome, Klimt’s work won a prize and was then bought by the Italian state. 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A businessman who managed successfully to integrate into the Egyptian context, he sold elegant “Arab-European”-style furniture to a clientele who had never had a use for such items in the past, and introduced a fusion of the decorative, for instance mother-of-pearl inlay and metal inserts, with a quintessentially European form.","partner":null}},"curator_status":"Y"},{"id":"53ae6882-2b1f-5d51-bf1d-9b7c23286e41","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Giuseppe Parvis unveiled his “Arab Lounge” at the 1881 Italian exhibition in Milan. He drew on his knowledge of Egypt to present fashionable furnishings and attended the exhibitions at Vienna (1873), Philadelphia (1876) and Paris (1878).","partner":null}},"curator_status":"Y"},{"id":"cdff686c-f455-5731-801b-6705c10286b5","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"At the exhibition held in Vienna in 1873 the “Tunisian” pavilion offered an extraordinary plethora of fabrics, furniture and tapestries that were then imitated in designs for the latest European furnishings.","partner":null}},"curator_status":"Y"},{"id":"20184242-548f-5030-bd05-abb877ad5352","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The refined and elegant simplicity of the “Persian” pavilion at the exhibition held in Paris in 1878 evokes the decorative items, furnishings and fabrics presented in the plates of *L’Art Arabe d’après les monuments du Kaire* by Achille-Constant Prisse d’Avennes.","partner":null}},"curator_status":"Y"},{"id":"85842d41-d3a1-5921-ac88-903643f0147a","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The fairy-tale interior of the “Moorish Kiosk” was the Prussian contribution to the exhibition held in Paris in 1867. 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Here he seems to proudly claim both his Italian and Tunisian identity.","partner":null}},"curator_status":"Y"},{"id":"28ad9737-7a52-5383-8f8a-2a5177cead7c","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Chocolate is often linked with the idea of the “exotic” in Africa and Egypt, as in this case. This bookmark, shaped like a scimitar, was produced by the Talmone Chocolate Company as part of its advertising during the exhibition held in Turin in 1911. It makes use of a ubiquitous “exotic” Egyptian style that would have been very familiar to audiences of the era.","partner":null}},"curator_status":"Y"},{"id":"5f941ae8-9023-5935-99ef-eaae452485b9","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The interior of the “Chocolate and cocoa factories” pavilion of 1911, showing the stained-glass window that depicts a view of a caravan walking through the desert.","partner":null}},"curator_status":"Y"},{"id":"b97bcb71-a957-5608-9199-9926745d01bd","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A stained-glass window depicting a caravan in the desert from the “Chocolate and cocoa factories” pavilion built by the Talmone Chocolate Company. The iconography of Egypt promoted in the West was used by advertisers to sell products that had no connection with the country; similarly with slogans such as “Chocolate of the Pyramids”.","partner":null}},"curator_status":"Y"},{"id":"bdc77deb-d803-5076-89a4-a826a7e730aa","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The Italian community in Tunisia sent a delegation to the exhibition held in Milan in 1906, including two entrepreneurs who traded in furniture. Having migrated from Italy, their furniture was an expression of a community successfully living between two different cultures.","partner":null}},"curator_status":"Y"},{"id":"ef29d044-78f8-52d1-a065-bb93ee480704","display_order":11,"variant_order":null,"curator_status":"N"}]},{"id":"bc7d1b1e-05ac-533b-8ba0-54760a7d31ad","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_167","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:167","parent_id":"bd677873-ce69-5041-be5e-82bf4abfea44","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"b9afa85f-9c6f-5c35-ad19-8ad72d2903a7","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The “Moorish Town” became one of the main attractions at the exhibition held in Paris in 1878 thanks largely to the proportions of the Trocadéro. Here, the Islamic architectural additions surprised audiences when they saw two great towers, inspired by minarets, among an eclectic context of other styles that ranged from Byzantine to Roman, from Greek to Renaissance.","partner":null}},"curator_status":"Y"},{"id":"b5237ac5-6bde-593f-8bf3-56257cd8a060","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"A curious and amusing place at the Paris exhibition of 1878 is being reported here: a semi-circular hall has been arranged as an “Oriental coffee shop” where a Tunisian quartet plays instruments typical of the Arab and Ottoman “East”. The coffee shop, like the theatres that put on shows of typical dance performances of the “Orient”, became one of the must-go places for visitors.","partner":null}},"curator_status":"Y"},{"id":"8cbe678a-dcda-57dc-87ce-36a2c9a08898","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The magazine text describes the large tent built in the Trocadéro Park within the area of the Algerian Pavilion. “These Turkish people are very beautiful. … from the warlike race of Kabili”. These people, employed as “living props”, were surrounded by the noise of hammers and the continual coming and going of visitors inside the large Algerian tent.","partner":null}},"curator_status":"Y"},{"id":"35e017f1-dcaf-55ad-b22a-063688a75b9e","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In addition to shots of the interior spaces themselves, some glimpses into the exhibition buildings highlighted the detail: domes, voluminous drapes, and the elegant, carved wooden panels used to screen windows, known as *mashrabiyya*.","partner":null}},"curator_status":"Y"},{"id":"a11b7bdd-bdb7-5d7d-89d6-783d6b33448c","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"From 1889 the “Cairo Street” represented the perception of an “Eastern” city according to the Western imagination. The street was designed to show-case scenes from daily life, including commercial activities.","partner":null}},"curator_status":"Y"},{"id":"4f8e9b31-3833-5903-9371-597339e73f7b","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The “Cairo Street” proved such a huge success at the Paris Exhibition of 1889 that it crossed the Atlantic for the World’s Columbian Exposition in Chicago. This photo shows the reconstruction of “authentic” facades, with the windows protected by *mashrabiyya*, and also one of the more popular activities among tourists: a ride on the back of a camel.","partner":null}},"curator_status":"Y"},{"id":"ced8a409-75b5-54e9-b444-cf12a33a9b12","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The “Cairo Street” constructed for the Chicago Exposition of 1893 had a mosque and two obelisks; around these were workshops making Egyptian wares, coffee shops, and also a theatre where audiences could watch belly dancers perform.","partner":null}},"curator_status":"Y"},{"id":"07170373-2de3-5323-b6e8-32a0ede859ed","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"This photograph is a souvenir from the St. Louis Universal Exhibition of 1904: it shows two women visitors on the back of a sitting camel. The women are captured against an “Egyptian” backdrop: the camel’s ornate harness and saddle and the *mashrabiyya* used to disguise the ticket office.","partner":null}},"curator_status":"Y"},{"id":"dbeedf3f-9b7e-5868-aa07-16d65ca3dfc9","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Sometimes in these picture postcards produced to document the exhibits without crowding them with visitors, the “Cairo Street” is animated by the presence of “character types” who stand “proudly” outside their designated areas.","partner":null}},"curator_status":"Y"}]},{"id":"317b5d52-ca02-5bc8-acec-1924aca34447","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_2","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:2","parent_id":"61060da6-f4f8-5783-8348-d63a8992aaaa","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"5838c354-7008-5b83-99dc-80cbba207468","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This Sèvres plate was part of an Egyptian service, with strong Egyptianising motifs and decorated with a copy of a drawing by Dominique Vivant Denon, *Voyage dans la Basse et la Haute Égypte, pendant les campagnes du Général Bonaparte* (1802). It is said the plate was thrown out of the windows of the Tuileries in Paris during the French Revolution of 1848.","partner":null}},"curator_status":"Y"},{"id":"3a6414c9-05eb-59ee-b5b1-43057ab8b195","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The French poet François René Chateaubriand was fascinated by the city of Dido and its glorious ancient past. He visited Carthage in January 1807. This engraving shows him on a hill facing the sea, surrounded by the ruins. His impressions were recorded in his 1811 book *Journey from Paris to Jerusalem and from Jerusalem to Paris going by Greece, returning by Egypt*.","partner":null}},"curator_status":"Y"},{"id":"c5d1c4ee-c5dd-5526-a357-f968533cd6be","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In 1904, a lavish outdoor performance of Josephin Peladan’s *Semiramis* was staged. The massive set recreated features of the Assyrian palaces discovered by Paul Émile Botta at Khorsabad. The costumes were a mix of Assyrian, Egyptian and fantasy elements.","partner":null}},"curator_status":"Y"},{"id":"bc794754-d095-53e4-90c2-e4f2b5406077","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The winged bulls that once protected the doorways of Assyrian palaces became well-known images in 19th-century Europe. This gold pendant, made in Rome, draws on this popular motif to create a style of jewellery fusing contemporary tastes with fashionable ancient motifs.","partner":null}},"curator_status":"Y"},{"id":"7a66ac7e-e537-5099-bcf6-d574ade2e10c","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Artisans of the 19th century drew inspiration from their ancient forebears. This elegant glass vase, with stylised lotus leaves and buds decoration, was inspired by an Egyptian faïence lotus cup at the British Museum.","partner":null}},"curator_status":"Y"},{"id":"3bc9a9b0-a7fe-59d9-9819-5e3a9265f4a4","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"This gold necklace, in the form of cast alternating lotus flowers and buds, illustrates the influence of Egyptian motifs on 19th-century French jewellery. As was typical, this necklace is not derived from an original, but is a more free creation based on pattern books.","partner":null}},"curator_status":"Y"},{"id":"870e10a2-491d-5ec7-881d-703d19098570","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Edwin Long’s famous grand painting *The Babylonian Marriage Market* encapsulates the Victorian fascination with the ancient Near East. It is very well informed by archaeological discoveries, but is also based on a story in Herodotus of Mesopotamian life, laced with Orientalist fantasies.","partner":null}},"curator_status":"Y"},{"id":"52a99ada-0675-50d5-a178-836792f337d3","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Federico Faruffini’s *The Virgin at the Nile* shows a scene of sacrifice. In the painting, the artist proposes the integration of two separate contexts through a different pictorial rendering: on the brighter upper part, he sets the historical character and in the lower zone, the more narrative, of obvious academic inspiration. The artist had researched well the customs, traditions and architecture of ancient Egypt.","partner":null}},"curator_status":"Y"},{"id":"93ae9a92-2eeb-5864-aa3f-f804d80d9877","display_order":9,"variant_order":null},{"id":"e5b5e193-f08b-5657-b562-1f2add9c333b","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Carlos de Haes painted this work without ever having visited Egypt. The main theme is based closely on print publications of the Temple of Kom Ombo on the east bank of the Nile Valley. The palm trees and other details were supplied from this imagination.","partner":null}},"curator_status":"Y"},{"id":"3b3c9b35-91d8-5460-af41-e16d0268e789","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The railways provided easy access for European tourists to visit cities in the Ottoman Empire, and the many archaeological sites. Tourist income became increasingly important to local economies.","partner":null}},"curator_status":"Y"}]},{"id":"0eae66db-d5ca-5b6f-a116-8e7643a51538","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_31","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:31","parent_id":"b647d8d2-0a0f-5951-af75-816364a08456","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"8f55adc5-662c-55f8-a485-b18851210a66","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Ottoman railways were first begun in 1856. The first railway in Anatolia was built between Izmir and Aydın, to connect the port of Izmir with the interior.","partner":null}},"curator_status":"Y"},{"id":"d8d34fe2-1034-53c0-ae9e-ca9794a01c63","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The İzmir–Aydın line was laid by a British company in 1860. It was followed by the İzmir–Kasaba line in 1865, Rumeli railway line in 1869–77, Anatolia–Baghdad in 1872 and Mudanya–Bursa in 1892.","partner":null}},"curator_status":"Y"},{"id":"4318dbfb-9a52-562e-8cea-6daf8a6a9d78","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The Ottoman railways were mainly built during the period of Sultan ‘Abd al-Hamid. Rumeli railway line was built in 1869–77. This picture is included in one of the albums of the Sultan, compiled to document in pictures all the buildings and facilities he built.","partner":null}},"curator_status":"Y"},{"id":"59c09c6e-e0cc-5963-83cc-fd6b4aea8244","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"From the second half of the 19th century, during the reign of Sultan ‘Abd al-Hamid, important railway works were promoted by the Sultan. Built by British or German companies, the aim was to connect important ports with the interior and facilitate the trade of raw materials to important ports.","partner":null}},"curator_status":"Y"},{"id":"b1ada77d-4a0f-5105-a292-423509ecec6b","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Haydarpaşa Station was the northern terminus of the Baghdad Railway and the Hijaz Railway in 1904. German architects were employed to build it. It is one of the buildings that reshaped the architectural tradition of Istanbul and, together with Sirkeci Station (the terminus for the Orient Express), it reaffirmed Istanbul’s cosmopolitan tradition.","partner":null}},"curator_status":"Y"},{"id":"76457a6e-00a0-52e0-a869-4eec84837b92","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The first railway station in Macedonia was constructed in Skopje in 1873. The railway was commissioned by the Ottomans from the Compagnie des chemins de fer Orientaux.","partner":null}},"curator_status":"Y"},{"id":"22ba355b-61ed-56c7-97f9-3b2325767140","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The railway opened on September 1892, connecting Jaffa to Ludd, ‘Ayn Sejed, Deir ‘Aban, Bither and Jerusalem. An renowned ancient port for the export of cotton, cereals and oranges, Jaffa port was a natural outlet for Jerusalem and the destination for a growing number of pilgrims. Hence the importance of the railway, which reached the port.","partner":null}},"curator_status":"Y"},{"id":"640180dd-059b-54fe-a33c-0700c3dd70f8","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Aleppo, a strategically important commercial city linking the Jazirah, Mosul, Baghdad, the Euphrates, Egypt and the Mediterranean, was connected by railway to the distant but dynamic port of Beirut in 1906. This oriented the Aleppo region to the Syro-Lebanese area, but it was still contended by opposing economic interests and from 1912 the city was linked to the Berlin–Baghdad railway.","partner":null}},"curator_status":"Y"},{"id":"894e770e-bdda-5d94-ae6c-90aaf47244ae","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"This building was the headquarters of the railway company in Lebanon where the profits were made and currencies exchanged.","partner":null}},"curator_status":"Y"},{"id":"3b3c9b35-91d8-5460-af41-e16d0268e789","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The Orient Express, which was owned by the Compagnie Internationale des Wagons-Lits, connected Paris and Istanbul between 1883 and 1977. In its first journey from Paris, French, German, Austrian and Ottoman diplomats and civil servants were on board. The Orient Express was a fashionable train catering for the leisure travels of the upper class.","partner":null}},"curator_status":"Y"},{"id":"8ba03860-993b-5dbf-9a66-b44cd6b52d86","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A poster by Roger Broders, a French illustrator and artist best known for his travel posters promoting tourism destinations in France. The Simplon Orient Express offered an alternative, simpler route to the main Orient Express train.","partner":null}},"curator_status":"Y"},{"id":"e1be7517-b6b1-576b-8acd-653f24c29ba9","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Damascus Railway Station was the main station on the Hijaz Railway. The Hijaz Railway was built from 1900 onwards by Sultan ‘Abd al-Hamid with the support of Germany.","partner":null}},"curator_status":"Y"},{"id":"21301784-a7a9-5271-b156-37a91e6af337","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Ma’an was traditionally a station along the route of the Islamic pilgrimage to the holy cities of Mecca and Medina in Hijaz (today Saudi Arabia). As a station for pilgrimage, it had some special requirements (such as water supplies). The Hijaz Railway included the ancient pilgrimage caravan stations in its route.","partner":null}},"curator_status":"Y"},{"id":"b4a14dd7-63bc-5f3a-b31a-2ae6a297fc74","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The Hijaz Railway eased pilgrimage to the holy places of Islam. It also had other purposes: control of the Arab tribes and lands in Arabia and providing alternative commercial routes not controlled by the British Empire and its allies. Qatranah was an ancient pilgrimage station along the route of the Islamic pilgrimage to the holy cities of Mecca and Medina.","partner":null}},"curator_status":"Y"},{"id":"ea68ca74-8e7f-519d-98cf-82fb84aa3d58","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"A medal issued to commemorate the inauguration of Ma’an station on the Hijaz Railway line, with the *tughra* (imperial monogram) of Sultan ‘Abd al-Hamid. The sultan promoted this work in a strategic context both at the local level (control on the Arabian Peninsula) and at the international level (collaboration with Germany).","partner":null}},"curator_status":"Y"},{"id":"1f47ed93-cd30-5e50-a285-fa35fb1728c8","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Mada’in Salih station was built in 1907 along the route of the Hijaz Railway, and it was one of the main stations in the Hijaz (today Saudi Arabia). The project was managed by the Ottoman official Mukhtar Bey.","partner":null}},"curator_status":"Y"},{"id":"6c6bffc7-20e9-569d-88cc-50d1ea81c42a","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"This station along the Hijaz Railway route was built in 1907. The project was managed by the Ottoman official Mukhtar Bey.","partner":null}},"curator_status":"Y"},{"id":"a0e6366a-857a-5838-b99e-0c94fb227f54","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"This station of the Hijaz Railway on the route of Islamic pilgrimage, next to the Jordanian border, is located in a town already famous in antiquity for being a station along the pilgrimage route of the caravans. With the building of the Hijaz Railway, new means of transport were added to the caravan routes.","partner":null}},"curator_status":"Y"},{"id":"b1dc4de3-1a52-53d0-8dcb-4569af75ef27","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"This stone bridge was built in 1907 between Tabuk and al-‘Ula stations along the route of the Hijaz Railway. The project was managed by the Ottoman official Mukhtar Bey.","partner":null}},"curator_status":"Y"},{"id":"d0602307-9a81-587d-b9b3-2b8e93c844eb","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Al-Madina station represented an important milestone on the Hijaz Railway, being the main station for pilgrims located in the Muslim holy city of Medina. The first train arrived at this station in 1908.","partner":null}},"curator_status":"Y"},{"id":"7d30a2cd-fc11-5624-b8c4-b8d92b2e5e38","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"On the initiative of General d'Amade who had led the pacification of the plain of Chaouïa (1907–08), Casablanca and Berrechid, the local supply centre for the French troops, were connected in 1908 by an industrial railway built by the French company Decauville.","partner":null}},"curator_status":"Y"},{"id":"e3b28f28-4ce6-5e60-9902-8e13ef295f77","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"In 1910, the Compañía Española de Minas del Rif built a railway between the Spanish territory of Melilla and the iron mines of the Uixan and Axara mountains.","partner":null}},"curator_status":"Y"},{"id":"4489055a-7c22-5ee2-b83a-00d5a4759ff6","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"Following the general trend of the Lebanese and Palestinian ports, competing to have railways connecting them to significant commercial cities in the interior, Tripoli was also connected by railway to Homs in order to increase the traffic of its port.","partner":null}},"curator_status":"Y"},{"id":"2beb8ede-81f6-5a62-aa22-de18127faa93","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"After the industrial railways were built since 1908 to supply the French troops, the Compagnie des chemins de fer du Maroc was founded in 1920 to set up a national railway network. The first segment of the line Casablanca–Rabat was inaugurated in May 1923.","partner":null}},"curator_status":"Y"},{"id":"45f8402d-e18b-5199-b2ae-ecde35d016ae","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"The inauguration of the Aswan line was a public event. The line was built along the Egyptian commercial route, including Aswan, between Nubia and Sudan. The improvement of commercial routes with the latest technical innovations began in the 19th century and continued in the 1920s.","partner":null}},"curator_status":"Y"},{"id":"4b55c559-2654-5a6f-a502-72a32dfa2c6a","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"The Aswan Railway is one of the most important railway lines built during the reign of King Fuad, when Egypt had gained independence. The story of the Egyptian railways began in 1851 with the first railway line in Africa and the second line worldwide.","partner":null}},"curator_status":"Y"},{"id":"47fcbd3c-bf49-59d2-b9ac-7634939dbb18","display_order":18,"variant_order":null,"curator_status":"N"},{"id":"b532b295-4380-5ea9-951e-1e3a7150eff2","display_order":19,"variant_order":null,"curator_status":"N"},{"id":"f31fd223-2144-5b45-8b4a-8cf3c4d36bc5","display_order":20,"variant_order":null,"curator_status":"N"},{"id":"6c348586-1356-5ba4-b2b5-0c09d19282dc","display_order":21,"variant_order":null,"curator_status":"N"},{"id":"b8bb387e-75d0-55d8-89ae-9322c204928c","display_order":22,"variant_order":null,"curator_status":"N"},{"id":"4acd8717-82fe-538c-b4c9-53b16ce962bb","display_order":23,"variant_order":null,"curator_status":"N"},{"id":"275443d0-1d7d-5e19-a7ef-50820f9add5d","display_order":24,"variant_order":null,"curator_status":"N"},{"id":"3879757a-f06b-5c78-885b-5bf3ddf848b8","display_order":25,"variant_order":null,"curator_status":"N"},{"id":"03762b34-622e-5cca-85b2-11ca849dd5d2","display_order":26,"variant_order":null,"curator_status":"N"},{"id":"9e9f6fa6-b6c4-5566-9322-05ca25f72753","display_order":27,"variant_order":null,"curator_status":"N"}]},{"id":"011c5847-612b-53ac-9000-4a8a979a44d5","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_34","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:34","parent_id":"72747f8c-e712-5499-a088-c8054e9b4aa6","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"678d0b51-8dc7-59f3-818b-402d1bec24d6","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The building of dams on the Nile to provide continuous irrigation, independent from floods, continued through the 19th and 20th centuries. The Delta Barrage, one of the most famous dams, was commissioned by Muhammad ‘Ali Pasha from the French explorer Linant de Bellefonds and the French engineer Eugène Mougel. Muhammad ‘Ali was the first to deal with old needs (like irrigation) with new technical tools.","partner":null}},"curator_status":"Y"},{"id":"0c667bca-0934-5597-9606-a0052b8b5720","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The great barrage on the Nile Delta was built during the government of Muhammad ‘Ali Pasha, but it had to be restored in the following decades because of technical problems. It was famous as a tourist site for Europeans travelling to Egypt in the second part of the 19th century.","partner":null}},"curator_status":"Y"},{"id":"5bdaed42-778f-5c44-bbc4-20cefe2c165b","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Giulio d’Aspremont documented for the Società Geografica Italiana the construction of the Old Aswan Dam on the Nile, in southern Egypt. The dam was built by the British engineer William Willcocks, during the British occupation of Egypt, as part of a plan to provide water for irrigation year round.","partner":null}},"curator_status":"Y"},{"id":"a946e99a-c0f3-5d45-9fb0-6eec1cfb9b75","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The Old Aswan Dam was built next to the first cataract of the Nile river. It reshaped the surrounding environment: irrigation no longer depended on floods. European workers were attracted by this job opportunity and recreated in Egypt their own traditional social fabric.","partner":null}},"curator_status":"Y"},{"id":"9825c289-5dc5-5c51-b115-fa920eda0b57","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The Società Geografica Italiana, founded in 1867, conducted geographical studies and explorations of regions still little known in the second half of the 19th century, such as the course of the Nile river in its southern part and especially eastern Africa.","partner":null}},"curator_status":"Y"},{"id":"03110c09-4d62-5959-a659-ea8534ac6e28","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Italian immigrants working side by side with local Egyptian workers at the construction site of the Old Aswan Dam on the Nile.","partner":null}},"curator_status":"Y"},{"id":"4c12bb09-5654-50d7-9357-afc588c0f91d","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The Sennar Dam, completed in 1925 in the city of Sennar, Sudan, was one of the dams built along the Nile to provide balanced irrigation year round. This dam provided water for irrigation of cotton crops of the Jazirah plan and for hydroelectric power.","partner":null}},"curator_status":"Y"},{"id":"a5f9ccce-bdce-5ea9-8c27-06ad29d2353c","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"An example of a dam built not only for irrigation but also to serve for the needs of a factory. This dam was built for the chocolate factory Menier, which processed its products using the energy derived from the force of water.","partner":null}},"curator_status":"Y"}]},{"id":"7ea608e5-28ee-58f5-a1ce-2f16aeb062b6","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_36","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:36","parent_id":"5ec1519b-da0d-5ea9-94f2-953fa0a42c81","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"4ceec2b5-7808-56c2-b795-ced282fa861d","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Napoleon I promoted the use of telegraph in the territories he conquered. In his military campaigns, he recognised the importance of technical innovations.","partner":null}},"curator_status":"Y"},{"id":"d1281641-f7a2-5961-be72-73fcc5949104","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"A telegraph transmitter from the Postal Museum in Istanbul. Telegraph was a global tool. The first telegraph networks in the Ottoman Empire were started between 1847 and 1855.","partner":null}},"curator_status":"Y"},{"id":"dfc4cc0b-d5f3-5aa9-a482-5dd72c63bdf8","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This map was included in a guide with sailing indications for British ships crossing the Red Sea on the route to India. Submarine telegraph cables had been installed between Suez, Sawakin and Jiddah (ports on the Red Sea). Telegraph communication developed also between ports and along strategic trade and mail routes.","partner":null}},"curator_status":"Y"},{"id":"6fb5d317-b1c7-55c6-a5a1-452d17f4b70a","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Towards the end of the 19th century, telegraph had developed and was widespread and familiar. It was seen as another sign of progress.","partner":null}},"curator_status":"Y"},{"id":"b1caaa98-898d-5835-84d6-2569546ecf1d","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"European diplomatic and economic interference in Morocco, consolidated by the Commercial Treaty of 1856, is illustrated by the crisis over the Tangier–Gibraltar telegraph line. The British Eastern Telegraph Company built the line in 1884–87 without the permission of the Sultan Mulay al-Hasan as a *fait accompli* and in spite of his protests.","partner":null}},"curator_status":"Y"},{"id":"ad3c4a56-381f-553f-b5a5-133f25218054","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Telegrams were a widespread form of communication at the political and official level.","partner":null}},"curator_status":"Y"},{"id":"343b5161-2634-5e60-ba87-3693490baf83","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"During the reign of Sultan Mulay ‘Abd al-Aziz telegraph lines were introduced in Morocco.","partner":null}},"curator_status":"Y"},{"id":"2de7ed41-7aaa-5c57-b454-3ebdfa97e428","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"During the reign of Sultan Mulay ‘Abd al-Aziz, on the eve of the French protectorate, wireless telegraph communication was made possible between Paris and French ships in the port of Casablanca. This newspaper celebrates Edouard Branly and Guglielmo Marconi, two pioneers of radiocommunication.","partner":null}},"curator_status":"Y"}]},{"id":"9c0c8080-79f4-5160-90fb-510f0e4b5abc","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_39","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:39","parent_id":"7d68e2e9-6d60-5c4f-938e-3972cbd0cc77","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"1b350001-5006-5f24-bc12-29f7589319af","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The first landscapes of the Arab and Ottoman world depicted by Europeans were engravings, but these related more to geographical descriptions of cities, ports and harbours than they did to landscape views. These three engravings show different views of Algiers.","partner":null}},"curator_status":"Y"},{"id":"3c81118b-d41d-514c-bb93-87850f2cc0d1","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The first landscapes of the Arab and Ottoman world depicted by Europeans were engravings, but these related more to geographical descriptions of cities, ports and harbours than they did to landscape views. These three engravings show different views of Algiers.","partner":null}},"curator_status":"Y"},{"id":"c30744ff-e34a-5568-a818-fa8429cf37a9","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The first landscapes of the Arab and Ottoman world depicted by Europeans were engravings, but these related more to geographical descriptions of cities, ports and harbours than they did to landscape views. These three engravings show different views of Algiers.","partner":null}},"curator_status":"Y"},{"id":"bb8237ee-e92e-5329-9529-6fd346236dd0","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The print shows Ibrahim Pasha’s camp at Jaffa during the Egyptian–Ottoman War (1830–33). This engraving was printed for the review *Panorama Universal*. The engravings and illustrations published in books, newspapers and reviews greatly influenced the development of Orientalist painting.","partner":null}},"curator_status":"Y"},{"id":"2ab573cd-8e69-51f0-8275-3af031e2fa06","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This view of the city and harbour was painted by Charles Rumker when he was serving with the British Navy on HMS *Albion*. The travels of artists and amateurs produced many paintings and sketches of landscapes from the Arab and Ottoman world.","partner":null}},"curator_status":"Y"},{"id":"6eca5184-69aa-5866-8c8d-9b32d60fd187","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This illustration is from a book entitled *Voyage Pittoresque dans la régence d’Alger*. The publication was part of the French colonial campaign to discover new territory.","partner":null}},"curator_status":"Y"},{"id":"e77f7585-833b-5120-a08a-4e03b131f833","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"One subject often tackled in Orientalist painting is the depiction of ancient remains. The interior of the Temple of Bacchus at Baalbek, Lebanon, seen here, formed part of the book entitled *Syria, The Holy Land, Asia Minor, &c*, which was illustrated with views and plans. The architectural and artistic details recorded in this publication subsequently inspired European architects and artists.","partner":null}},"curator_status":"Y"},{"id":"b9ec5638-cdfd-59b1-9665-cf8e39b21d9b","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The Maltese (British) artist Amedeo Preziosi, like many of his contemporaries, had been lured to the city of Istanbul for its alleged exoticism. But in his paintings, Preziosi also tried to reflect the cultural diversity of the city. In his watercolours in particular the artist seems to express his admiration for the blue water of the Bosphorus, which he depicts populated by caïques, pavilions and palaces, boats, mansions, residences, bazaars and cemeteries.","partner":null}},"curator_status":"Y"},{"id":"67aa0756-7dec-5fdf-a48c-f7c56bbd3c48","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Views of ancient buildings and remains were often the subject of Orientalist paintings. This view of the Roman Aqueduct of Cherchell, in Algeria, was painted by the French artist Eugène Fromentin. One of the earliest European painters to travel to Algeria, and quite young when he arrived, the country’s landscape and people were subjects that inspired most of his work.","partner":null}},"curator_status":"Y"},{"id":"4a617bed-3c19-5563-b98a-4cd98cda144d","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The Spanish painter Franciso Lameyer travelled to many different parts of the world: Morocco, Egypt, China, Japan and the Philippines. This painting was made in around 1863 when Lameyer travelled to Morocco with the artist Mariano Fortuny. The reason for their journey was to paint the “picturesque” garments and way of life of the people of Morocco.","partner":null}},"curator_status":"Y"},{"id":"9b44e7da-e4ce-51fe-a09e-946b4f817954","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The artist has incorporated the changing light of the sun in this depiction of the shores of the Bosphorus in Istanbul. Although the work resembles a sketch with its relatively small size and unfinished look, it is a good example of the importance of the treatment of light in Orientalist paintings.","partner":null}},"curator_status":"Y"},{"id":"c2d7dded-69f6-5450-9ae1-d5680237968b","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The artist has incorporated the changing light of the sun in this depiction of the shores of the Bosphorus in Istanbul.","partner":null}},"curator_status":"Y"},{"id":"c96923cb-dba0-5c95-81e1-1742fdb0a515","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"In this view of Istanbul, French painter Félix Ziem attempts to depict the “real” city and picturesque aspects of life at sea against the backdrop of the city’s silhouette. The use of vibrant colours and the artist’s efforts to capture the constant change of light are two features common in Orientalist paintings.","partner":null}},"curator_status":"Y"},{"id":"95cff7a3-4aaf-5c15-8a93-e9f1eb66d9e1","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The Spanish artist who painted this landscape had never travelled to Egypt, but he knew what the landscape looked like thanks to the various publications that were widely available. It is important to note that in most of these landscapes the artist mixes different views, including ancient remains from Egyptian, Greek or Roman temples, or his own inventions based on a variety of engravings.","partner":null}},"curator_status":"Y"},{"id":"e5b5e193-f08b-5657-b562-1f2add9c333b","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The Spanish naturalist painter Carlos de Haes never travelled to Egypt, but he depicted this Egyptian landscape thanks to engravings and photographs of Egypt that were published and sold widely. De Haes is one of Spain’s most important landscape painters who, in 1857, became the first professor of landscape painting and the first to teach painting directly from nature.","partner":null}},"curator_status":"Y"},{"id":"a15b7e00-538c-5aa8-a826-c4febf856606","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"In 1870, Cesare Biseo was working in Egypt decorating the first Cairo Opera House; in 1877, he took part in the Italian diplomatic delegation to Morocco. This painting shows an exotic *Verismo*, drawing on themes from real life and emphasising naturalist elements, both sentiments on which the Orientalist artists relied too due to increasing Italian interests in North Africa.","partner":null}},"curator_status":"Y"},{"id":"df2df39f-10d6-5018-8f8a-0c38e886c096","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Émile Henri Bernard is linked to several European avant-garde movements at the end of the 19th century, such as Impressionism and Symbolism. In 1893, while travelling to Egypt, Spain and Italy he painted this view of Cairo. While his treatment of the view may be said to relate directly to the avant-garde movement, his inspiration is Orientalist.","partner":null}},"curator_status":"Y"},{"id":"1c205c93-bc85-56c7-bb96-3f280389af94","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The Alhambra Palace fascinated travellers to Spain during the 19th century. Sorolla was first struck by the Alhambra in 1902; during successive trips to Granada in 1909, 1910 and 1917, he depicted many different views of it. In this view of the Patio de Comares, the artist highlights the reflection of the arches over the pond and pays particular attention to the treatment of light.","partner":null}},"curator_status":"Y"},{"id":"70fdcb57-1eeb-5564-b13a-e80bde43f3ba","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"Sorolla depicted the Alhambra Palace many times. In this painting he focuses on the doorway to the Golden Room from the palace courtyard. With an interest in architecture, but especially in Arab gardens, the artist concentrates on the play of light on the water in the pools and not so much on other topics.","partner":null}},"curator_status":"Y"}]},{"id":"4561fca8-d47a-5892-b1d5-04d0298eb3d5","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_52","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:52","parent_id":"bb2620a9-f87c-5da2-9ee9-25d3d53ac2d9","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"6a6e9eb9-6672-5c93-a85f-f911188ec1ce","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The tankard was bought in 1883 by Philipp Haas, the founder of the factory Haas & Söhne, which produced carpets and furniture fabrics in Vienna in 1810. The industrialist made use of the museum’s collections as inspiration for his products.","partner":null}},"curator_status":"Y"},{"id":"cbc34421-cbf1-565d-b4bd-d91bdc792930","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Fragments of the *minbar* from the Mosque of Ibn Tulun in Cairo were exhibited at the World Trade Exhibition in Paris in 1867. Exhibition of objects like this promoted European museums’ interest in acquiring similar works.","partner":null}},"curator_status":"Y"},{"id":"4ba698dd-340a-5068-ac6e-53bd809620f8","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Enamelled glass was particularly popular with collectors during the latter part of the 19th century. Gustav Schmoranz compiled this publication, in 1899, about enamelled glass in private and public collections.","partner":null}},"curator_status":"Y"},{"id":"073cada1-b5a8-5fa6-bce4-4879f04d6814","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Many ceramics from İznik and Kutahya were collected by members of the Greek community in Egypt. Works were acquired through a network of dealers, such as Phokion Tano or Boghos Ispenian, whose names are sometimes shown on the objects.","partner":null}},"curator_status":"Y"},{"id":"476f71b7-f16d-54c8-85e4-ed053fa70b87","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The pen box was acquired by the British Museum in 1884, while Sir Augustus Wollaston Franks was Keeper of British and Medieval Antiquities and Ethnography. A collector himself, during his time as Keeper he acquired a number of objects for the BM as well as donating his personal collection to the museum.","partner":null}},"curator_status":"Y"},{"id":"56ca4b0e-6b96-51e1-9a41-815aad91e661","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The geomantic instrument, signed by the craftsman “Muhammad b. Khutlukh al-Mawsili” was acquired for the British Museum in 1888 by Sir Augustus Wollaston Franks.","partner":null}},"curator_status":"Y"},{"id":"98176d85-368c-5bcb-9ca0-e03314e1aa13","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The amulet is another object acquired for the British Museum by Sir Augustus Wollaston Franks in 1891.","partner":null}},"curator_status":"Y"},{"id":"b23d072c-13ac-5c66-9709-b4cefd84d692","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"A silver portable inkwell, decorated with Oriental motifs, consisting of an ink container and a compartment for keeping quills. It belonged to Romanian politician and writer Ion Ghica, who was Bey of Samos (1854–59).","partner":null}},"curator_status":"Y"},{"id":"c2b2223d-a18d-567f-a3db-ca8e7fcc63f5","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The ivory plaque was bought by Antoni Benaki in 1919 from the Cairean dealer Maurice Nahman. Nahman provided objects to many of the most important collectors at the beginning of the 20th century.","partner":null}},"curator_status":"Y"},{"id":"39b4a764-56c1-5020-87f2-1df398a84d8a","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The dossier of acquisitions from the beginning of the 20th century belonged to Antoni Benaki. Acquiring his collection while living in Egypt, when he moved to Greece in 1926, he continued to purchase works of art from dealers in Cairo.","partner":null}},"curator_status":"Y"},{"id":"176c309e-be45-54b8-81a1-917857d46338","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Lázaro Galdiano was one of the most important Spanish art collectors. He was particularly interested in the Islamic art of Spain and bought many works of art from this period for his collection.","partner":null}},"curator_status":"Y"},{"id":"316cb158-b737-5946-b4f5-2c1e7c67bb07","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The Spanish artist Mariano Fortuny (1871–1949) had a good knowledge of Islamic textiles and formed a collection, which inspired him. He designed many fabrics that followed the rich decorative schemes of Islamic designs.","partner":null}},"curator_status":"Y"},{"id":"097719cc-6187-5302-96cc-c309d799ec93","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"This parapet well, from the collection of Lazaro Galdiano, is an example of the influence the Alhambra Palace had on art and collecting. Pieces from the Alhambra were among the most valued by European collectors, such as this marble well that probably came from the palace.","partner":null}},"curator_status":"Y"},{"id":"dcf00ffc-65c1-57d4-a83f-82ea0a6c476a","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Collectors of Islamic art, including the Spanish collector Lázaro Galdiano, were interested in buying not only architectural fragments or ceramics but also jewellery, such as this piece. Its Nasrid-period provenance probably increased its value, because of its potential relationship to the Alhambra Palace.","partner":null}},"curator_status":"Y"}]},{"id":"512ed3b3-336e-5d96-8bc8-98a0ad71b574","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_55","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:55","parent_id":"db572bae-9f2f-5ccf-990b-01976695a7f8","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"5ec581f1-3f8e-5a5c-bdc5-c2d1b4b525e3","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In 1914 the Singer Company, an American manufacturer of sewing machines, established an Italian subsidiary in Milan. As proved by this advertisement, Singer sewing machines produced in Italy were also sold in Libya, which had become an Italian colony in 1912.","partner":null}},"curator_status":"Y"},{"id":"94c59dc9-5032-599d-bcf3-18eec377e4fa","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Apart from the garments and cloths it imported from Western Europe, Tunisia also purchased gold and silver threads, as well as articles of passementerie, which were used in the ornamentation of traditional clothes.","partner":null}},"curator_status":"Y"},{"id":"9538f776-9e52-5f16-ad4d-5fc1ca0568aa","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, gold thread, which was used in adorning traditional garments, was imported by Algeria from Europe, especially from Lyon.","partner":null}},"curator_status":"Y"},{"id":"bb542d79-d99d-5291-a57c-0b72137d0e2f","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In 1826 the fez, worn in the Greek islands and already in use among North African Muslims, replaced the turban in Ottoman army uniforms, becoming in 1829 compulsory for male civilians too. Fezzes were imported from Austro-Hungary until 1908, when its annexation of Bosnia-Herzegovina triggered an Ottoman boycott of Austrian goods. In 1925 wearing a fez was forbidden by Kemal Ataturk (first President of the Turkish Republic) because fezzes were considered a reminder of the old regime.","partner":null}},"curator_status":"Y"},{"id":"f310be0c-2e4a-5a7a-ab0c-baaa41091e32","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Gold and silk threads were imported by Tunisia, as well as by Algeria, mostly from Lyon, a French city famous for its production of textile gildings (*dorures*) and articles of passementerie until the 1920s.","partner":null}},"curator_status":"Y"},{"id":"1df2efa8-09f6-56fe-b40d-5cff853bf496","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Even though flintlocks had been manufactured in the Ottoman Empire since the end of the 16th century, three centuries later the Ottoman army was being equipped with handguns imported from Western Europe, whose weapons industry was significantly more advanced than the Ottoman one.","partner":null}},"curator_status":"Y"},{"id":"8ca42471-fa97-56f9-94ac-a3f4088b69ff","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In the late 19th century, as Moroccan Sultan Hasan I took measures to increase the military capacity of his sultanate, he also deemed it necessary to modernise the army’s weaponry. Firearms and artillery were therefore purchased from Western Europe, mostly from the UK and France, but from other countries too.","partner":null}},"curator_status":"Y"},{"id":"99c365eb-e061-5123-97ee-c6128fee870f","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Western European firearms represented one of the prime European imports of the Arab Emirates on the western coast of the Gulf. At the same time, guns were produced locally based on European models.","partner":null}},"curator_status":"Y"},{"id":"b2525f86-10f4-5e6f-b558-0f92275571e7","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"For the manufacturing of swords, blades were imported in 19th-century Morocco from Syria, but also from Toledo, where blades whose steel was considered comparable in quality to Damascus steel were produced by the Royal Manufactory built in 1780 outside the city in the valley of the river Tagus.","partner":null}},"curator_status":"Y"},{"id":"aea6e497-0dd2-52bd-b31b-8f9ac8b8e29c","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"As well as importing European finished goods, in the Arab and Ottoman world there were attempts to modernise local industries by using European technology and specialists. In 1885 Moroccan Sultan Mulay al-Hasan founded a weapons factory in Fez, near the royal palace. Called by the inhabitants *makina*, from the French word *machine*, the factory was equipped with Italian machinery. An Italian officer and two mechanics were hired to administrate it, while the labourers were local ironsmiths.","partner":null}},"curator_status":"Y"},{"id":"275bf73d-6170-5205-804c-fbb1ff637342","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The imperial tile factory in Istanbul, which produced high-quality European-style ceramics for the Ottoman market, was built following the plans of Italian architect Raimondo Tommaso D’Aronco. It functioned between 1895 and 1936, using technology similar to that found in the French porcelain factory of Sèvres and employing both Turkish and European artisans.","partner":null}},"curator_status":"Y"},{"id":"bc4af44a-740c-54ce-806a-021695934601","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The porcelains produced by the Yıldız factory with local materials and traditional Turkish designs, but using European techniques, were destined for the Turkish court and upper classes, in an attempt to reduce ceramics imports from Europe.","partner":null}},"curator_status":"Y"},{"id":"3854487a-c60c-5835-adc0-fa6fe0ed8d59","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, Italians were Egypt’s main foreign community after the Greek one. Some Italians had set up successful businesses such as the furniture factory of Giuseppe Parvis, who settled in Cairo in 1859 and whose products were very popular with wealthy Egyptians.","partner":null}},"curator_status":"Y"},{"id":"4b719ab5-caa8-53d7-a185-809f12af918c","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, members of the Moroccan upper classes purchased items of furniture made in Western Europe. Italian producers were among the most appreciated.","partner":null}},"curator_status":"Y"},{"id":"74dafe7a-b3e7-5be6-b35d-e97ef0242008","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"At the beginning of the 20th century, Morocco’s war fleet comprised a cruiser and two troopships. 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The museum collections are organised chronologically and thematically. It was founded in 1868 after Luigi Palma di Cesnola gifted a collection of Cypriot pottery to the newly formed American University of Beirut. Di Cesnola was an Italian-American who used his posting as a diplomat to conduct important archaeological work in Cyprus.","partner":null}},"curator_status":"Y"},{"id":"2bcb43f7-b5d0-5c2b-a273-3d6e8643ed05","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Virgil Mosaic is one of the jewels of the Bardo Museum. Discovered in Sousse, ancient Hadrumetum, in 1896, this is the oldest representation of the poet yet known. Flanked by Clio (muse of history) and Melpomene (muse of singing), Virgil sits at the centre holding a parchment scroll. 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Other European powers tried to establish rival institutions, but none could match it in scale, scope or available resources.","partner":null}},"curator_status":"Y"},{"id":"de396583-d36c-5778-8aad-ae257aff9345","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Founded in 1771, the Vienna Stock Exchange crashed in 1873 in the wake of a global economic crisis that ushered in the Long Depression that was to last until 1896. Southern Mediterranean countries suffered during this period too: foreign trade declined, trade terms deteriorated and growing European interference in the region’s financial affairs led to increasing indebtedness and foreign credit.","partner":null}},"curator_status":"Y"},{"id":"e06ef895-2b01-5e26-b048-45ebf4f4ecc7","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The greatest economic world power up to the 17th century, Portugal faced grave challenges throughout the 1800s. 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The verso of this celebrative medal reads: “Proposed by H.R.H Prince Albert. Designed by Josh Paxton. Erected by Fox Henderson & Co. Occupies 18 acres.” The recto details the measurements of the building and the weights of the steel and glass.","partner":null}},"curator_status":"Y"},{"id":"5399c399-4ead-5147-a1fb-14b857acaaf5","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The celebrative medal struck for the exhibition held in Vienna in 1873 depicts the “Rotunda” pavilion designed by Scott Russell; there is a portrait of Emperor Franz Joseph I on the obverse. The medal commemorates the 25th anniversary of the emperor’s reign and, after several military defeats, it also represents the Austrian Empire’s integrity while also celebrating the renovated city.","partner":null}},"curator_status":"Y"},{"id":"80035f13-53d6-5c24-82f4-b515c60d1e91","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Pascal Sebah, a pioneering photographer working in Istanbul, prepared *The Ottoman Clothing Album* as an exhibit on the Ottoman stand at the exhibition held in Vienna in 1873. Through modern photographic technology, Ottoman Turkey proposed to occidental visitors a series of “realistic” male and female portraits to provide a powerful image of Ottoman culture.","partner":null}},"curator_status":"Y"},{"id":"af2dcc82-957a-54c2-9a0f-e5e5ba86b4d3","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Pascal Sebah, a pioneering photographer working in Istanbul, prepared *The Ottoman Clothing Album* as an exhibit on the Ottoman stand at the exhibition held in Vienna in 1873. 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Through modern photographic technology, Ottoman Turkey proposed to occidental visitors a series of “realistic” male and female portraits to provide a powerful image of Ottoman culture.","partner":null}},"curator_status":"Y"},{"id":"4e04768a-5d14-5f0c-94df-814f2d4400f7","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This caricature pokes fun at the “universal cult” of Industry, which here is seen seated on a throne alimented with carbon, while all the people of every nationality that surround her are totally oblivious to the pollution. It seems that even works of art can now be produced by machines!","partner":null}},"curator_status":"Y"},{"id":"8c948912-a36b-5142-9ff7-26c982ac3b28","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The iconography connected with individual International Exhibitions was sometimes employed by magazine and newspaper journalists to reveal the “hidden side” of the official narrative connected with them. In France, for example, this cartoon was published to mock good naturedly the auto-celebrative use of the 1889 exhibition which was held during a difficult political period in France.","partner":null}},"curator_status":"Y"},{"id":"e93e2356-ce89-5c16-b735-40f476c4b07d","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The Eiffel Tower, depicted on a poster for the exhibition held in Paris in 1878, is seen as a symbol of France’s industrial innovation and vitality. The other images represent the Palace of Industries where the “Dôme Central” was the first building to use electricity to large extent, and the “Machine Gallery”, intended to promote modern industrial machines, had some exhibits that looked well into the technological future.","partner":null}},"curator_status":"Y"},{"id":"e64cc958-3eac-53d9-a717-4b4ffea3de31","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Photography was one of the most effective mediums for each country to document itself, not only in terms of artistic heritage but also to show elements of popular culture, such as costume for example. This is one of 89 photos taken by the Tunisian Antiquities Service for the European Historic Exhibition held in Madrid in 1892.","partner":null}},"curator_status":"Y"},{"id":"f441f874-4d85-5d61-a241-aca16296bfa2","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The invention of Phono-Cinéma-Théatre made the dual-projection of sound and images possible for the first time. Thanks to a phonograph, Henri Lioret and Clément-Maurice Gratioulet were able to synchronise the voices of famous actors of the time (e.g. Sarah Bernhardt) with the images.","partner":null}},"curator_status":"Y"},{"id":"637e27e9-204e-5721-869e-ad4380dc0140","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The Grand Globe Céleste, situated on the Champ de Mars, became a dominant symbol of the Paris exhibition of 1900. Created to represent France’s progress in scientific research, inside the 50-metre diameter sphere, visitors could discover astronomy. Apart from the huge dimensions of the globe, the poster also illustrates the affluence of the viewing public.","partner":null}},"curator_status":"Y"},{"id":"248b6ee3-8b98-5fe8-a126-461e9a621403","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The Italian community in Tunisia was given the opportunity to take part in the exhibition held in Milan in 1906. The people in the photo, whose names are listed below the image, are all Italian professionals and entrepreneurs who ran commercial activities in Tunisia.","partner":null}},"curator_status":"Y"},{"id":"3540af77-ea01-5e4b-bd04-3e31d3b139e4","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Leopoldo Metlikovitz’s *Manifesto* was created for the exhibition held in Milan in 1906. Through use of a heroic style of Michelangelo-esque inspiration, the personifications of Progress and Science guide a train toward a light seen at the end of the tunnel. This is an allegory to the future, where, finally, thanks to human endeavour, civilisation reigns and great constructions are achieved, such as the Sempione Tunnel linking Italy and Switzerland.","partner":null}},"curator_status":"Y"},{"id":"7d43c91a-0a38-5919-877a-0cdcb651d523","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Electricity played a decisive role at the exhibition held in Turin in 1911, a city with an industrial vocation. An image by Luigi Bompard was chosen for the cover of the volume to commemorate the 50th anniversary of Italy’s unification. It collated all the illustrated dossiers from past exhibitions held in Turin, Florence and Rome.","partner":null}},"curator_status":"Y"},{"id":"5cbc1306-ef23-5202-83f1-7ddb99bf8b51","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"Khedive Isma‘il Pasha invited European sovereigns to the various events to mark the opening of the Suez Canal, celebrations that lasted for over three weeks and included a ceremony at Ismaïlia. Three pavilions were designed in the occidental style based on those seen at past European exhibitions: there was one for sovereign guests, another for the Catholic Church and one for the Muslim ‘Ulama.","partner":null}},"curator_status":"Y"},{"id":"6c6f6415-19dd-5136-9ef7-3e7a144c2f66","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"This is a memorial volume for the World’s Columbian Exposition, or Chicago World’s Fair, which was held in 1893 to celebrate the arrival of Christopher Columbus to the New World in 1492. 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Many Italians were taken to Tunisia, many rising to serve as political or military officials. During the reign of Hammuda Pasha Bey, Italian even became the official language of correspondence with foreigners.","partner":null}},"curator_status":"Y"},{"id":"a3577379-4a3e-5997-913a-756fad78ca88","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This document from the early 19th century lists “Tunisian Turks” who had been taken prisoner by a Sicilian privateer and taken to Palermo for sale.","partner":null}},"curator_status":"Y"},{"id":"2380f8f7-c82d-5b63-945d-edf979f223ee","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Booty, including captives, taken during privateering raids was carefully assessed and administrated. This document lists “25 Turks from the Barbary coast”, who had been taken to Palermo for sale by Sicilian privateers.","partner":null}},"curator_status":"Y"},{"id":"ea69f41d-1b91-5ee4-8097-8aba9db33c0f","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Some foreign captives rebuilt their lives very successfully in their new homelands. Joseph Raffo was born in Tunis around 1795, the son of captive parents originally from Chiavari in Italy. Raffo served the Beys from a young age and soon became an influential figure, even serving as minister for foreign affairs.","partner":null}},"curator_status":"Y"},{"id":"b5822b19-0bac-505f-bb0c-be6490cc1dc6","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Mariano Stinca was a captive of Neapolitan descent who ended up in the service of Hammuda Pasha, the Bey of Tunis (1782–1814). After a long period of activity as a statesman, head of protocol and interpreter, he left a large volume of correspondence written in Italian, now an invaluable historical source.","partner":null}},"curator_status":"Y"}]},{"id":"118184dd-3d6f-5850-b875-de8f1a6d34b7","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_72","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:72","parent_id":"0d6a1796-1c65-528a-b375-c1a9ffc51627","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0f212b46-5c94-5a3d-875d-f50778a5c111","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This document, written on behalf of Tunisian traders based in Constantinople in the 19th century and addressed to the Bey of Tunis, bears witness to the mobility of craftsmen and traders within the Ottoman Empire.","partner":null}},"curator_status":"Y"},{"id":"ba1c6502-ece8-50c7-a051-8ccb55d13f84","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This letter to the Bey of Tunis, dated 1820, is signed by some hundred Tunisian traders resident in the Egyptian cities of Cairo and Alexandria. It is to thank him for appointing his new governmental respresentative in Alexandria, who was their point of contact for legal and economic matters or in times of crisis.","partner":null}},"curator_status":"Y"},{"id":"a5c93080-d37b-5926-ad79-2d9bb61932f2","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The Grand Bazaar in Istanbul was the Ottoman Empire’s most important focus for traders, artisans and craftsmen from all over its lands. Each craft or trade had its own designated area.","partner":null}},"curator_status":"Y"},{"id":"fb62d82c-bb0f-5b66-b3bd-e65d7480fe70","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The old medina of the Regency of Tunis sustained an important economic network in the form of specialised corporate *suq*s. Local and migrant craftsmen and traders mainly set up around the Grand Mosque of Zaytuna. Each *suq* had a particular name, including the *suq* of the Turks, the *suq* of the Bey and the suq of the perfumers.","partner":null}},"curator_status":"Y"},{"id":"75ede8fe-76f3-5385-bdc5-f85fce889190","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In Islamic culture, calligraphers and book makers have always enjoyed high status and been highly sought after. As a result they could travel widely at the invitation of patrons. This Qur’an manuscript, written in Maghrebian cursive script with Ottoman illumination, symbolises the confluence of different artists and their traditions, combining local North African with pan-Ottoman styles.","partner":null}},"curator_status":"Y"},{"id":"8a11b8a8-3b2f-5ba0-8118-5ec32059a75d","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Numerous Turkish craftsmen came to work in Tunis in the early 19th century. They help to develop bookbinding techniques and decoration, represented by this beautiful book cover executed at the time.","partner":null}},"curator_status":"Y"},{"id":"86c2720a-384b-58d3-92a2-3fc1aefd7f1c","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Potters also were often on the move when patronage waned in their homelands and better prospects beckoned elsewhere. This archetypal Tunisian jar from the 18th century combines local artistic traditions with those of Andalusian and Turkish migrants, brought in over centuries.","partner":null}},"curator_status":"Y"},{"id":"a7fd98fa-f450-5ba3-b6d2-3909a56326ac","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"This colourful 18th-century tile panel, on which an arch encloses an Ottoman-style mosque above and a flower vase below, symbolises a fusion of artistic tastes brought to Tunisia by Andalusian and Ottoman Turkish migrants over the centuries.","partner":null}},"curator_status":"Y"},{"id":"d9c388f4-ae74-56f2-b3d4-341eda234a0f","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"This colourful 19th-century tile panel with its exuberant flower vase within an arch symbolises a fusion of artistic tastes brought to Tunisia by Andalusian and Ottoman Turkish migrants over the centuries.","partner":null}},"curator_status":"Y"},{"id":"6db232a1-1948-537d-8bad-3c92a264c7c0","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Carved plaster decorations were highly prevalent in 18th- and 19th-century Tunisian palaces and mansions. Many were executed in a style that represented a fusion of tastes reflecting the country’s diverse cultural legacy – Arab, Berber, Andalusian, Ottoman and later also Italian and French.","partner":null}},"curator_status":"Y"},{"id":"37704ccd-a34d-52a2-84f8-9695829027c7","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Within Arab and Ottoman lands and across North Africa, jewellery making was often the speciality of migrant artisans of – among others – Jewish, Armenian or Circassian background. Wherever they moved, they combined their indigenous traditions with local tastes.","partner":null}},"curator_status":"Y"},{"id":"1e88ab3a-3f62-5a22-b9a2-264a8573788d","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Ottoman weapons such as these flintlock pistols were not only made in Constantinople but also copied by skilled craftsmen all over the Empire and beyond. Many of the craftsmen were ethnically and religiously diverse, itinerant or migrant specialists, such as the Roma in the lands of the Balkans.","partner":null}},"curator_status":"Y"},{"id":"f986df26-3b71-5c3e-8d5b-1a8c60864ea5","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"This dagger bears witness to the skill and professional expertise of the Yemeni community living in Jordan.","partner":null}},"curator_status":"Y"},{"id":"9f97dfd5-8a30-53f7-9503-d00f973c94b8","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Costume from the Arab and Ottoman world and North Africa best represents the demographic complexity and constantly changing migration patterns of the time. This Ottoman-style jacket, once owned by Yusuf Bey Karam, a Lebanese resistance fighter against Ottoman rule, perfectly reflects the confluence of Ottoman, Levantine and even European impulses.","partner":null}},"curator_status":"Y"},{"id":"97603dc7-78b0-567d-995d-706683438f46","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"Palestinian costume reflects the great diversity and richness of 19th-century Palestinian life, based in both towns and the countryside. The arrival of thousands of Jews from Persia, Russia, Yemen and Morocco in the course of the century heralded significant demographic change with consequences still grappled with today.","partner":null}},"curator_status":"Y"},{"id":"ddd75581-2e37-5baa-8483-63c54f368af5","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"This female dress forms part of the traditional costume of the Druze, traditionally based in the lands of Mount Lebanon and other parts of the Levant. A fiercely independent, ethnically and religiously distinct group, they were often forced to migrate – within the region and later abroad – for political and economic reasons.","partner":null}},"curator_status":"Y"},{"id":"be8c9494-f659-53be-b44a-b763609d1e3d","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"In the 19th-century, Ottoman officials and their entourage also had to migrate regularly, as they were posted to the provinces to assume representational duties. The material culture they surrounded themselves with always reflected the reality they lived in, showing a fusion of European-style, traditional Ottoman and regional influences.","partner":null}},"curator_status":"Y"},{"id":"7e932bea-47e5-5386-9498-0e48388f3e95","display_order":18,"variant_order":null,"justifications":{"en":{"curator":"In the 19th-century, Ottoman officials and their entourage also had to migrate regularly, as they were posted to the provinces to assume representational duties. 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Bem, also called Murad Pasha (Tarnów, now in Poland, 1794 – Aleppo, Syria, 1850) was an army officer who had fought for the Hungarian revolution against the Habsburg troops in 1848–49. After its collapse, he fled to Turkey, adopted Islam, and eventually became the Ottoman governor of Aleppo, where in 1850 he saved the Christian population from being massacred.","partner":null}},"curator_status":"Y"},{"id":"2efb58fe-14fe-59df-ad70-18b84374d4f5","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Edmund, Count Szechenyi – born in Bratislava and educated in London – was a specialist in fire fighting. In 1875, the Austrian Emperor Franz Joseph I dispatched him to Istanbul to help set up a fire brigade in the Ottoman capital. 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After the union of Wallachia and Moldavia in 1859 he returned to high office in Romania, also serving as prime minister.","partner":null}},"curator_status":"Y"}]},{"id":"6fdfdb62-87dc-5ca0-8ad8-99495962cd6c","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_78","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:78","parent_id":"69ea2e3f-c0e6-546c-8b85-aeae3456631f","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"c0647b9c-1ac0-53b5-a15b-d5505d2f8137","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This booklet testifies to the presence of a significant Italian anarchist community in Tunisia at the end of the 19th century. Errico Malatesta (1853–1932) was one of the most important Italian anarchist leaders. He spent a good part of his life in exile (in Argentina, Egypt, France, Lebanon, Syria, UK, USA and other countries).","partner":null}},"curator_status":"Y"},{"id":"e952d626-e57d-5b8e-b2e2-24763b1c7b83","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Italy’s war against Ottoman Turkey for the colonial conquest of Libya had dramatic repercussions in Tunisia. In 1911, tensions over the war flared between Italians and Tunisians, causing violent clashes.","partner":null}},"curator_status":"Y"},{"id":"3a479e74-ad19-5334-a508-9d331c6ee9bd","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Italy’s war for the colonial conquest of Libya was the theatre for the first aerial bombing, although primitive. 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From that date to 1956, 123 Italian language papers were published in Tunisia.","partner":null}},"curator_status":"Y"},{"id":"248b6ee3-8b98-5fe8-a126-461e9a621403","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"In this photo one can see some of the “big men” of the Italian community in Tunisia: Giuseppe Di Vittorio, Luigi Rey, Cesare Trionfo, Ugo Moreno, and a few others. International exhibitions provided them with a welcome opportunity to make their work known in Italy.","partner":null}},"curator_status":"Y"},{"id":"e696126e-a8d7-5829-87b8-1372eb83e64c","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"In 1884, in Tunis, a group of Italian traders set up the Associazione Commerciale Italiana (Italian Trading Association). 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Designed by a French architect and displaying a clock presented by the German Emperor Wilhelm II, it also signifies European ideals and cultural interests, not least the political connections of the Sultan.","partner":null}},"curator_status":"Y"},{"id":"559330fc-4f61-535a-9310-1782a48a785a","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The clock tower signals modernity and European influences, but as it was erected to pay tribute to Sultan ‘Abd al-Hamid II, it also symbolises Ottoman rule and hegemony in Tripoli.","partner":null}},"curator_status":"Y"},{"id":"6dbf6cf4-1732-5bea-bb96-c766474a0193","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"As a tribute to modernity and Ottoman hegemony, the clock tower commemorates the anniversary of the reign of Sultan ‘Abd al-Hamid II.","partner":null}},"curator_status":"Y"},{"id":"742e675b-2783-5254-a6e4-abd2e2dc3cd3","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"Its presence, particularly at this location, symbolises 19th-century Ottoman hegemony, but it also pays tribute to the technical achievements of humankind and thus celebrates modernity.","partner":null}},"curator_status":"Y"},{"id":"4ba4221c-c8d6-5be1-9dda-358e2e3b0dd5","display_order":19,"variant_order":null,"curator_status":"N"},{"id":"87af700d-97ab-50c7-9235-e6cd264dbbcc","display_order":20,"variant_order":null,"curator_status":"N"},{"id":"ac262d55-b70d-52be-a08e-76b8060b08ee","display_order":21,"variant_order":null,"curator_status":"N"},{"id":"cb50db24-36a3-5378-b0e6-e03a650cef9b","display_order":23,"variant_order":null,"curator_status":"N"},{"id":"e71e341d-eb52-561e-8abf-141b52235da5","display_order":36,"variant_order":null}]},{"id":"c7ef292a-f889-5772-947c-2a24c693609d","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_81","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:81","parent_id":"00a1e3fb-228c-596d-a2a8-95ba8bb14e9c","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"1028751a-07f0-53c2-8d14-e1b298d6e008","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Memorising the Qur’an and rendering its message in writing were still important steps in the education of a 19th-century Muslim child. The child who owned this board would not only have copied the Qur’anic verses but also recited them, with the aim of successfully committing them to memory.","partner":null}},"curator_status":"Y"},{"id":"c4179abe-6375-58e2-9109-f22b4b9e5ebd","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, the promotion of literacy among the Egyptian population was still primarily undertaken in the *kuttab* (Qur’anic schools). Teaching combined memorisation of the Qur’an with reading and writing lessons. Learning was based on memorising and repeating.","partner":null}},"curator_status":"Y"},{"id":"6cc37690-74bf-5956-9550-3a0a66b523c8","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In its protectorates, France attempted to maintain traditional teaching while developing Western-style teaching. 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With his troops gathered around him for the purpose of intimidation, he is seen here meeting with a Romanian delegation in Giurgiu, a Romanian port on the Danube.","partner":null}},"curator_status":"Y"},{"id":"8a70de1b-8f52-5be5-84b2-f02ae35a3ab5","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In 1867, ‘Abd-al-Hamid (later ‘Abd al-Hamid II or Abdülhamid II), accompanied his uncle, Sultan ‘Abd al-‘Aziz, on what was the first visit by an Ottoman sultan to Europe, including Austria, France and England.","partner":null}},"curator_status":"Y"},{"id":"d40510a8-3d84-5ac4-9290-1028f6789eac","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In 1867, ‘Abd al-‘Aziz (Abdülaziz) was the first Ottoman sultan to visit Europe. 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During his subsequent European tour in 1927, an important stop was made in Italy with which Egypt held very close ties, not least due to the large and influential Italian community residing its midst. Here, the king is pictured visiting an electrical power station at Santa Croce, in the Veneto region.","partner":null}},"curator_status":"Y"},{"id":"1f01b620-1564-5cb2-8825-cd2a342b9728","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Austrian diplomatic relations with Morocco began in the late 18th century.","partner":null}},"curator_status":"Y"},{"id":"35118a9c-ae87-5875-b6fd-694c3a29ac01","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This collage shows scenes from the Moroccan ambassador’s visit to Rome in 1890. Pictured are: the ambassador’s interpreter Lamfaddal Elkabbagi; the ambassador himself in his carriage; his servants Hamed and Pà Nadan; and two children, all of whom are part of the ambassador’s entourage.","partner":null}},"curator_status":"Y"},{"id":"55817e68-2681-5c06-a3a1-71fdbd06edc2","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"From the 19th to the early 20th century (1904), Morocco maintained particularly strong relations with Great Britain. This image shows M. Hajj Muhammad al-Zebdi, the envoy of Moroccan Sultan Mulay al-Hasan I, with his entourage at the court of Queen Victoria in London.","partner":null}},"curator_status":"Y"},{"id":"945bf083-a74e-5bce-800b-f411f54c9b67","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Throughout the 19th and into the early 20th century, the strong ties Morocco maintained with Great Britain in particular greatly influenced the internal politics, administration and economy of the country. ‘Abd al-Rahman ibn ‘Abd al-Sadiq al-Rifi, ambassador to Sultan Mulay ‘Abd al-‘Aziz of Morocco, was sent to the court of King Edward VII in 1902.","partner":null}},"curator_status":"Y"},{"id":"db907e57-774c-5cda-a1a5-d1356aa44b85","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This seating plan provides fascinating testimony to the elaborate and often rigid European ceremonial with which diplomatic staff from the Arab and Ottoman world had to familiarise themselves when attending official functions.","partner":null}},"curator_status":"Y"},{"id":"edae7a23-07b5-5d83-9c59-298568ea0cc0","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This image provides a fascinating glimpse at the challenges underlying 19th-century diplomatic encounters: the costumes and poses of the Moroccan dignitaries and their Italian counterparts subtly suggest very different world views and attitudes.","partner":null}},"curator_status":"Y"},{"id":"928c9e9b-828a-5e50-84b7-70a3d3ef8c88","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In 1920, Italy recognised Idris al-Sanusi’s British-endorsed status as Emir of Cyrenaica and invited him to Rome to meet the King. After Italy’s attack on Libya, Idris went into exile in Egypt and encouraged anti-Italian guerrilla warfare.","partner":null}},"curator_status":"Y"},{"id":"8824c22c-0cd4-502b-8da0-b722a3dd6846","display_order":6,"variant_order":null,"curator_status":"N"},{"id":"b92b2e17-256a-5653-8c8d-8f4555614e91","display_order":7,"variant_order":null,"curator_status":"N"},{"id":"2cf5398f-8d6e-5e13-b679-67442f1bcbc6","display_order":8,"variant_order":null,"curator_status":"N"},{"id":"5034d37c-081e-5b69-8d00-457af42ac16a","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Sayyid Muhammad Idris al-Mahdi al-Sanusi (1889–1983), who had been head of the Sufi Sanusi order since 1916, proved sympathetic towards European interests in what is now Libya. He later became King Idris I of Libya.","partner":null}},"curator_status":"Y"},{"id":"70423969-df09-5091-ad7b-50e63c993a4d","display_order":10,"variant_order":null,"curator_status":"N"},{"id":"8c7b0235-6bb9-503d-ac59-f73f7984f36b","display_order":11,"variant_order":null,"curator_status":"N"},{"id":"316c3ae7-9ea6-5cac-b035-f8104f24c1ed","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"ea69f41d-1b91-5ee4-8097-8aba9db33c0f","display_order":13,"variant_order":null,"curator_status":"N"}]},{"id":"1b376278-5538-5527-8dcc-7d8dbc61d618","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_96","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:96","parent_id":"8dc5f409-203b-513e-8ba6-bde3a998c835","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"ef67fa8c-4ff1-55bf-83f3-ae6118113aaa","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In 1919, the Spanish Impressionist painter Joaquín Sorolla travelled to Tetouan in Morocco. Here, Sorolla’s family and friends appear with local people, including the “Moor Selam”. The artist’s daughter Helena wears local costume. On the family’s return, she set up a “Moorish” corner in their home.","partner":null}},"curator_status":"Y"},{"id":"1b1e3ef8-5e29-5178-ac83-8c4cb0d8ce8c","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Morocco and Algeria offered artists inspiration, too. The Spanish painter Joaquín Sorolla (1863–1923) travelled and worked there extensively. His works became much sought after, as shown by this royal invitation to Cairo by the King of Egypt. Sadly, this journey did not materialise, but Sorolla did go to Morocco in 1919.","partner":null}},"curator_status":"Y"},{"id":"3e51e99d-8ff0-545e-95fc-52a15be8b042","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"This painting of a coffee house in Constantinople is fascinating. Painted by the Turkish-Armenian artist Megerdich Jivanian (1848– 1906), it is based on a composition by the British artist Thomas Allom that was published in a book of engravings popular for providing budding artists visual resources on Istanbul.","partner":null}},"curator_status":"N"},{"id":"9b44e7da-e4ce-51fe-a09e-946b4f817954","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The French artist Félix Ziem (1821–1911) was famous for his dreamy Eastern scenes and visions of the Orient evoking the atmosphere of The Arabian Nights. His works, like this one focusing on Constantinople, were popular among contemporary customers.","partner":null}},"curator_status":"Y"},{"id":"a5c93080-d37b-5926-ad79-2d9bb61932f2","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Count Amadeo Preziosi (1816–82), a long-time resident of Constantinople, was famous for his watercolours and prints that eternalised the city in genre scenes and were attractive to both the local expatriate community and visiting tourists.","partner":null}},"curator_status":"Y"},{"id":"c2d7dded-69f6-5450-9ae1-d5680237968b","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"It is likely that Félix Ziem completed this painting on his return to France, using sketches he had made in Constantinople. The atmosphere, with the city indicated with only a few mosque silhouettes in the background, is dreamy and evocative.","partner":null}},"curator_status":"Y"},{"id":"c96923cb-dba0-5c95-81e1-1742fdb0a515","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The French artist Félix Ziem (1821–1911) was famous for his dreamy Eastern scenes and visions of the Orient evoking the atmosphere of The Arabian Nights. His works, like this one focusing on Constantinople, were popular among contemporary customers.","partner":null}},"curator_status":"Y"},{"id":"e396b7b2-cb07-51d7-86f1-b131b11dbfe2","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"This painting is one of the four half-length portraits by the artist painted in 1874-1875 depicting young woman of the ottoman Court. Her dress has been emphasized by means of a neutral background. She is wearing a “dört etek” robe. On her head she wears a cap of blue fabric, decorated with small White flowers.","partner":"Rather than presenting a realistic depiction of the city, this particular Istanbul painting of Ziem also reveals the picturesque aspect of life at sea againts the backdrop of the city’s silhouette. The composition of the sailboats and marines in the foregorund is balanced by the cityscape with a monumental mosque structure in the background. The artist’s use of vibrant colors and his efforts to capture the shimmering effects of the constant change of light with a fast, dynamic brush stroke technique dominate the painting. This style has led Ziem to be compared with impressionist painters, even to be regarded as an artist who foreshadowed the emergence of impressionism with his work. The use of brilliant sunlight, which is considered as the major contribution of orientalist painting to european art is evident in the citys cap n the backgorund. Figures painted with a few brushstroke apperar in the piyade in the foreground."}},"curator_status":"Y"},{"id":"b6314a55-601b-5a79-9ff9-8f02c4a5793f","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Artists were drawn to North Africa in particular because of its reputation for exceptional light, colour and exotic vistas. Many – like the French artist Eugène Fromentin (1820–76) – were fascinated by the ancient sites there, and depicted them in works that were designed not merely to show the “reality”, but also to evoke the “magical” atmosphere.","partner":null}},"curator_status":"Y"},{"id":"fb46dd86-2d2c-52cf-a5c4-a7d344fc00cc","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"The French Orientalist paint Alfred Dehodencq (1822–82) was the first foreign artist to live in Morocco long-term. Between 1855 and 1870, he specialised in Orientalist scenes depicting aspects of life in the North African country. Here, he captures a wedding in the Jewish community in Tangiers.","partner":null}},"curator_status":"Y"},{"id":"cc673275-b5d7-50ff-bc5e-1a4f9c06e998","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"Due to the good relations between the young Moroccan Sultan Mulay Hasan I and Italy, many Italian artists visited the country. Among them was Stefano Ussi (1822–1901), who arriving in Morocco in 1875, became particularly well known. Based on countless sketches made during his visit, he later created impressive, large-scale compositions.","partner":null}},"curator_status":"Y"},{"id":"67aa0756-7dec-5fdf-a48c-f7c56bbd3c48","display_order":18,"variant_order":null,"justifications":{"en":{"curator":"The French artist Eugène Fromentin was one of the earliest artists to depict Algerian scenes. This evocative view of the ancient Roman aqueduct in the city of Cherchell was shown at the Paris Salon of 1859.","partner":null}},"curator_status":"Y"},{"id":"3d6a39d9-ddd3-5bbb-9a0b-ea068a2f864e","display_order":19,"variant_order":null,"justifications":{"en":{"curator":"The Spanish painter Joseph Sintès (1829–1913) spent most his life in Algeria and specialised in painting its vistas and monuments. This image shows the Ottoman Great Mosque in Algiers, an important monument in Algerian history.","partner":null}},"curator_status":"Y"},{"id":"bcd52ef5-9e05-5700-9c6f-f573e35eebad","display_order":20,"variant_order":null,"justifications":{"en":{"curator":"This painting by Joseph Sintès shows the Ottoman Admiralty building, constructed under the auspices of the great Ottoman Admiral Khayr al-Din (Khaireddine). Sintès, who lived in Algeria for most of his life, specialised in painting scenes that would appeal to both the local elite and expatriate customers.","partner":null}},"curator_status":"Y"},{"id":"a417f6af-5483-5922-be43-098a03e3261f","display_order":21,"variant_order":null,"justifications":{"en":{"curator":"This painting by Algerian resident Joseph Sintès shows one of the first French schools in Algeria, built on the site of a Roman *columbarium*. Scenes like these were popular with both the local elite and expatriate residents.","partner":null}},"curator_status":"Y"},{"id":"3c16e6a6-882d-588d-8f9d-b0309a8c41db","display_order":22,"variant_order":null,"justifications":{"en":{"curator":"This painting by Joseph Sintès depicts the Boulevard de l’Impératrice, a street built by the French Architect Frédéric Chassériau as a symbol of European modernisation of Algiers. The Algerians, sitting on the ground in traditional costumes, seem to quietly reassert their culture regardless.","partner":null}},"curator_status":"Y"},{"id":"f03672a7-5a8f-5216-8d53-07817c3aa415","display_order":23,"variant_order":null,"justifications":{"en":{"curator":"Apart from realistic vistas, Orientalist artists were fascinated by the unfamiliar, colourful and bold characters they encountered during their travels. Here, the Italian artist Stefano Ussi captures the serenity of Muslim prayer, a scene based on drawings made while in Egypt.","partner":null}},"curator_status":"Y"},{"id":"a15b7e00-538c-5aa8-a826-c4febf856606","display_order":24,"variant_order":null,"justifications":{"en":{"curator":"The Italian painter Cesare Biseo (1844–1909) travelled to Constantinople, Egypt and Morocco. A respected artist of evocative Orientalist themes, he was invited to decorate the Egyptian Viceroy’s palace in Alexandria.","partner":null}},"curator_status":"Y"},{"id":"84f69ff8-6c1a-5173-a0c7-4b706dba6ef1","display_order":25,"variant_order":null,"justifications":{"en":{"curator":"Although entitled *Arabian Fantasy*, this scene by the Italian artist Stefano Ussi is based on a real-life event – the “Lab-el-baroud” (Game of Gunpowder), played in the dust, and performed by Moroccan horsemen in honour of the Italian delegation with whom the painter was travelling at the time. In fact, the episode is masterfully recounted in *Morocco: Its People and Places* by Edmondo De Amicis.","partner":null}},"curator_status":"Y"},{"id":"460ebced-3992-593a-a42e-32453e973f11","display_order":26,"variant_order":null,"justifications":{"en":{"curator":"Théodore Chassériau travelled widely during his stay in Algeria in 1846. After exploring the country’s western region, he completed this study of a local mountain dweller.","partner":null}},"curator_status":"Y"},{"id":"eaf5a4c2-fc34-59cc-85e1-5bfdbe4b17c3","display_order":27,"variant_order":null,"justifications":{"en":{"curator":"French artist Eugène Fromentin’s work was also focused on Algeria. This sketch was a preparatory study for a large painting later shown at the Paris Salon of 1863. Artists often made use of drawings and sketches created during their travels to produce grand compositions when back home.","partner":null}},"curator_status":"Y"},{"id":"35645306-e708-561a-ae81-24e697df6d15","display_order":28,"variant_order":null,"justifications":{"en":{"curator":"Local women and their lives fascinated European painters. This painting was completed in the early 1880s by Serbian painter Pavle “Paja” Jovanović during one of his frequent trips and sojourns in the Balkans. The precision of the draughtsmanship and fresh colours ranks this work among his most successful from the period.","partner":null}},"curator_status":"Y"},{"id":"a61d424b-55c0-5f00-9818-9789ab7b964f","display_order":29,"variant_order":null,"justifications":{"en":{"curator":"The French Arabist, philologist and artist Louis-Adrien Berbrugger (1801–69) arrived in Algeria in 1835. Unusually for the time, Berbrugger settled in Algeria and married a Muslim woman, and then empathetically studied the culture around him.","partner":null}},"curator_status":"Y"},{"id":"eba85bbe-07ea-54e1-b12e-dd3f891151d0","display_order":30,"variant_order":null,"justifications":{"en":{"curator":"European paintings of “Oriental” women in the harem were closer to the fantasies of Europeans than to the reality of life experienced by North African women. This is because virtually no European artist ever entered an “Oriental” harem.","partner":null}},"curator_status":"Y"},{"id":"ce785e40-77c2-5e37-a375-478e1a61faa0","display_order":31,"variant_order":null,"justifications":{"en":{"curator":"“Oriental” women and their lives fascinated European painters. This scene, within a Moorish palace in Algiers, seems to depict the family’s private quarters or even the harem, both areas to which most outsiders never gained access. Nevertheless, engravings like this one were often used by Orientalist artists as the basis for their paintings.","partner":null}},"curator_status":"Y"},{"id":"52a99ada-0675-50d5-a178-836792f337d3","display_order":32,"variant_order":null,"justifications":{"en":{"curator":"The Italian painter Federico Faruffini (1831–69) was among the artists who tried to exploit the commercial potential of Orientalism with fantastic and alluring scenes, pandering to contemporary European tastes, without having had any direct experience of the East.","partner":null}},"curator_status":"Y"},{"id":"3c81118b-d41d-514c-bb93-87850f2cc0d1","display_order":33,"variant_order":null,"curator_status":"N"},{"id":"47bb854c-9eb2-5d07-b0f1-7d41e63b0500","display_order":34,"variant_order":null,"curator_status":"N"},{"id":"8eb7973a-8c9e-5910-83bd-ad5e77872aba","display_order":35,"variant_order":null,"curator_status":"N"},{"id":"fdf4838a-7764-5f27-afc8-32377c84dfbc","display_order":36,"variant_order":null,"curator_status":"N"},{"id":"24505a53-36c5-5b4a-9423-5215da35cb9b","display_order":37,"variant_order":null,"curator_status":"N"},{"id":"4bccb3e9-a964-52ef-937f-7a6d6e11e5cf","display_order":38,"variant_order":null,"curator_status":"N"},{"id":"fbf36d0e-1c98-5536-895f-1b9eff88b55c","display_order":39,"variant_order":null,"curator_status":"N"},{"id":"7dae83ae-6b0d-5576-abbb-164119eb3171","display_order":40,"variant_order":null,"curator_status":"N"},{"id":"c869c0fc-13da-5c97-9a34-aeb4470de17e","display_order":41,"variant_order":null,"curator_status":"N"},{"id":"7a167ce5-50e1-5265-b688-b3c912f172b7","display_order":42,"variant_order":null,"curator_status":"N"},{"id":"f939b530-8866-5fba-afa5-e436e2211419","display_order":43,"variant_order":null,"curator_status":"N"},{"id":"f3ed76b1-bbf6-54cf-8522-0f1b9baf22b6","display_order":44,"variant_order":null,"curator_status":"N"},{"id":"254ea7af-536e-5a78-8206-f0d4cc517b93","display_order":45,"variant_order":null,"curator_status":"N"},{"id":"eee2b270-70d5-58ca-a544-89ca4bbc9d54","display_order":46,"variant_order":null,"curator_status":"N"},{"id":"66eb3d81-e848-51c4-9925-a840ecb8f574","display_order":47,"variant_order":null,"curator_status":"N"}]},{"id":"fd43afd8-f2d6-5070-97cc-13904ef0eb5a","type":"theme","purpose":null,"internal_name":"sh_exhibition_theme_15","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_themes:15","parent_id":"77fd6ce2-6118-5d1c-a682-046646e098fb","country_id":null,"display_order":2,"latitude":null,"longitude":null,"images":[],"items":[{"id":"96c8cab7-8009-528f-a877-f2ea68738a97","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The site of the Dome of the Rock in Jerusalem has been sacred to Jews, Christians and Muslims for many centuries. This late 19th-century photograph, taken by a European traveller, gives a good impression of what believers would have seen on approaching the vast esplanade.","partner":null},"fr":{"curator":null,"partner":"De nombreux voyageurs occidentaux vont à la découverte de Jérusalem."}},"curator_status":"Y"},{"id":"1d9fdf68-a63f-5cd6-937f-9223edee8336","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"According to Judaism, Christianity and Islam, the Sanctuary at Hebron houses the graves of Abraham, his wife Sarah, and their family. According to Judaism, it is the second holiest site after Jerusalem. The site is revered according to the Islamic faith because of its associations with Abraham; Muslims view the city of Hebron (Al-Khalil) as one of the sacred cities of their faith.","partner":null}},"curator_status":"Y"},{"id":"483e8679-d93d-56cd-b566-f321c598b6de","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The illustration depicts two of Islam’s most important sites of pilgrimage: the Masjid al-Haram (the Sacred Mosque) and Masjid al-Nabawi (the Prophet’s Mosque). These are often depicted among the pages of the *Dala’il al-Khairat*, a famous compilation of prayers for the Prophet Muhammad. The book, which also includes information on the Islamic faith, became very popular in the Muslim community, particularly in the Ottoman world.","partner":null}},"curator_status":"Y"},{"id":"cba9697e-4726-5cc0-9a64-80be790a931d","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"For 400 years, the Ottoman sultans sent money and gifts to Mecca and Medina. Gifts included *Kiswa*s, the covering for the Ka’ba, which were woven in Cairo and Istanbul and replaced every year. After each Hajj season, the *Kiswa* was either returned to Istanbul to be distributed to the faithful or sometimes re-used as a commemorative souvenir. Textiles for the exterior of the Ka’ba were traditionally black, while the drapes inside could be red and green.","partner":null}},"curator_status":"Y"},{"id":"8b03882d-24a1-5f9c-9159-8596cb391505","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The photo depicts the Minbar al-Saif of the al-Aqsa Mosque, originally built by Salah al-Din (Saladin) in the 12th century and restored in the 14th century by Burhan al-Din. Located on the southern side of the Dome of the Rock in Jerusalem, the mosque forms part of a large platform at the heart of the city and marks the first *qibla* in Islam. The site, which is considered the third most sacred according to Islam, is said to be where the Prophet Muhammad undertook his nocturnal journey to heaven.","partner":null}},"curator_status":"Y"},{"id":"6195ae0a-159f-55a5-b0c8-2cb302571e83","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"While on pilgrimage many Muslims chose to visit the graves of important spiritual leaders as well, which often were housed in mosques or mausolea built especially for the purpose. Imam al-Busiri is widely respected for his Sufi poetry about the love of God and in praise of the Prophet Muhammad. His most popular poem is “Al-Burda”.","partner":null}},"curator_status":"Y"},{"id":"091c2bb3-6009-5f5c-bff2-8e5c54938f6c","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The Church of the Nativity in Bethlehem, one of the foremost pilgrimage sites according to the Christian tradition, would have been a highlight on the itinerary of 19th-century European travellers to the Holy Land. As is typical of the work of the British artist David Roberts, he has exaggerated 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.","partner":null}},"curator_status":"Y"},{"id":"0a226934-adb7-5611-ac1e-769b4276935b","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Mount Tabor is an important biblical site, associated in the Christian tradition with the Transfiguration of Christ, one of the miracles of Jesus, as described in the Gospels.","partner":null}},"curator_status":"Y"},{"id":"4c7e1862-a363-5135-ad52-ffdf9df7a680","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A vignette depicting the façade of the Church of the Holy Sepulchre in Jerusalem, located on the spot, where, according to the Christian tradition, the Crucifixion of Jesus Christ and His burial took place. It was Easter when the British artist David Roberts visited, a time when the square in front of the church would have been crowded with pilgrims and traders selling their wares. Nevertheless, the artist shows the scene not with contemporary life milling around the church, but enlivened only with his usual repertoire of carefully staged, “Oriental” types.","partner":null}},"curator_status":"Y"},{"id":"e18d88ea-cdd3-514a-a77b-17670ead2f02","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The picture portrays the Wailing Wall, a sacred site to which Jewish pilgrims have flocked for many centuries to pray and bemoan the loss of their most Holy Temple. 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Their task was to collect as much scientific information of all kinds as possible. The resulting publication, entitled *Description of Egypt, or Collection of Observations and Research*, was outstanding in quality. Between 1809 and 1826 a total of ten volumes of plates and nine volumes of texts appeared.","partner":null}},"curator_status":"Y"},{"id":"9ba14117-d905-597a-95be-0025b3200e4e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"When Henry Salt and J. L. Burckhardt donated this colossal bust of Ramesses II to the British Museum in 1817, it created a sensation, and became known as the “Younger Memnon”. It was removed from the Ramesseum in Thebes by the explorer Giovanni Battista Belzoni, who transported it to Alexandria, from where it was shipped to England.","partner":null}},"curator_status":"Y"},{"id":"cd434504-b9e2-5269-bef4-01b99c2c34ca","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Belzoni used ingenious means to transport the colossal bust of Ramesses II. The logistics of moving such large objects fascinated the Victorians as much as the objects themselves.","partner":null}},"curator_status":"Y"},{"id":"574d6f3c-2cbb-5d5b-9f00-e0dd275b71a9","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"An intrepid and versatile Frenchman, Linant de Bellefonds 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 Muhammad ‘Ali, Pasha of Egypt. Bellefonds’ talents were employed at various times as a geographer, explorer, engineer, cartographer and draughtsman. His first adventure was an expedition to Abu Simbel in Upper Egypt that Henry Salt, British Consul-General in Egypt, took him to in 1818–19.","partner":null}},"curator_status":"Y"},{"id":"29756bc5-95e1-5d47-be16-67719e7ac820","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The Franco-Tuscan expedition to Egypt (1828–29), painted by Giuseppe Angelelli after returning home. The two team leaders, Jean-François Champollion (sitting) and the Italian Egyptologist Ippolito Rosellini (standing at his right), are depicted in the ruins of Luxor Temple at Thebes.","partner":null}},"curator_status":"Y"},{"id":"7c890fcb-159c-520c-b75f-6a2a5003b92c","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Back from the Franco-Tuscan expedition (1828–29), Champollion and Rosellini worked on the publication of the drawings and notes collected during the expedition in Egypt. Unfortunately, Champollion died in 1831 at only 41 years old. Rosellini had to finish the huge project on his own, publishing the texts and plates of the atlas in folio form. The original materials for the publication are preserved today at the University Library of Pisa.","partner":null}},"curator_status":"Y"},{"id":"de6e2f8b-9a8b-550e-bef8-94cf2f8b25ed","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This relief fragment, from the tomb of Pharaoh Seti I, was discovered in 1817 in the Valley of the Kings. It belongs to the most important finds of the Franco-Tuscan expedition (1828–29), brought to Florence by Rosellini. Here the goddess Maat can be recognised by the feather on her head.","partner":null}},"curator_status":"Y"},{"id":"34ebe371-2a09-50f9-8e86-921fabe509cc","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Considered the best-preserved cult temple from the days of ancient Egypt, Edfu Temple, it was swamped with sand in David Roberts’ day, and houses had been built on top. The French archaeologist Auguste Mariette eventually excavated it in the 1860s.","partner":null}},"curator_status":"Y"},{"id":"6865c8bb-97f7-50ee-addb-18169728d2a9","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Between 1839 and 1840, Roberts produced more than 300 images of monuments, ruins and peoples in his watercolours and sketches. These are of particular interest because they show many Egyptian sites before excavation or restoration. He was also the first British artist to sketch the monuments of ancient Egypt with such scientific detail and precision, not withstanding his often exaggerated proportions.","partner":null}},"curator_status":"Y"},{"id":"898f2296-ee1f-5e48-a6ee-73f0b9a210a9","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In 1817, the first modern archaeological dig, supervised by the Italian Giovanni Battista Caviglia, unearthed the chest of the Sphinx. Still largely buried in Roberts’ times, the Sphinx provided one of the foremost fascinations for early European Egyptologists, including the founder and first director of the Egyptian Museum in Cairo, Auguste Mariette.","partner":null}},"curator_status":"Y"},{"id":"b623eb8c-a4d4-585a-b9d5-23a452054f55","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Emmanuel de Rougé (1811–72) was a French Egyptologist whose work continued that of Champollion. In 1862, he went on a mission through Egypt and the Delta cataracts on a boat lent by Isma’il Pasha. The results of this mission were illustrated by photographs taken by the Vicomte Aymard de Banville. This image shows the site of the ancient city of Tanis, which the archaeologist Mariette had excavated.","partner":null}},"curator_status":"Y"},{"id":"a9297ffd-8462-5dd7-8571-a2309301164e","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Félix Bonfils set up as a photographer in Lebanon in 1867, working with a team there, and in neighbouring countries. His photos were sold in albums or separately to visitors exploring the Middle East. Here, a dealer of Thebes (Egypt) dozes amidst the mummies he is selling. The mummies were bought by Europeans for their collections or for various other purposes, such as ingredients in the manufacture of drugs.","partner":null}},"curator_status":"Y"},{"id":"069c2465-1b42-5572-8535-19f44b1fc837","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The entrance to a tomb in the region of al-Kouban in Nubia. This was one of the archaeological sites excavated by English Egyptologist James E. Quibell in 1882. Quibell was a student of Flinders Petrie. He would go on to become Keeper at the Cairo Museum.","partner":null}},"curator_status":"Y"},{"id":"6cd69b5c-2452-5c87-b27b-fa34cce6a025","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"A group of workers at Quibell’s excavations in the al-Kouban region, Nubia, in 1882. In the picture can be seen rows of columns and parts of the pillars of mud, brick and broken pottery and bones. The tomb was re-used at this site during different eras.","partner":null}},"curator_status":"Y"},{"id":"094da4a9-5680-587b-b052-da54115ec7f0","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"German scholars preparing reports of their excavation works in the area of Saqqara in 1901.","partner":null}},"curator_status":"Y"},{"id":"1959666e-3460-5e95-bc55-a3706388cf52","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Excavations in the area of Saqqara carried out by a German team. The original photographs were part of an archive left behind in Cairo.","partner":null}},"curator_status":"Y"},{"id":"13c7b9a9-f604-53fe-8a42-508a3f774e73","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"German excavations at the pyramids of Sahure and Niuserre at Abusir in 1901.","partner":null}},"curator_status":"Y"},{"id":"b0d5d8cd-688e-53ee-b19d-232a578cf9d0","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The site of Abusir at the time the foundations of the Temple of the Sun (also known as the Temple of Sahure) were discovered.","partner":null}},"curator_status":"Y"},{"id":"ee658b6b-1f33-5f26-b744-b3794e1c32cc","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Workers extracting wooden coffins during German excavations at the pyramids at Abusir in 1901.","partner":null}},"curator_status":"Y"},{"id":"e8e2873a-17d1-558a-a507-0fd33c1cc8ae","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The main body of the Egyptian archaeological collection of the “Museo Preistorico Etnografico e Kircheriano” was donated by David Randall-MacIver in 1901. They came from the excavations he carried out on the behalf of the Egypt Exploration Fund in the town of el-Amra, Upper Egypt. This was followed in 1905 by material from the Italian Archaeological Mission in Egypt (excavations of Hammamiye) led by Ernesto Schiaparelli, director of the Egyptian Museum in Turin.","partner":null}},"curator_status":"Y"},{"id":"39343989-0847-535d-82c3-ecbf42c6b4d6","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Francesco Ballerini was an archaeologist and curator of the Egyptian Museum in Turin. He worked at the Italian Archaeological Mission in Egypt led in 1902 by Ernesto Schiaparelli. He also took part in the excavation of tombs such as those shown here, dating back to a period between the 22nd and 25th dynasty. Both tombs had been robbed previously and showed the pink granite sarcophagi already opened and empty. In the background is the Triumph of Osiris, god of the netherworld.","partner":null}},"curator_status":"Y"},{"id":"4f5a9a60-32ea-5f5b-8f48-76aa1c556539","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"This slate palette for pulverising cosmetics was bought by Roberto Paribeni (later the Superintendent of the Antiquities of Rome and Lazio from 1928 to 1933), in 1904, from the antique dealer Ghirghis in Quena, Egypt, on behalf of “Museo Preistorico Etnografico” in Rome. The lack of context makes it difficult to date.","partner":null}},"curator_status":"Y"},{"id":"9e9366e9-b19e-5ebc-a0ca-190882e7bb74","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The tomb of the architect Kha (TT8) was discovered untouched in 1906 by Ernesto Schiaparelli in the necropolis of Deir el-Medina. This village hosted the workers and artisans for the royal tombs in the Valley of the Kings. Kha had been “Head of the royal necropolis” and “Superintendent to the works of the royal necropolis” in the middle of the 18th dynasty. The finds are in the Museum of Egyptian Antiquities.","partner":null}},"curator_status":"Y"},{"id":"4ec3aa30-6ba0-5917-9e79-014b48d5cd78","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The Austrian Headquarters at the Giza excavations of German-born Egyptologist Hermann Junker in 1912.","partner":null}},"curator_status":"Y"},{"id":"6e327e6c-97a6-5021-bdda-e534a67a0765","display_order":14,"variant_order":null,"curator_status":"Y"},{"id":"6f32665b-a3e9-5152-9c94-67a17540cfed","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The Egyptian cook of the Austrian excavations at Giza in 1912.","partner":null}},"curator_status":"Y"},{"id":"b33144e1-5551-5a5c-a7ba-4cefefd46e94","display_order":14,"variant_order":null,"curator_status":"Y"},{"id":"e8fa6bb3-c6a3-5e41-9e45-50c1fbee8ea8","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The Austrian excavations at Giza, led by German-born Egyptologist Hermann Junker in 1912.","partner":null}},"curator_status":"Y"},{"id":"f1b7586f-fda0-55f0-9764-17532a2f6441","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The German-born Egyptologist Hermann Junker became professor at the University of Vienna in 1909. In 1911, the Austrian Academy obtained the concession for excavation in Giza. In 1912, Junker’s team started to excavate tombs close to the pyramids of Giza.","partner":null}},"curator_status":"Y"},{"id":"363a9b8e-3ef5-567b-a032-97afeab68478","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"Ernesto Schiaparelli was director of the Egyptian Museum of Turin from 1894 and superintendent of the excavations from 1907 to his death. He led several excavation campaigns around 1903–14 in the Valley of the Queens, a place dedicated to the burial of wives, princes and princesses since the reign of Ramesses I. Here we see a section of a trail in the south of Deir el-Bahri. The residential district hosted the workers and artisans for the tombs of the Valley of the Queens.","partner":null}},"curator_status":"Y"},{"id":"ba3b8c6f-86e6-5a4a-9b9a-6d600f5e1009","display_order":20,"variant_order":null},{"id":"201e230b-e913-5349-b14d-69a729ecf657","display_order":33,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"The disk in green glass with a golden square foil is considered of remarkable interest because of  its label, attributed to Ippolito Rosellini, which proves that the relic was found inside a tomb in Thebes. Rosellini, one of the main figure of the Franco-Tuscan expedition in Egypt (cfr.ITEM  2) wrote on it \"Disco di vetro con entro una lamina d'oro. Trovato in una tomba a Tebe, Egitto, da I. Rosellini 1824 -dono di Elenina Ox Sicard, dicembre 1902\". The relic was later acquired by Enrico Hillyer Giglioli, whose collection was then acquired by the Pigorini Museum in 1913."}},"curator_status":"N"},{"id":"b0c35ccd-b16d-5ff5-98a0-4001791ebd8b","display_order":34,"variant_order":null,"curator_status":"N"},{"id":"0659eb21-0d9f-5b11-ae51-0ba0f6eea1f1","display_order":35,"variant_order":null,"curator_status":"N"},{"id":"adf4aa26-9d6d-5b79-b549-8cc8bba45fad","display_order":36,"variant_order":null,"curator_status":"N"},{"id":"ccc527b3-f647-5b4d-83e5-d6c24cd38f9e","display_order":37,"variant_order":null,"curator_status":"N"},{"id":"fedbd774-c968-51ba-84b0-3382d421a087","display_order":39,"variant_order":null,"curator_status":"N"},{"id":"481ac567-31d6-55e0-ae01-02dc70f44740","display_order":40,"variant_order":null,"curator_status":"N"},{"id":"88f77e6f-b366-5a53-b251-ec7744293c37","display_order":41,"variant_order":null,"curator_status":"N"},{"id":"4b13575d-f82b-573f-aa7d-a0ee196d3874","display_order":42,"variant_order":null,"curator_status":"N"},{"id":"3e275eb6-4df9-58d4-9e6a-6769cd0b3ad8","display_order":43,"variant_order":null,"curator_status":"N"},{"id":"49ebcfec-7199-5c0b-94f3-8ed498d743df","display_order":44,"variant_order":null,"curator_status":"N"},{"id":"1c4b95a5-1ef1-50b3-a51a-bdc1148ce5c5","display_order":45,"variant_order":null,"curator_status":"N"},{"id":"a49b0d20-ff69-5123-aea8-1e3778e61417","display_order":46,"variant_order":null,"curator_status":"N"},{"id":"ea5004e5-f4e7-5291-8059-9bc54d1ba863","display_order":47,"variant_order":null,"curator_status":"N"},{"id":"65c69c9e-9fa5-59d3-9011-708e7d931372","display_order":48,"variant_order":null,"curator_status":"N"},{"id":"1e5a98c0-6a45-5ac8-8201-22da00b4e53b","display_order":49,"variant_order":null,"curator_status":"N"}]},{"id":"ba9c7efb-89b3-51f0-8017-90345c33f679","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_116","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:116","parent_id":"766e7876-319d-5edb-809e-b36bb516537c","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"521421e0-80f1-5225-89de-67bdaec30210","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Pera (also known as Galata) lies on Istanbul’s European side. 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In the 19th century, Jewish financiers and merchants such as Abraham Salomon de Camondo (1781–1873), the patriarch of the mercantile Camondo family, worked closely with the Ottoman government and their communities, establishing workshops and schools such as the Camondo Institute.","partner":null}},"curator_status":"Y"},{"id":"56f05326-4b1d-5eff-9a58-a822374155ee","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Binjamin Uziyel belonged to one of the influential Jewish families in Istanbul involved in finance, commerce, philanthropy and, indeed, politics.","partner":null}},"curator_status":"Y"},{"id":"837581e0-006f-52d2-82bf-795b4cf10463","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Abraham Behor (1829–89) and Nisim Camondo (1892–1917), the grandsons of Abraham Salomon de Camondo, looked after the Camondo business interests in Paris after their families left Istanbul in 1869. 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As usual during periods of great transformations, people saw the world as moving in a continuous, optimistic progress. It was very common to imagine the future as a science fiction novel.","partner":null}},"curator_status":"Y"},{"id":"72e135bf-f1d2-56f9-a08f-ae59b081701d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Giuseppe Scalarini worked for the socialist newspaper *Avanti!* His anticolonial cartoons spoke out against the political interests of the war in Libya and the consequences of war on the population.","partner":null}},"curator_status":"Y"},{"id":"3a479e74-ad19-5334-a508-9d331c6ee9bd","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Giuseppe Scalarini worked for the socialist newspaper *Avanti!* His anticolonial cartoons spoke out against the political interests of the war in Libya and the consequences of war on the population.","partner":null}},"curator_status":"Y"}]},{"id":"4852e298-30f3-59bb-998e-6509a2ad7371","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_124","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:124","parent_id":"72747f8c-e712-5499-a088-c8054e9b4aa6","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"9c17568a-e2ca-5524-b5ae-c2d13aa4c2ac","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Water distribution based on modern technology was implemented in the second half of the 19th century through the reforms issued by the Ottoman sultans. 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During the government of Muhammad Bey, the ancient aqueduct of Zaghouan was modernised by the French engineer Pierre Colin, with a system of pumps bringing water to Tunis.","partner":null}},"curator_status":"Y"},{"id":"1f9cc409-36e4-51f2-828e-77a94d820a08","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Cendere Hamidian Water Pump Station provided water for some areas in Istanbul using steam machines. It can be considered the modern counterpart of an ancient tradition of dams and hydraulic works in Ottoman Turkey and as the prosecution of a tradition of water treatment and distribution in the Islamic cities through water reservoirs and fountains.","partner":null}},"curator_status":"Y"},{"id":"acc57934-ae32-5e43-8f31-305447337577","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"A photograph from the Yıldız Album of Sultan ‘Abd al-Hamid, showing the steam machines for pumping and distributing water from Cendere Hamidian Water Pump Station to Istanbul. The Yıldız Album is a vast collection of photographs documenting all the technical, educational, social, military and civilian innovations introduced in the Ottoman Empire by Sultan ‘Abd al-Hamid.","partner":null}},"curator_status":"Y"},{"id":"d86bffa6-0320-50d5-b0a4-c47134d7d642","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"A photograph from Yıldız Album of Sultan ‘Abd al-Hamid, showing the steam machines for pumping and distributing water from Cendere Hamidian Water Pump Station to Istanbul.","partner":null}},"curator_status":"Y"},{"id":"5aee46c9-4c7b-55fb-bca1-375579387666","display_order":8,"variant_order":null,"curator_status":"N"},{"id":"d616de70-37f8-5d6d-9c22-8c4a59417e94","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Pumping stations show interesting parallels across Europe and the Arab and Ottoman world, testimony to how modernisation followed a common path: distant countries with similar approaches to modernity or similar economic activities were reshaped by the globalisation of technology and needs.","partner":null}},"curator_status":"Y"}]},{"id":"b0bad80c-0c28-5834-9e36-03d8ce3a9cd1","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_125","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:125","parent_id":"7d68e2e9-6d60-5c4f-938e-3972cbd0cc77","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"25cc99b8-ea3d-5a36-aad3-2fdf4e0f6ac5","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The Napoleonic expedition to Egypt generated significant interest in the art from this country, inspiring the creation of objects with Egyptian motifs, such as scarabs, crocodiles and lotus flowers, which were used to decorate all manner of objects including this tea set.","partner":null}},"curator_status":"Y"},{"id":"5f3b539e-1d3b-5ad6-9c3f-11df8f1f7e2f","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Napoleon was accompanied on his expedition to Egypt (1798–1801) by a group of scholars and draughtsmen charged with the task of documenting the country’s history. 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Jones’ work, with its numerous precise architectural drawings and detailed speculations regarding the Alhambra’s original colour schemes, was to exert a revolutionary influence on the European artists of his time.","partner":null}},"curator_status":"Y"},{"id":"2879dbdc-ef5b-53f4-b8f7-d3ae618cfb30","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Théodore Deck was a well-known French ceramicist active in the mid-19th century. He was interested in Islamic ceramics, and the objects he made inspired by his interest were known as “Persian style”. This rose-sprinkler flask is one such object. Deck’s pieces received awards at several World Fairs.","partner":null}},"curator_status":"Y"},{"id":"a3383721-0dca-5dd7-9c36-0d0b44bcc62a","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The influence of Ottoman ceramics, in particular ceramics produced at İznik, was very important. 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The decoration on this pair of glasses reveals the taste for arabesques and floral decoration during the Orientalist period.","partner":null}},"curator_status":"Y"},{"id":"23edfc09-0c9b-59bb-960f-61e8838f93b3","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The Islamic influence also appears in fashion and footwear, such as the increased use of slippers in European dress during the 19th century.","partner":null}},"curator_status":"Y"},{"id":"5e131b15-3042-5b4a-bc07-e72c9fb0b7fb","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The manufacture of small porcelain figures increased exponentially during the 19th century. These small figures represented “quaint” types; people such as this pair of “Turks”, which are drawn with great detail and provide details of their attire. Figures like these were used to decorate European homes from the beginning of the Orientalist trend.","partner":null}},"curator_status":"Y"},{"id":"acce08e9-8aba-5eba-b44c-f4bb89218e20","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The need for decorative models, pattern books, for designers and artists led Owen Jones to publish *The Grammar of Ornament* in 1856. This compendium of patterns, from antique arts from around the world and decoration inspired by nature, was used as a reference by artists and designers.","partner":null}},"curator_status":"Y"},{"id":"6dac0c9a-9cc8-5832-9efa-512fe3c88e4f","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The Moorish style is a trend in Orientalism inspired by Islamic art from Spain and North Africa, in particular the Alhambra. The rich decoration in gilded and painted plaster was evoked in the interiors of palaces, private and public buildings and theatres, such as this Arab lounge, considered the best example of the Moorish style in Portugal.","partner":null}},"curator_status":"Y"},{"id":"0c62c358-069e-5101-ad0e-063173c5eefc","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The Moorish style and pattern books inspired architecture, interior decoration and the manufacture of objects in Europe. This chair, in the form of a traditional Spanish *jamuga*, its decoration imitating Arab motifs and marquetry. The inscription is illegible, however, having been copied meaninglessly by the maker of the chair.","partner":null}},"curator_status":"Y"},{"id":"7db8c87e-01d9-50ac-b044-887244457a35","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"This lidded cup was made using a new industrial technique (galvanoplastic gilding and enamelling), which partially imitates the mediaeval techniques of enamelling and damascening. The English factory Elkington & Co. was known for its pieces inspired by different art forms, such as Islamic art in this case.","partner":null}},"curator_status":"Y"},{"id":"60bef031-ec19-5d57-8b30-278d1bbc2dd6","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Decanters are European, but the shape of the stopper and the decoration appear to be inspired by Ottoman pieces.","partner":null}},"curator_status":"Y"},{"id":"feb4b0a1-063e-5d7c-b120-acf74338a57d","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The glass pieces were decorated with different motifs in revivalist styles. Although the form is European, the golden and floral decoration probably refers to Ottoman pieces.","partner":null}},"curator_status":"Y"},{"id":"85842d41-d3a1-5921-ac88-903643f0147a","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"This building, known as the Moorish Kiosk, was the Prussian pavilion at the Paris-based International Exposition of 1867, and shows the influence of the Alhambra upon European 19th-century architecture.","partner":null}},"curator_status":"Y"},{"id":"e6f7eabb-fc4e-5c98-b6ca-f2544ae496d9","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The fascination for the Nasrid Palace of the Alhambra was such that small plaques of painted plaster reproducing parts of the palace began to be produced. One of the most important workshops belonged to Rafael Contreras, who was a conservator/decorator at the Alhambra. These models were used by architects and designers as inspiration for the decoration of so-called Moorish smoking rooms and for other types of Orientalist-inspired room.","partner":null}},"curator_status":"Y"},{"id":"9f63568d-d271-5f57-bc5d-a0c73ea5a902","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"A glass that was manufactured for sale in Berlin department stores. The decoration is inspired by oriental models, but large-scale production of it reveals just how sought-after these designs were among the German bourgeoisie.","partner":null}},"curator_status":"Y"},{"id":"98c3852e-4d88-54fc-b204-73d1b0245994","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The decorative patterns for lace were influenced by Islamic art, as can be seen in the pointed arches and arabesques that decorate the lace of this fan.","partner":null}},"curator_status":"Y"},{"id":"0a489e52-7566-5a35-a21d-e7338d8cc6b4","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"This vase, made in Murano (Italy), shows the extent of revivalist trends inspired by mediaeval as well as by Islamic or Byzantine art, which led to the renaissance of glass workshops in Murano. Revivalist trends, including Orientalism, were encouraged at least in part by the development of museums of the decorative and applied arts, and the process of reassessing the “minor arts”.","partner":null}},"curator_status":"Y"},{"id":"b424ad60-28d9-5e2b-8050-b9eeeaa8a7c0","display_order":16,"variant_order":null,"curator_status":"N"},{"id":"94d92226-8356-5023-81bd-a96c6c114974","display_order":17,"variant_order":null,"curator_status":"N"},{"id":"68a95c99-7986-5df2-8af1-8a9cc45a55e6","display_order":18,"variant_order":null,"curator_status":"N"}]},{"id":"49d2498e-5686-5ef3-aa4b-1cd1d0fb3cef","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_130","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:130","parent_id":"43f46690-1d6e-5d64-b190-3e7fd3f18a07","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"251b2b7e-e8f3-5697-9d6d-a33a6facc5ca","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Between 1836 and 1845 the British artist and designer Owen Jones published 12 volumes entitled *Plans, Elevations, Sections and Details of the Alhambra*. Jones’ work, with its numerous precise architectural drawings and detailed speculations regarding the Alhambra’s original colour scheme, exerted a revolutionary influence on European artists of his time.","partner":null}},"curator_status":"Y"},{"id":"ce09af48-d9a4-5ddf-b731-1782e470e142","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The influence of Islamic decorative techniques on metal such as damascening, led Plácido Zuloaga to develop this technique and apply it to the decorative arts with great success. His work won awards at World Fairs. Damascening, which is a term derived from the name of the city of Damascus, was a very widely used technique in Islamic art.","partner":null}},"curator_status":"Y"},{"id":"9c872904-bce3-5aa4-b6f0-1ecfaddfcbd1","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Philippe-Joseph Brocard was a restorer and collector of antiques. He admired examples of Mamluk glass at the Musée de Cluny in Paris and then acquired some pieces himself, which he used as models of inspiration. Among the first to revive Islamic enamelling techniques, Brocard’s work was exhibited in the Paris Exposition of 1867, thus making this piece one his earliest documented pieces.","partner":null}},"curator_status":"Y"},{"id":"b15011a9-1d5f-5210-be56-0a51595a1b75","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Publications regarding the Alhambra Palace in Granada and the decorative motifs found in Islamic and Ottoman art had an influence on interior decoration, such as in the “Turkish Hall” of the King’s House, designed by Georg von Dollmann (1830–95), and built between 1869 and 1872 in Schachen Alp near Garmisch-Partenkirchen. This hall is richly decorated in the Orientalist style.","partner":null}},"curator_status":"Y"},{"id":"7ecaa27d-f3a4-5a6b-941d-8b655a5c543d","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"At World Fairs, each country was represented by the most important exhibits from their country. The antique and modern pieces exhibited were published in catalogues, as in this case, which reviewed the decorative arts on show, many of which were influenced by mediaeval Islamic art.","partner":null}},"curator_status":"Y"},{"id":"baa15a8e-e8d7-5417-9132-86b970237c10","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Josef Lobmeyr (1792–1855) founded a glass factory that, during the second half of the 19th century, was run by his sons Josef and Ludwig. One of the styles of decoration they adopted was inspired by Orientalism and the revival of Islamic designs. Here both the technique of painting with enamel and the design are inspired by Mamluk art, which would have been highly fashionable at that time.","partner":null}},"curator_status":"Y"},{"id":"b8fd5a61-6e87-5479-8b87-53c6a66033f2","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"This book *Dell’ornamento nell’architettura*, by Alfredo Melani, a teacher at the Milan School of Applied Arts and scholar of Islamic and Oriental art in Italy, demonstrates the importance of schools of applied art, set up in the 19th century, and museums of decorative arts in the development of design and styles such as the Moorish style.","partner":null}},"curator_status":"Y"},{"id":"bbeb7fe5-88d9-5182-83a9-e637b3a17a0b","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"William Morris was founder of the Art and Crafts movement. This tile panel, which he made jointly with another English designer William de Morgan, was part of the bathroom decoration of an English mansion Membland Hall in Devon. The use of decorated tiles shows the extent to which Islamic and Ottoman art, with İznik productions, influenced European designs.","partner":null}},"curator_status":"Y"},{"id":"4b6b4cd7-723b-5fc1-9d39-214740318d2a","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The English designer and ceramicist William de Morgan produced large tile panels that demonstrated his interest in Islamic tiles. At the end of the 19th century, Islamic ceramics were generally referred to as Persian, on account of the limited knowledge of them.","partner":null}},"curator_status":"Y"},{"id":"478abce7-afc2-532d-82bd-fbecf067ac32","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The translation of *One Thousand and One Nights*, a mediaeval collection of tales in Arabic, had a significant impact in 19th-century Europe. Its influence reached the decorative arts, theatre, ballet and literature. Plays based on the tales saw theatres decorated as if they were Oriental palaces, for example the Châtelet Theatre in Paris.","partner":null}},"curator_status":"Y"},{"id":"4b63a853-7b5d-5c93-8ec7-7348d5091101","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The fascination for the Alhambra was such that small plaques of painted plaster reproducing parts of the palace began to be produced. One of the most important workshops belonged to Rafael Contreras, who was a conservator/decorator at the Alhambra. These types of copies were very popular and were used by architects and designers as inspiration for the decoration of so-called Moorish smoking rooms.","partner":null}},"curator_status":"Y"},{"id":"94535829-1f7a-57f3-91f8-a5b331e4d1a1","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"In the 19th century, artists and architects often accompanied archaeological, military or diplomatic expeditions to the Arab and Ottoman world. This was the case of the architect Jules Bourgoin, who travelled to Egypt on many occasions and produced and published a large number of drawings of Egyptian monuments and Arab architecture.","partner":null}},"curator_status":"Y"},{"id":"6c0ec863-e0e7-5b08-9c07-4fe22fc9d7ae","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"Orientalism influenced all art forms, including music and ballet. The composition of ballets such as *Scheherazade*, narrator of the *One Thousand and One Nights*, had an influence on the costumes used in ballet, such as the Russian ballets of Sergéi Diágilev. The influence, as a synonym of the exotic, even reached advertising, as seen in this example of a Spanish advert for perfume.","partner":null}},"curator_status":"Y"},{"id":"9c6f1f64-15f3-5d35-93ad-16dc50cc2b9f","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"Mariano Fortuny (1871–1949) was an important artist and designer. Known for his fabric and fashion designs, one of his sources of inspiration was the large collection of antique fabrics belonging to his mother, Cecilia Madrazo. His creations, inspired by Greek, Arabic and Ottoman pieces, were admired, and purchased by high society in Europe and America.","partner":null}},"curator_status":"Y"},{"id":"b0034e9d-b0b0-5bbc-a3c7-5d26a2e4d496","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"Mariano Fortuny (1871–1949) was very familiar with antique fabrics, and his research led him to design cloth influenced by antique Islamic fabrics and velvet. The designer used fine materials such as silk and metal thread to evoke the richness of mediaeval fabrics. His fabrics enjoyed great success and were used in some of his fashion designs.","partner":null}},"curator_status":"Y"},{"id":"356abb7a-adfb-5423-8a02-b389733f2355","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"The fabrics designed by Mariano Fortuny may have been made of cotton (as in this case) stencilled in silver, instead of being woven. This was an important technical innovation. The decorative motifs on the fabrics are based on antique Islamic, Ottoman and Italian fabrics from the designer’s collection.","partner":null}},"curator_status":"Y"},{"id":"e6b08b1b-d850-518a-9f8a-7c3f457e761d","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"One of the most significant influences of Orientalism was in architecture, with the design of houses with courtyards, gardens and fountains, such as this palace built by Baron Rodolphe d’Erlanger in Sidi Bou Said, Tunisia, between 1911 and 1912. Both the structure and decoration are based particularly on the local Tunisian, al-Andalus (Andalusian) and Arab traditions, which is evident in the tiles, stucco work and painted and gilded wood.","partner":null}},"curator_status":"Y"},{"id":"ec198745-bf85-5cf3-a025-264676b49e2d","display_order":19,"variant_order":null,"justifications":{"en":{"curator":"The influence of *One Thousand and One Nights* led to the publication of an illustrated version of these tales, such as the *Histoire de la Princess Boudour*, with drawings by the illustrator François-Louis Schmied (1873–1941) and Jean Dunand (1877–1942). This limited edition of 25 books demonstrates how the influence of Orientalism reached beyond the 1920s.","partner":null}},"curator_status":"Y"},{"id":"4656ec61-9406-5e34-94e3-612bfbb2e88c","display_order":20,"variant_order":null,"curator_status":"N"}]},{"id":"2cdff9a6-e812-5fdf-a5e3-7969a0de0fd6","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_133","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:133","parent_id":"0d6a1796-1c65-528a-b375-c1a9ffc51627","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0a469d79-a94f-5097-a3cc-17e2bdc452a1","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"A series of crises redrew the map of the Balkans under Ottoman control in the 19th century. 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Seen here is a member of the Kabyle people, traditionally slipper-makers, from the province of Constantine. The report is not free from the usual generalised statements and the inevitable comparison with occidental costume.","partner":null}},"curator_status":"Y"},{"id":"409e4adf-c1cd-577f-9523-9ffc50214d63","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"At the Paris exhibition of 1878, Colonel le Clerc’s so-called Ethnographic Exhibition was organised in three rooms, in which 72 human “types” from around the world were represented, dressed-up and armed as warriors. A great deal of attention was paid to rendering the face and physical appearance generally; le Clerc wanted to assimilate the “theoretical” with the picturesque.","partner":null}},"curator_status":"Y"},{"id":"bf874599-94fd-5c46-b1fb-9f801d14b0f4","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"There’s an article in the illustrated catalogue to the exhibition held in Paris in 1878 where the classifications of peoples is put to work: it uses fashion as a means to classify, talking of “feminine beauty” according to different countries, and looking for origins based on the climate and other accidentals. Then it descends into common stereotypes, such as when referring to male physiognomy: “the son of the desert smart and severe”.","partner":null}},"curator_status":"Y"},{"id":"1c8d542c-ec0c-5094-9cd4-f68edea6ff84","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This image looks almost like a snap-shot of the inside of one of the “Oriental” pavilions at the exhibition held in Paris in 1878. The faces of the visitors seem to express their curiosity and fear as they inspect the young salesman and his wares: both appear so “different” from anything they’re used to seeing.","partner":null}},"curator_status":"Y"},{"id":"d07a016a-4cbb-5e3f-8479-fd71b40996a8","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The first “Algerian” exhibition held in Paris in 1889 was France’s opportunity to promote the benefits of colonisation. The paintings exhibited there demonstrated that the colonisers were totally estranged from the local culture. This can be seen on the left, in the *Mauresque jouant avec son enfant* (Moor playing with her child) by Émile Charles Labbé, which is a singular reassessment, in the Orientalist style, of the famous *Madonna del velo* by Raphael.","partner":null}},"curator_status":"Y"},{"id":"171d0c66-d91f-50c5-9daf-466b883aab37","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"This series of 41 anthropological photographs was presented at the exhibition held in Paris in 1889. 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The restitution of the autochthon architecture sometimes made use of “background actors”, further underlining the racial stereotyping typical of the time.","partner":null}},"curator_status":"Y"},{"id":"159f7828-e467-5f3d-b3ba-96aafc6f5b7c","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"This postcard shows five Tuareg tribesmen on camels at the 1907 Colonial Exhibition held in Paris. Since the second half of the 19th century, men, women and sometimes even children of the former colonies were used as “exhibits” at the International Exhibitions, reflecting the popularity of the new disciplines of anthropology and ethnology.","partner":null}},"curator_status":"Y"},{"id":"c4559dfc-4ed2-5a3f-9366-3dc238b8e52a","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"At the exhibition held in Turin in 1911 the Arabian and Somali “camps” (fenced-in areas created to celebrate recent Italian conquests) were frequented by the bourgeoisie. As seen in this photo, even the city’s mayor and his family were happy to pose in this “wild” area.","partner":null}},"curator_status":"Y"},{"id":"0c15121c-bdb4-5d29-91aa-079d86d55f11","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"France celebrated her colonies at the Expositions Universelles held in Paris and at the Colonial Expositions held in Marseille (1906, 1922) and in Paris (1931). 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The photo shows the interior of the Palais des Industries (built in stone, glass and cast iron and characterised by a very long aisle) within which the Algerian section’s objects are depicted in a somewhat disordered state.","partner":null}},"curator_status":"Y"},{"id":"170ccfd9-7e5f-59c5-9e34-b83d35a04f3c","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"At the 1878 third International Exhibition in Paris, Tunisia was still independent from France. Tunisia was one of the few Muslim states, along with Persia and Morocco, that was represented on the so-called “Rue des Nations” with a characteristic bazaar in Trocadéro Park.","partner":null}},"curator_status":"Y"},{"id":"e6f49abd-8e7a-5131-a593-cada7ee6ab5e","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The “Ben Athia Bazaar” depicted in an illustrated magazine from the Paris Exhibition of 1878. A variety of objects are being exhibited including ornate weaponry, luxurious fabrics and embroideries in gold and silk, enamelled jewellery, rose oil, slippers embroidered in gold, carpets, coffee sets and pipes along with many other objects decorated with mother-of-pearl. Various antiquities were on display in the area known as the Eskenazi Museum.","partner":null}},"curator_status":"Y"},{"id":"896932e2-74ee-5217-8b67-feb647e4f883","display_order":6,"variant_order":null,"curator_status":"N"}]},{"id":"b6645a49-f90d-50bf-af90-99b576c242d3","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_29","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:29","parent_id":"b647d8d2-0a0f-5951-af75-816364a08456","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"e3d1028e-c33d-53a4-a895-0276547994a0","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Early in the 19th century, new construction techniques were applied to the building of roads and bridges. The construction of public roads facilitated industrialisation and the use of new means of transport.","partner":null}},"curator_status":"Y"},{"id":"7a241c8e-d68e-5a99-8f6d-768433eb938e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"After the Congress of Vienna (1815), Austria annexed the territories of northern Italy, and the city of Venice, formerly a republic, became part of the Kingdom of Lombardo-Venezia. Austria absorbed the Venetian trade routes on the Adriatic Sea towards the Ottoman Empire introducing infrastructure, as this map of the postal routes shows.","partner":null}},"curator_status":"Y"},{"id":"84d5ec45-7bab-5d25-96f2-a48ed1fe7a85","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"A British engraving of the road connecting Beirut to Damascus. The concession of the works was granted to a French company under Ottoman jurisdiction, the Compagnie Imperiale Ottomane de la Route de Beyrouth à Damas.","partner":null}},"curator_status":"Y"},{"id":"e92c5fac-cccf-5730-b2e6-c7774c2761e7","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The road connected Beirut and its port with Damascus. Built under the reign of Sultan ‘Abd al-Hamid, it is an example of a communication route between a port and an internal city.","partner":null}},"curator_status":"Y"},{"id":"51be354a-b339-5d93-8690-4f26618ea9fb","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In 1872 an Italian company connected Tunis with the neighborhoods of La Goulette and La Marsa with a tramway. During the French protectorate the capital was then connected to Algiers, Sousse and Bizerte. Changes in public transport began in strategic centres, such as the ports, in order to share the civil and economic advantages of the new means of transport.","partner":null}},"curator_status":"Y"},{"id":"9a890b71-5d5a-57ef-b26d-c4592e54b5ac","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"One of the main bases of the economy in Lebanon, the tramway was the easiest way to travel and transport goods in Lebanon.","partner":null}},"curator_status":"Y"},{"id":"387152c3-f2e6-5090-9494-72805f950568","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"One of the main bases of the economy in Lebanon, the tramway was the easiest way to travel and transport goods in Lebanon. Tramways soon became part of city landscape and streets.","partner":null}},"curator_status":"Y"},{"id":"2fd7dbb0-f684-52f4-93f3-b485ecf82f5e","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The technical progress of roads and bridges stimulated the dreams and utopian visions of artists and travellers. This postcard belonged to the Marquis of Cerralbo, a Spanish archaeologist and collector. Projecting their minds outside the boundaries of their countries, the intellectual elite understood that technical progress also produced geopolitical dreams.","partner":null}},"curator_status":"Y"},{"id":"d571791c-a497-50be-b648-cbb508ceae8f","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The royal road in the Fayum directorate was built by King Fu’ad, after the independence of Egypt from the British protectorate. In the independent state, the creation of new roads was one of the major concerns of the government.","partner":null}},"curator_status":"Y"},{"id":"6755e6c3-6bcf-5ff8-9576-394e0f98a7c5","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"The royal road in the Fayum directorate was built by King Fu’ad, after the independence of Egypt from the British protectorate. In the independent state, the creation of new roads was one of the major concerns of the government.","partner":null}},"curator_status":"Y"},{"id":"c74178c2-ab9f-5408-9cbb-cf1f4eff394d","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Egypt was a gateway for the introduction of innovations to the Arab world, due to the ambitious programmes of reforms issued by pashas and khedives in the 19th century, and to the international importance of centres such as Alexandria and Suez (the British route to India). Alexandria was one of the first cities in the world to have a tramway.","partner":null}},"curator_status":"Y"}]},{"id":"3b1b828b-ef2d-5b27-9fba-302e8e7b91db","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_37","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:37","parent_id":"5ec1519b-da0d-5ea9-94f2-953fa0a42c81","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"5476b9e7-1d62-5f52-a389-4e2da362bb9c","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The telephone appeared in the second part of the 19th century, when the possibility of transmitting speech electrically was discovered. In Morocco, Mulay Hasan I introduced telephone lines as part of his promotion of infrastructure.","partner":null}},"curator_status":"Y"},{"id":"51c01d82-0b4a-5399-8607-c519021252c0","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"When the telephone was introduced it was not yet possible for callers to contact people directly. Callers had to be connected via a switchboard like this one.","partner":null}},"curator_status":"Y"},{"id":"718961a1-beb1-58c3-8832-5f8a278c1682","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The telephone was another 19th-century invention celebrated in France with the publication of prints and photographs. They also portrayed the social changes brought about by the new inventions, in particular a new social class of women employees.","partner":null}},"curator_status":"Y"},{"id":"09c3258d-f288-5759-b1ca-2328bd59ff7d","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Early in the 20th century, the invention of the telephone was following further experimental directions. The idea of wireless telephone communication had already appeared in those years, and it was an object of study, despite the uncomfortable equipment.","partner":null}},"curator_status":"Y"},{"id":"09d60ee1-54a5-5bae-a827-03a474648425","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The first telephone exchange in Tangier was installed in 1883. Events like this were documented by photographs representing more than just routine technical works: two major inventions, photography and the telephone, celebrated reciprocally.","partner":null}},"curator_status":"Y"},{"id":"388c8605-7211-5829-b5d8-9e4bc739a3af","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The installation of the telephone line was started in Morocco in 1883 and continued until 1925.","partner":null}},"curator_status":"Y"},{"id":"9d99f2a0-088c-5411-b1e4-aab5af09edf0","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The installation of the telephone line was started in Morocco in 1883 and continued until 1925.","partner":null}},"curator_status":"Y"},{"id":"d311e0f0-a40d-5486-8ffe-fa2c56e49115","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The installation of telephone lines began in Morocco in 1883 and various models of telephone entered Moroccan society. The candlestick telephone had a long stand, a microphone and a receiver. The accuracy of the technology developed side by side with the appropriateness of the design.","partner":null}},"curator_status":"Y"}]},{"id":"9ac37738-88d4-5fe1-ab03-33d4bbfc2305","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_40","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:40","parent_id":"24886656-d708-5839-9d18-301fa1b5341e","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"e9dc3805-7eb0-5025-b948-d69dd0ddfe00","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"At the heart of the Citadel complex, a manifestation of Ottoman power in an ancient Arab city, there is an Ottoman-style mosque, which – together with the nearby palace – also incorporates modern architectural structures.","partner":null}},"curator_status":"Y"},{"id":"ac19c388-4497-5ec0-878c-c525d8b2c5e0","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"An Arab urban design reference to the 1840s in Istanbul.","partner":null}},"curator_status":"Y"},{"id":"bfe37257-aff0-5289-b8c5-59ecbe78ace2","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"While working in Istanbul, D’Aronco increased his knowledge of local architectural traditions and building techniques. This influenced his work, signalling more of a cultural exchange than a one-way impact. Among his works in Istanbul are the Yıldız Palace Theatre, the Yıldız Palace Island Kiosk, the Yıldız Palace Small State Kiosk and the Italian Embassy in Tarabya.","partner":null}},"curator_status":"Y"},{"id":"351e4901-7c17-581f-9b15-8be1d6fc3458","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"A furniture shop with impressive Islamic and Western design influences, it illustrates the cultural dialogue between Europe and the Arab and Ottoman world. The shop further enhanced its national identity through the types, forms and styles of the household furniture it sold.","partner":null}},"curator_status":"Y"},{"id":"0f088fa7-47b1-5825-9ada-f45bc3097162","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The Politeama Rossini Theatre was built under the patronage of an Italian construction company and designed by a European architect. It represents the introduction of European modernism in Tunis.","partner":null}},"curator_status":"Y"},{"id":"604ea0d6-64f6-5863-9076-425493fdad68","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The Lincoln Hotel was built in 1916 for the increasing number of European tourists to the city. Designed by a French architect, the hotel is an eclectic mix of Arab and al-Andalus architecture, it also illustrates the impact of European architectural styles in the era.","partner":null}},"curator_status":"Y"},{"id":"e4e13104-3af0-5b6e-9e16-b30a037f184b","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The construction of this building stretches across two decades, from its design during the first decade of the 1900s to its completion in 1927. Designed by a Frenchman, the building is a harmonious combination of European architectural features and the traditions of local art and architecture.","partner":null}},"curator_status":"Y"},{"id":"28039875-4e38-5259-a55c-6b799bdfae9b","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Commissioned by an Italian company and designed by the Italian architect G. di Vittorio, the building has features of traditional Ottoman architecture. As an important site of local city life, the Bazaar betrays European design influences and represents Western political power in the Tunisian capital.","partner":null}},"curator_status":"Y"},{"id":"c7de3940-ac44-5e99-93fd-416c7b6e83ea","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"This small building in the Ottoman capital is a compilation of European revivalist features, mostly elements from Mannerism and the Baroque. The interior decoration shows evidence of European craftsmanship and has elements designed specifically to suit the Western lifestyle.","partner":null}},"curator_status":"Y"},{"id":"27d99320-2ed8-57cc-b76a-ed939f64f812","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"During its most recent modification in the early 20th century, the reconstruction featured elements of Roman architecture and Early Greek Christian architecture as historical points of reference.","partner":null}},"curator_status":"Y"},{"id":"001f116f-84e2-522a-b67a-25d887e4cb0a","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The interior of the mosque comprises a rich and colourfully decorated round central hall. Various general maxims are inscribed in Arabic and translated into German.","partner":null}},"curator_status":"Y"},{"id":"6129ee64-d66a-53c2-9b9c-8ac38a87b8b9","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"During reconstruction of the “Moorish Kiosk” the colour scheme was redesigned entirely. An abundant use of gold was considered not only as a symbol of royalty but also thought to be a “Moorish” element. Coloured glazing, “in the Moorish style”, and a tessellated floor were introduced to underline the Ottoman character of the house.","partner":null}},"curator_status":"Y"},{"id":"0ccfaeef-b75e-522c-ba46-eb30b18d6040","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The complex, which having its roots in the traditional *külliye* system comprises a mosque, mausoleum, *sabil* (water dispensary), fountain, clock-room and school, was built in the eclectic style, bringing together elements from European Gothic, Ottoman, Islamic and Indian arts and architecture. Note the bronze chandelier in the 19th-century European style.","partner":null}},"curator_status":"Y"},{"id":"b1a53072-23dd-58c0-b8c4-495759373b61","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"A fascinating structure that elegantly celebrates elements of Arab and Ottoman art and architecture. Situated on a bay of the Havel River it adds a picturesque architectural accent to the Potsdam cultural landscape. Behind the façade, which is designed to look like a mosque, steam technology at the highest level for the era produces 81.4 horsepower to drive the fountains at the Sanssouci Palace.","partner":null}},"curator_status":"Y"},{"id":"ce15a428-c117-5ec8-bdb2-e57a6da94a62","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"In the tradition of Italian villa architecture, Villa Crespi was designed in the “Moorish” style as a countryside residence for an Italian businessman. It expresses the patron’s admiration for Baghdad and Arab and Ottoman art and architecture in general.","partner":null}},"curator_status":"Y"},{"id":"bbeb7fe5-88d9-5182-83a9-e637b3a17a0b","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"Elaborate tile panels feature large in Arab and Ottoman art and architecture. Techniques and motifs from this tradition inspired the work of William Morris, as seen in this bathroom tile.","partner":null}},"curator_status":"Y"},{"id":"d182a16f-df1f-5ece-848d-95d8514da95e","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"The glazed tile or *azulejo* is a particularly expressive component of Portuguese art and architecture. 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He later became director of the Museum of Islamic Art (formerly the Arab Museum).","partner":null}},"curator_status":"Y"},{"id":"721353f1-5e28-56da-9787-f6334515d373","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The Museum of Islamic Art in Cairo holds one of the world’s most important collections, encompassing Islamic artefacts from around the world. 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In the same year, a major exhibition in Vienna emphasised the growing European interest in carpets, which was reflected in a number of contemporaneous publications on the subject.","partner":null}},"curator_status":"Y"},{"id":"cd6b2c88-0a74-5d2f-8cba-5b3ea7174b9c","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"In 1890, after an earthquake devastated the palace, many tiles like these were sold to European and American Museums.","partner":null}},"curator_status":"Y"},{"id":"d3abd1eb-d054-57dc-92dc-e1b2ea8806d5","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Oriental rugs and carpets became collectable in the late 19th century. The carpet collection at the Museum of Islamic Art in Berlin began in 1904 with the gift of 21 carpets from the art historian Wilhelm von Bode. This fragment, showing an animated scene featuring animals and trees, was created in north-west Iran before the middle of the 16th century.","partner":null}},"curator_status":"Y"},{"id":"8b5de31f-f1e0-5ddc-9d8a-dd777ed6d387","display_order":11,"variant_order":null,"justifications":{"fr":{"curator":null,"partner":"C’est la mosaïque inaugurale du Musée Alaoui du Bardo."}},"curator_status":"N"},{"id":"2a226eef-1a17-51ae-9e21-911b78e227e7","display_order":12,"variant_order":null,"curator_status":"N"}]},{"id":"5c265d5f-dc71-50e5-b270-1bb03856d643","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_60","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:60","parent_id":"77195242-690e-50c1-abb3-d35471387a2a","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[]},{"id":"ba9fe4e4-acfe-52e3-94a5-3ec9746ecc9e","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_69","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:69","parent_id":"699509e1-7d94-5350-a922-9a51cb4e4c3a","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"a34c17e6-990c-5cb0-95c0-c85297eb94e1","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This romanticised European image of a Mamluk resting by the side of his horse belies the martial life and responsibilities of these elite military slaves. 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A favourite and then minister of Hammuda Pasha Bey of Tunis (1782–1814), he also served as Lord Chancellor and superintendent of taxes. In fact, he was the second most important political figure in the Tunis Regency after the bey himself.","partner":null}},"curator_status":"Y"},{"id":"183b1889-44b1-5781-a76f-71957bab4067","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The end of the Mamluk system came about in the mid-19th century, partly due to the abolition of slavery. 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Such registration was necessary in order for the Tuscan immigrants to remain under the jurisdiction and protection of the Grand Duchy of Tuscany.","partner":null}},"curator_status":"Y"},{"id":"55244670-bd54-51f4-982e-13682dbb1443","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This map was published as an annex to a book dedicated to the Italian community in Tunisia. Significantly, it includes not only Tunisia but also the islands from which most of the Italian workers came: Sicily predominantly, but also Sardinia and the small islands of Pantelleria and Lampedusa, closer to Tunisia than to Sicily.","partner":null}},"curator_status":"Y"},{"id":"ddc859b5-2660-59d5-a43e-bea3692d92db","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"During the first half of the 19th century many Italian immigrants to Tunisia came from a middle-class background, but in the second half of the century, immigrants were predominantly poor people from Sicily. 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Coen (Tunis, Susa, Sfax) refers to Eugenio and Alfredo Coen, Jewish brothers from Livorno in Italy, who were the owners of a furniture factory in Tunis and its foremost furniture shop “Au Palais Arabe”.","partner":null}},"curator_status":"Y"},{"id":"28039875-4e38-5259-a55c-6b799bdfae9b","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Three shop signs are visible on this building: at the centre “Grand Bazar Kassar Said”, on the left “Grand Bazar Arab” and on the right “I. Piperno”. The name of the shop owner – Piperno - is an unmistakably Italian Jewish name.","partner":null}},"curator_status":"Y"},{"id":"bd591c95-bb06-5105-b1bd-b95187ad7a88","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"This imposing villa testifies to the economic success achieved by second-generation immigrant Luigi Rey. With his brothers he ran a construction company that built important public buildings such as the slaughterhouse near Tunis. He was awarded honours by both the Italian king (Cavaliere dell’Ordine della Corona d’Italia) and the Bey of Tunis (Nichan Iftikhar).","partner":null}},"curator_status":"Y"},{"id":"884d9ccd-97ec-51c8-aec6-d384ad59224c","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The most successful and influential Italian immigrants in Tunisia were awarded honours by both the Italian king (Cavaliere dell’Ordine della Corona d’Italia) and the Bey of Tunis (Nichan Iftikhar). Some were Jews from Livorno, such as the Moreno brothers, who had immigrated to Tunis in the early 19th century, and Giacomo Castelnuovo, who became the Bey of Tunis’s personal physician.","partner":null}},"curator_status":"Y"},{"id":"8c914730-20a7-5718-b92c-20ee629a7048","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The Italian government had learnt that there were large numbers of unemployed Italians in Tunis and Bona (Algeria), who were so poor that many ended up begging in the streets. The Director General of Police instructed prefects to inform citizens of this situation and to “assiduously prevent clandestine migration and repress its promoters”.","partner":null}},"curator_status":"Y"}]},{"id":"f03bc4be-aa51-54ad-9e65-1c967f1a4a9d","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_79","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:79","parent_id":"69ea2e3f-c0e6-546c-8b85-aeae3456631f","country_id":null,"display_order":3,"latitude":null,"longitude":null,"images":[],"items":[{"id":"70c4eba5-d721-51e2-bdf0-998e3c37ed14","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Until the end of the 19th century, the Touensa  (indigenous Tunisian Jews) and the Grana (Jews emigrated from Livorno to Tunisia in the 17th century) had two different grand rabbis. 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Travellers, on exploratory, commercial, political, or indeed purely touristic journeys, often referred to the maps that had been drawn initially up by scientists and military engineers.","partner":null}},"curator_status":"Y"},{"id":"69be0c25-f88f-50e2-b4ee-eb50bcc74ff7","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Foreign travellers as well as those living in the region relied on navigational skills, whether by observing the movement of the stars or using instruments like this qibla compass. This particular instrument is designed to help pilgrims find their way to Mecca from a wide range of start points.","partner":null}},"curator_status":"Y"},{"id":"74e93f42-b022-5056-9d51-bed2d2eb0ca5","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"It is probably fair to say that the complex networks of arteries crossing the region developed first and foremost for the purposes of trade. By the 19th century, modern road networks improved the conveyance of goods and made travel easier and quicker for those who wanted to discover the “Orient” for their own, diverse reasons.","partner":null}},"curator_status":"Y"},{"id":"e4c6d454-9f18-5654-bdf6-7ba2ce34e089","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Crossing the desert held a fascination for many European travellers and explorers. Increasingly, the paths that they followed – led by indigenous guides without whom they would have been lost – were recorded in detailed maps for the benefit of all those who would follow.","partner":null}},"curator_status":"Y"},{"id":"31b5f52e-c220-58fe-a02b-2b22d317bc2b","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The legendary and romantic sites associated with Southern Spain’s Arab–Islamic legacy were widely known across Europe, mainly from the many publications that ranged from the exquisitely detailed artistic studies of the British artist Owen Jones to the fabled stories of the Alhambra by Washington Irving. Large numbers of wealthy tourists flocked to the region with their guide books and related publications close to hand.","partner":null}},"curator_status":"Y"},{"id":"441fd91e-6a8d-5ba0-b0fb-73ae59155d8a","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"A wealth of ancient sites and locations sacred to Christianity meant that the Levant held a particular fascination for Europeans. Publications like this book enabled them to plan their travels and prepare for the challenges that the journey might hold.","partner":null}},"curator_status":"Y"},{"id":"483e8679-d93d-56cd-b566-f321c598b6de","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Muslim travellers and pilgrims, particularly when journeying to the Holy sites of Mecca and Medina, might carry some instructive reading with them. The *Dala’il al Khairat* was a popular book of prayer that also prepares the reader spiritually and practically for visiting Islam’s most sacred locations.","partner":null}},"curator_status":"Y"},{"id":"5384029c-eb52-5179-984d-a80e0e272e8c","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"As European tourism to the Arab and Ottoman world as well as North Africa increased in the early 20th century, systematic publications emerged that aimed to give visitors and others a comprehensive overview of the fascinating peculiarities and the people of a country or location.","partner":null}},"curator_status":"Y"},{"id":"736d9205-4e1c-5817-bc04-427dac8d02d2","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Perhaps the most important port of call for Europeans was Constantinople. Countless travelogues about the city were published written by British, French, German and other early tourists. These combined some useful factual information along with a healthy degree of Orientalist fantasy.","partner":null}},"curator_status":"Y"},{"id":"fa167dcd-aecd-50c2-9f06-7fb3d8cf9248","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Scholars, scientists, archaeologists, explorers, adventurers and tourists all tended to write detailed diaries, logbooks and travelogues while journeying to the Ottoman Empire and North Africa. Publications such as this one about Egypt soon led to a European craze for travelling, inspiring many to set out and see the marvels described for themselves and often accompanied by the books that had inspired them.","partner":null}},"curator_status":"Y"},{"id":"55519584-25f8-5377-bd87-8e67cbc0dc2c","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"When travelling in the Middle East and North Africa, a friendly reception was not always guaranteed as robbers might be lurking along the wayside in remote areas or wild animals might attack the camp at night. As a result, weapons were an essential part of the traveller’s equipment. Ironically though, on occasion, safe passage was guaranteed by gifting or handing over the weapons to the perpetrators.","partner":null}},"curator_status":"Y"},{"id":"4e0e7286-5def-51f5-b4c3-162106c6828c","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Wealthy Europeans insisted on travelling in style and comfort wherever they went. Silver tableware sets such as this one, together with fine china, crystal glassware, tablecloths, carpets and even furniture, often accompanied a party and would be set up every day, even in a tent, while navigating the desert.","partner":null}},"curator_status":"Y"},{"id":"0ac44e34-b32f-5f52-adb3-4aa4679ead7b","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Few Europeans were capable of navigating the region entirely alone, and relied on the support of local expertise. First and foremost was the need for local translators or dragomans, who, as they were often versed in several languages as well as cultural diplomacy, were able to negotiate or mediate on behalf of the traveller throughout the journey.","partner":null}},"curator_status":"Y"},{"id":"6c3d3ee7-fba0-54ef-ae3a-b0810a3caeb2","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Many European explorers and adventurers relied on Bedouin expertise to cross uncharted desert landscapes, even if sometimes they claimed later that they had undertaken the journey and “discovered” new lands entirely on their own. Indeed, rarely do these 19th-century travellers acknowledge the extensive and often essential support of their local guides.","partner":null}},"curator_status":"Y"},{"id":"6f32665b-a3e9-5152-9c94-67a17540cfed","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"As many European travellers found the local cuisine disagreeable, a cook would be employed to travel with the entourage, who was charged with preparing meals to suit the European palate.","partner":null}},"curator_status":"Y"},{"id":"c5af0628-6524-5b0d-a3ae-ef6099a54a96","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The Awlad Said, a large clan belonging to the Sawalha tribe and traditionally based in the Southern Sinai, accompanied the Scottish artist David Roberts during his traversal of the Sinai.","partner":null}},"curator_status":"Y"},{"id":"a8f4d9df-4a01-55fb-98f5-9b27f994af97","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"These bottles were used as containers for Cinchona (quina) bark, which was believed to prevent foreign diseases such as fevers and, notably, malaria, as it contains the alkaloid quinine. The bottles were used by Europeans travelling to non-European territories that were often unknown to the European community; hence precaution was mandatory in order to ensure safe and healthy expeditions.","partner":null}},"curator_status":"Y"},{"id":"8c5bd2b7-5767-58df-9aca-d0fdbe20c4ea","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"While travelling to non-European territories, it was considered mandatory to have a personal portable pharmacy kit at hand. This case carried myriad medicines aimed at protecting its owner from the most common diseases one could encounter while abroad.","partner":null}},"curator_status":"Y"}]},{"id":"bc854b74-f097-5496-b2a4-f430daafc4b6","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_109","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:109","parent_id":"06e2b161-1f15-5d64-a574-9e389e995e1a","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"93c53f75-811e-5d47-8d12-4f56a360451f","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The World Heritage site of Carthage was founded by the Phoenicians in around 814 BC. It remained an important city under Roman, Vandal and Byzantine control until it was abandoned in favour of Tunis after Amir Hasan ibn Nu’man’s conquest in 698 AD. Thereafter it served as a source of building materials for other cities.","partner":null}},"curator_status":"Y"},{"id":"a473894e-afa3-59b7-93f3-cec646d6e272","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Photography was a 19th-century invention. It was not long before it was put to use to document archaeological sites. This photo was taken at the excavations of Carthage (Tunisia) by French archaeologist Father Alfred Louis Delattre.","partner":null}},"curator_status":"Y"},{"id":"b29cbfc5-92ab-5924-883e-7d561e5c7761","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Sir Greenville Temple travelled all around the Mediterranean. This image of the temples and fountains of Zaghouan (Tunisia) was published in 1840 in his *The Shores And Islands Of The Mediterranean*. The Nymphaeum was a 30-meter semicircle, lined internally by a vaulted gallery in which several niches were built, from where water flowed to Carthage.","partner":null}},"curator_status":"Y"},{"id":"6f9a1e3f-fc30-5c29-9157-47822ce579e3","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Many of the better-preserved Roman sites are to be found in North Africa and the Middle East. Dougga in north-west Tunisia is a prime example. The site is enormous – 70 hectares – and is superbly well preserved. It is much more than a Roman site, however. It preserves over 1,500 years of settlement, with Punic, Numidian, Roman and Byzantine remains. It is now a UNESCO World Heritage site.","partner":null}},"curator_status":"Y"},{"id":"a565ef0e-9407-5de9-8ab2-05297761a4c9","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The Amphitheatre of El-Jem is considered the hallmark of Roman Tunisia. It is the only amphitheatre outside the famous Colosseum in Rome to retain an intact front three-tier gallery. It was among the monuments recorded by Sir Greenville Temple on his travels in the mid-19th century.","partner":null}},"curator_status":"Y"},{"id":"130aa879-2175-5e76-b109-ed289b2b585e","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Colonial administrators also researched their countries of residence. This drawing of a Roman tomb found in the Algerian town of Marengo was made by Albert Devoulx, curator of the Arabic Archives in the land registration section in Algiers. He was also a member of the Algerian Historical Society. His work was published in the Society’s journal dedicated to Algerian archaeology: *Revue Africaine*, founded in 1856.","partner":null}},"curator_status":"Y"},{"id":"70b437a4-41c0-50dd-839c-7f248f97ae34","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"In August 1840, French soldier Adolphe Delamare visited the ruins of the ancient Roman colony at Cuicul (Djémila). He returned in 1848. During his time at the site, he produced multiple sketches, many of which are now in the Sorbonne. This drawing in the Museum of Fine Arts, Algeria, is a detailed field sketch of the second-century ruins.","partner":null}},"curator_status":"Y"},{"id":"d31585b4-e2e0-5d75-ae61-af8bbc96947f","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The remains of ancient churches were of particular interest to the Catholic Church, which hoped to reinvigorate the Catholic faith in North Africa. This drawing of the Basilica at Djémila was published by Amable Ravoisié in his Exploration scientifique de l’Algérie pendant les années 1840, 1841 et 1842.","partner":null}},"curator_status":"Y"},{"id":"e9b3ea92-3a5f-5e88-8c8b-35360ed3d3f2","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The remains of ancient churches were of particular interest to the Catholic Church, which hoped to reinvigorate the Catholic faith in North Africa. This drawing of the Basilica at Djémila was published by Amable Ravoisié in his Exploration scientifique de l’Algérie pendant les années 1840, 1841 et 1842.","partner":null}},"curator_status":"Y"},{"id":"21bacfa7-27f6-53d0-8e6e-82f59ba26a0e","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Ravoisié also drew this image of the site of Cherchell, Algeria.","partner":null}},"curator_status":"Y"},{"id":"3378f065-b0bb-5b40-84e2-5dba90444446","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Ravoisié also drew this Roman bridge, which had been restored under Salah Bey’s rule in 1790.","partner":null}},"curator_status":"Y"},{"id":"c5d82e4f-8d74-5430-90f9-57dd3f2fea11","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Ravoisié also drew this image of a Roman triumphal arch.","partner":null}},"curator_status":"Y"},{"id":"7bb89a63-82a6-5695-bd9f-cf857d8d19fb","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The first use of photography on an archaeological site was in 1855 under Louis-Adrien Berbrugger (1801–69). He had shown that the so-called “Tomb of the Christian” was in fact a royal mausoleum of Mauritania. This photograph comes from an “illustrated report” made by Félix-Jacques-Antoine Moulin while he was in Algiers: in it Berbrugger (next to the door), is seen with John Green (photographer of the archaeological campaign) and a dozen Zouaves who participated in the excavations.","partner":null}},"curator_status":"Y"},{"id":"ff78af46-329b-5d7b-810a-cacb6d484374","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The World Heritage site of Umm al-Rasas (Jordan) contains ruins from the Roman, Byzantine and early Muslim periods. The most important monument is the mosaic floor of the Church of St Stephen. Built in 785 AD (during the Abbasid period), it depicts the major cities in Jordan, Palestine and Egypt. It reflects the spirit of tolerance and co-existence between Muslim and Christian communities at that time. Umm al-Rasas was visited by English scholar and traveller Henry Baker Tristram in 1872.","partner":null}},"curator_status":"Y"},{"id":"d903044a-9099-5fe4-8bcc-00c31c453207","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"Architectural elevation of the ruins of the Roman aqueducts of Caesarea Maritima in Palestine by C. R. Conder of the British Corps of the Royal Engineers, dated 6 April 1873. In addition to the geographical features of the land, olive groves, other agricultural features and the villages, the Survey of Western Palestine recorded all the visible archaeological remains of the country.","partner":null}},"curator_status":"Y"},{"id":"b8f1e03b-6dae-584b-990b-f69d7ae90efe","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"British archaeologist Flinders Petrie purchased this figurine in Giza (Egypt). He was informed by the seller that it had been unearthed at a site in the western Nile Delta. Petrie, recognising the Cypriot and Egyptian influences, headed to the region where it was said the figurine was found. It was here that he uncovered the town of Naukratis.","partner":null}},"curator_status":"Y"},{"id":"17ebadf5-f8b4-5fec-89b1-0d6719047eeb","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"In 1911, Italian Count Sforza and Ignazio Sanfilippo were touring Libya on a mission to assess local resources, sponsored by the Libyan branch of the Banco di Roma. Their parallel interest in Roman archaeology illustrates the connection between Italians’ claims of their Roman heritage and Italian colonial ambitions. The discovery of Roman antiquities in Libya was said to support Italy’s “historic right” to rule over Libya. Here the team works on a Latin inscription.","partner":null}},"curator_status":"Y"},{"id":"1e650671-cb20-50f3-8f15-8ed06e41849a","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The elderly Greek woman in this photo was the only person remaining in the Libyan town of Marsa Susa when the Italian army occupied it in 1911. The Italians referred to the town as Apollonia, the old Roman town nearby, which by this time was nothing more than an archaeological site. The technique was part of the wider strategy to connect the ancient and modern conquests of Libya.","partner":null}},"curator_status":"Y"},{"id":"c95dc265-e63b-5039-8f8f-a2652ee2dcba","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Italian soldiers in front of a Roman mosaic in Tripolitania (Libya). At their feet, almost at the centre of the photo, a plaque explains that: “These wonderful remains of Ancient Rome, art and civilization” have been brought back to the admiration of posterity by the Italian soldiers of the Bersaglieri 33rd Battalion in 1911 and they “confirm … Italy’s right to rule over Tripolitania”.","partner":null}},"curator_status":"Y"},{"id":"eaed42bd-51b3-5083-8735-9c1467c68055","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Another propaganda postcard shows an Italian sailor holding in his right hand a Roman soldier’s sword and in his left hand an Italian flag.","partner":null}},"curator_status":"Y"},{"id":"ecbd97bc-85ed-53b3-ab05-ca13100e4055","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"For the International Exhibition of Rome in 1911, the “Baths of Diocletian” complex was restored under the direction of Rodolfo Lanciani. The idea was to celebrate Imperial-era Roman culture, particularly its positive influence on the “ex-provinces”. The most incredible reconstruction on display was the Temple of Ancyra (ancient capital of Galatia, in the centre of Asia Minor), which was dedicated to Augustus and the goddess Roma, and based on casts taken by the archaeologist Azeglio Berretti.","partner":null}},"curator_status":"Y"},{"id":"ac5b0f5f-98d9-556f-869d-b17cc4a654a2","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"King Otto of Greece (1833–63) transformed ruinous Athens into a European capital worthy of its erstwhile glory. Spectacular changes were made to the appearance and planning of the city. This 1845 view comes from Théodore Du Moncel’s *Vues pittoresques des monuments d’Athènes*. We see the Roman Agora, natural continuation of the ancient Agora, and known in Ottoman times as the Bazaar Gate.","partner":null}},"curator_status":"Y"},{"id":"bd196d3c-3ad7-5a3c-a7bf-f9e67e2fa612","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The Painted Stoa (colonnade depicted on the right here) was known to 19th-century visitors by various names. Its true identity was not discovered until after 1884 with systematic excavations in the area of the Roman Agora. A small Byzantine church is also visible. This is Hagioi Asomatoi sta skalia (Incorporeal Saints at the steps), which was demolished, and exemplifies the misguided antiquarian notion of “purifying” archaeological sites.","partner":null}},"curator_status":"Y"},{"id":"4e167204-1a3f-5a86-944d-ab0b42f8681b","display_order":14,"variant_order":null,"curator_status":"N"},{"id":"f9783fd3-09a2-5548-be22-593259d96e06","display_order":15,"variant_order":null,"curator_status":"N"},{"id":"7eacd600-e860-593a-aed7-a9329d9d9011","display_order":16,"variant_order":null,"curator_status":"N"},{"id":"63946b1b-16ea-516e-a633-bafee1467d3f","display_order":17,"variant_order":null,"curator_status":"N"},{"id":"26d5c466-64f0-57e3-823b-ed86f67a2c66","display_order":18,"variant_order":null,"justifications":{"en":{"curator":"This 1910’s propaganda postcard illustrates the connection between ancient Rome and modern Italy, and thus legitimated Italy’s “right” to “re-conquer” territories once conquered by Rome.","partner":null}},"curator_status":"Y"}]},{"id":"4982e405-bd06-583b-97b5-71634378533f","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_117","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:117","parent_id":"766e7876-319d-5edb-809e-b36bb516537c","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"0c6f934e-a89f-5201-8884-4f5cd43e4cba","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"At markets, the weighing systems of commodities were set and regularly controlled by the state. These Romanian weighing units relied on Ottoman conventions, which were used in the country until 1866, when all the measuring systems in Romania were unified.","partner":null}},"curator_status":"Y"},{"id":"2aa49918-c570-5090-b9c9-670c7ca75ff7","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"In towns and cities, open-air markets were often supplemented by the central bazaar, where traders and shopkeepers rented small retail units to sell their wares. Some bazaars or *suq*s like the one shown here consisted of partly covered rows of shops on either side of a broad thoroughfare.","partner":null}},"curator_status":"Y"},{"id":"4e27b872-ecb5-5764-8ab4-12316b90ca21","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"A traditional open-air market brought together individual traders selling their produce, crafts and animals. Some were based locally, others arrived regularly with trading caravans to sell staples or rare commodities from much further afield.","partner":null}},"curator_status":"Y"},{"id":"71bafc31-de50-5515-8301-3411a7a0be01","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This bustling market scene in Romania gives a good impression of traditional outdoor trading. Itinerant rural traders and peddlers offer their produce, poultry, animals and other wares from simple baskets, stalls or carts. Women played a crucial part in all aspects of trade, either at the forefront or behind the scenes.","partner":null}},"curator_status":"Y"},{"id":"ae99c07a-63eb-5689-9082-49c9d484164e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The 19th-century Ottoman Suq al-Hamidiyya is by far the biggest and most famous suq in Damascus. The commercial thoroughfare is 450 metres long and about 9 metres wide, allowing for comfortable browsing and shopping. The origins of the site on which it was built go back to pre-Islamic times.","partner":null}},"curator_status":"Y"},{"id":"d33416a4-0a7d-53e7-981b-69aa3e40b575","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Grand Bazaar in Istanbul has housed thousands of artisans’ workshops and retail units for nearly six centuries. Its craftsmen and merchants were members of professional guilds and clustered together in those areas of the bazaar that were allocated to them.","partner":null}},"curator_status":"Y"},{"id":"ea56c676-8f35-5489-88dc-00a76f28ef9d","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"In traditional covered bazaars and *suq*s, specialised trades and retailers tended to draw together. For security reasons, jewellers’ shops were often found in the centre. Precious merchandise was kept locked away in cabinets and was only produced at a customer’s request.","partner":null}},"curator_status":"Y"},{"id":"f1948597-53b1-578c-8bd5-dbd5ac4ee6c3","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Great Khan of Damascus was built in the 18th century to house caravans from all over the region, carrying goods from as far away as China and those coming from further west through Mediterranean ports. Its central area combined shops on the ground floor with lodgings above.","partner":null}},"curator_status":"Y"},{"id":"634af5db-b68c-5f95-9cf9-42e43802e5f2","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In Istanbul, as elsewhere, traditional retailing from shops open to the street continued well into the 19th century. However, increasingly, commercial hubs in major cities were transformed with Western-style shops – often aligned under arcaded passages along the main thoroughfares – replacing old-style retail units.","partner":null}},"curator_status":"Y"},{"id":"6acad3a4-63f3-5160-bf8e-60081e141ee0","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This map indicating the location of shops in the heart of 19th-century Beirut gives a good impression of the clustered traditional concentration of commercial units typical within the Middle Eastern urban fabric.","partner":null}},"curator_status":"Y"},{"id":"e714183d-faa1-5c38-bf56-e05a8f41f61e","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Traditionally, Middle Eastern communities knew a retailer’s goods and quality through experience and word of mouth. Western-style advertising only arrived in the 19th century. Here, right next to the historical Bab Bhar in Tunis, a shop uses billboards to attract customers from across the square.","partner":null}},"curator_status":"Y"},{"id":"351e4901-7c17-581f-9b15-8be1d6fc3458","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This European-style furniture store in the heart of 19th-century Tunis was established by Eugenio and Alfredo Coen, two Jewish brothers from Livorno, Italy. Although the brothers made their home in Tunis, like other non-Muslim expatriates they maintained close networks and links with their community across the region and back home.","partner":null}},"curator_status":"Y"},{"id":"8450e17b-8c6f-5b90-8443-1e6a14d55b9e","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Founded by two Austro-Hungarian Jews, Leon Orosdi and Hermann Back, the luxurious Western-style Orosdi-Back department stores first opened in Cairo in 1856. Others branches soon followed all over the region. Unlike traditional shops, Orosdi-Back stores had fixed prices and did not allow bargaining.","partner":null}},"curator_status":"Y"},{"id":"e328388c-cc00-59f2-ab04-dca5a503ee4f","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Many traditional professions throughout the Middle East suffered in the wake of cheap, high-quality products being imported into the region from Europe. 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Newspaper printing developed further throughout the 19th century in the Ottoman Empire.","partner":null}},"curator_status":"Y"},{"id":"8c2abbac-16e2-5805-a239-068b6318e25d","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"A newspaper published after the Tanzimat (reforms). In the Ottoman Empire newspapers were printed in Arabic, Persian, Bulgarian, Serbian, Albanian, Kurdish, English, French, Italian, German, Turkish-Greek, Turkish-Arabic and Turkish-Armenian.","partner":null}},"curator_status":"Y"},{"id":"aba67976-e763-523c-b6b8-d3d8d4b775b6","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"The first use of lithographic printing in Morocco was documented in 1865; it later became a common technique in the country.","partner":null}},"curator_status":"Y"},{"id":"bc4ebe5a-094c-56c1-b426-f1d720ea5206","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"As photography developed, official photographic portraits were taken of European and Ottoman kings and sultans. A new figure arose – the court photographer – as photography became a common technique to immortalise events and personalities.","partner":null}},"curator_status":"Y"},{"id":"532b4aae-3420-5fef-ba89-4653325f00d7","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Carol Popp de Szathmari is considered to be the first Romanian certified photographer and the first war photographer in Europe (during the Crimean war). He was the official photographer of Alexandru Ioan Cuza and of King Carol I. He produced five photograph albums of peoples and places in Romania.","partner":null}},"curator_status":"Y"},{"id":"75ba6380-c797-5b14-a144-d7546e1f3572","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"During the 19th century, the commercial development of photography resulted in the spread of photograph albums to celebrate people, places and events and the growing interest in “exotic” places or populations, and to represent “the other”.","partner":null}},"curator_status":"Y"},{"id":"00c8cda2-d033-5a89-89e5-4f6a4483e3da","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Another photo from the Yıldız Albums. The construction of the railways had social consequences: new kind of jobs were offered, populations moved from the country to cities, and this gave birth to a new working class.","partner":null}},"curator_status":"Y"},{"id":"161d25a6-f2f3-5bd7-9bce-84afb082e31e","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The construction of the Hijaz Railway was celebrated as a public event by Sultan ‘Abd al-Hamid and involved important personalities from the Ottoman Empire. With a celebratory aim, the photographs of the delegations travelling along the Hijaz displayed the modernisation of the ancient Muslim pilgrimage route.","partner":null}},"curator_status":"Y"},{"id":"5b74420d-61f0-5db6-8b22-107ce274c47e","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The Yıldız Albums were commissioned by Sultan ‘Abd al-Hamid to represent the Ottoman Empire’s costumes, schools, buildings, people, personalities and technical innovations, and to promote a modern image of the Ottoman empire and counterbalance European orientalist imagery. 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He had his own photographic studio and collaborated in the creation of the Yıldız Albums, a large collection of photographs of people, technical innovations, places and personalities of the Ottoman Empire.","partner":null}},"curator_status":"Y"},{"id":"65d5d950-d069-5d9e-989f-ca9b3eb57b29","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Pascal Sebah had his photographic studio in Istanbul. He portrayed a wide range of subjects, some of them, such as his views of Istanbul, very realistic, and others based on fashionable topics influenced by orientalism, such as the representation of the harem inspired by European fantasies.","partner":null}},"curator_status":"Y"},{"id":"fc3b1ec9-a4c8-5bb0-8563-67addfda87dd","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The Abdullah brothers were the most famous Ottoman photographers in Istanbul, Cairo and Europe. They used the albumen print technique, printing on a specific kind of paper from a negative using egg white to fix the image. Their portraits represented “exotic” clichés (usually to satisfy European customers’ taste) or a realistic approach when portraying local people.","partner":null}},"curator_status":"Y"},{"id":"7a6f5cad-f74c-5502-95b2-2068560418a6","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"The Abdullah brothers also made very realistic albumen prints documenting landscape and monuments in Istanbul. They became the court photographers of Sultan ‘Abd al-Hamid and they opened their own studios in Istanbul and Cairo.","partner":null}},"curator_status":"Y"},{"id":"c88e4cac-7c3a-5acf-8cad-3a3c6bf1777f","display_order":15,"variant_order":null,"justifications":{"en":{"curator":"The stereoscopic photograph was produced by a technique involving viewing two apparently identical images with a tool (the stereoscope) which gave the illusion of three-dimensionality and movement. The stereoscope was a popular form of entertainment, showing fashionable subjects such as “exotic” places and international exhibitions.","partner":null}},"curator_status":"Y"},{"id":"c072d700-9ae2-5214-ad10-69e3cb6824fa","display_order":16,"variant_order":null,"justifications":{"en":{"curator":"Cinematography, whose invention was credited to the French Lumière brothers, had gone beyond the boundaries of France. It represented a further development of photographic and optical techniques such as Thomas Edison’s kinetograph and celluloid film. By 1905, cinematography was developing into an art form.","partner":null}},"curator_status":"Y"},{"id":"ba3b8c6f-86e6-5a4a-9b9a-6d600f5e1009","display_order":17,"variant_order":null,"justifications":{"en":{"curator":"The silver gelatin print was another photographic process that was developed late in the 19th century and it became commonly used for photographs through the 20th century. Portraits were popular subjects but so also was visual documentation, as in this case, of scientific and archaeological missions.","partner":null}},"curator_status":"Y"},{"id":"b7e5dd09-cf9b-5310-9343-8db43d0c9114","display_order":18,"variant_order":null,"curator_status":"N"}]},{"id":"d108e5de-1eca-5810-963d-50b09a88891e","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_134","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:134","parent_id":"0d6a1796-1c65-528a-b375-c1a9ffc51627","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"6345c672-a66e-5ec9-a903-e3ddfbdcb159","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"This image gives a glimpse of the  interaction between nomadic Arab tribes and local centres of religious and political power. In 1827, the chiefs of Syrian Arab tribes visited Abbé Desmazure, a famous French missionary, at the monastery of the Church Fathers in Jerusalem, where he was trying to  find a solution to the religious tensions prevailing in the local Christian community.","partner":null}},"curator_status":"Y"},{"id":"40ef2328-28fd-59f1-96b3-b75abf4e6c58","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The Bedouin of Hauran in Syria were fierce tribal Arabs, who often confronted Ottoman officialdom and took revenge in the wake of their inappropriate actions. In 1916, they attacked the Hijaz Railway after receiving paper money rather than gold and silver for their cereal and enduring the insensitive incursions of Ottoman police forces.","partner":null}},"curator_status":"Y"},{"id":"f94fb43c-ce0a-57b2-b9cb-171b27871fa2","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"On the Sinai peninsula, Bedouin tribes such as the Awlad Sa’id had lived for centuries, maintaining close links with the nomads of the Arabian Peninsula. In the 19th century, they often worked as soldiers or as guides for local governments and European travellers.","partner":null}},"curator_status":"Y"},{"id":"c5af0628-6524-5b0d-a3ae-ef6099a54a96","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"On the Sinai peninsula, Bedouin tribes such as the Awlad Sa’id had lived for centuries, maintaining close links with the nomads of the Arabian Peninsula. 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The owners of extensive camel herds, they could equip, organise, manage and protect trade caravans along routes that transversed deserts and forbidding landscapes inaccessible or too perilous for others.","partner":null}},"curator_status":"Y"},{"id":"4a617bed-3c19-5563-b98a-4cd98cda144d","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Nomads in the Arab and Ottoman world and North Africa were also of crucial importance to the region’s economy. The owners of extensive camel herds, they could equip, organise, manage and protect trade caravans along routes that transversed deserts and forbidding landscapes  inaccessible or too perilous for others.","partner":null}},"curator_status":"Y"},{"id":"dff63501-6388-5281-9baf-bb1a3d253e7f","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Despite their regular interactions with settled communities in the cities, towns and villages of the Arab and Ottoman world, Bedouins and other nomads remained fiercely independent, guarding their unique traditions, heritage and customs. 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As superintendant of the Egyptian Opera theatre, he commissioned from Verdi *Aïda*. Complications prevented the producers from opening the opera house in 1869 with *Aïda*, but it later debuted in Cairo in 1871.","partner":null}},"curator_status":"Y"},{"id":"7a673124-7bea-543e-8cdf-59c06cdc2216","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Adelaide Casati attended the premier of *Aïda* in Cairo where her father played cello in the orchestra. Two years later, age 19, she married Paul Draneht. Following their marriage in 1873 the Dranehts left Egypt and moved to Oggebbio, Italy. This document is their marriage certificate from Oggebbio, witnessed by Adelaide’s sister and her husband.","partner":null}},"curator_status":"Y"},{"id":"fc5492b4-b79e-5ab6-acf3-8e4d44f66cbc","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"In 1872 Paul Draneht bought a villa on the banks of Lago Maggiore, which he remodelled in a combined European and Eastern style. From the exterior a tower with an ogival dome is visible, while inside one room was modelled after an ancient Egyptian temple. The Parisian set- and prop-designers of *Aïda* produced the furniture for the house.","partner":null}},"curator_status":"Y"},{"id":"e055e6ed-ffba-5b33-a42a-7f9060dc3802","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This photograph from around 1880 shows Paul and Adelaide Draneht with their small daughter, Despina, posed before a backdrop that evokes the monuments of the classical past. Draneht had retired to Europe in 1877, but maintained lucrative business interests in Egypt.","partner":null}},"curator_status":"Y"},{"id":"2739eecb-f1a1-5544-8ead-dcf31ff17148","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"This photograph was taken sometime before the death of Paul Draneht in Alexandria in 1894. Here his daughter Despina poses with him. Despina married a wealthy Alexandrian-Greek businessman, Emmanuel Zervoudachi, in 1894, and lived in Alexandria and Italy.","partner":null}},"curator_status":"Y"},{"id":"d92eefc6-b8cb-57be-9e74-3bd00aa19302","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Although *Aïda* was first performed in Cairo in 1871, this engraving depicts the set of the 1880 Paris production at the Opéra Garnier. It combines elements of Old Kingdom sculpture with columns topped by heads, all of which dwarf the crowds below. It shows Act 2, Scene 2 when the Egyptians return victorious from their battle with the Ethiopians.","partner":null}},"curator_status":"Y"},{"id":"82a512d3-aced-55a2-b8b4-370dfafb5ffc","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"This engraving presents a scene from Act 3 of the 1880 French production of *Aïda* when Radamès and Aïda meet at the temple on the banks of the Nile. This scene was sung in French by Gabrielle Kraus and Henri Sellier. By 1880 the opera had been staged in North and South America and most of the countries of Europe, including Paris in 1876.","partner":null}},"curator_status":"Y"},{"id":"680c8cb0-7e03-52b8-988d-a7e74dbb89fa","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"*L’égyptienne* was a comic opera by Charles Lecocq, a prolific composer of comic operas and operettas, and performed at the Théâtre Folies-Dramatiques in Paris in 1890 and 1914. This “military operetta” is set in Egypt when the Napoleonic forces had just arrived. The only pictorial details that refer to Egypt are the figures in turbans and the Ottoman-style architecture.","partner":null}},"curator_status":"Y"},{"id":"f22befb9-5e91-59ad-a5d6-b1b4804da1d6","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"This piano recital, the *Fêtes égyptiennes*, features two pieces, “Masquerade Andalouse” and “Sérénade Slave”, which would have appealed to French Orientalist tastes. Neither piece had anything to do with Egypt, but they sounded exotic. The lyre, harp, tambourine and trumpet next to an Egyptian column near the pyramids suggest a distant civilisation.","partner":null}},"curator_status":"Y"},{"id":"a508bec6-1ea4-51c9-b5d8-a70ddc2a7baf","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Edouard Cazaneuve (d. 1903) was a composer of popular music, some of which had Orientalist titles, such as *Dans le harem: divertissement arabe: piano*. Private individuals would have bought sheet music for piano to play at home. Cazaneuve also composed a version of Ravel’s *Bolero* and all of his music is classified as “Romantic”.","partner":null}},"curator_status":"Y"},{"id":"4c7b394a-e1a0-5aff-b896-8caf9feaef32","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The image on this sheet music for *A Portugueza* includes a trumpet, gun and spear within a ring with the name “Vasco da Gama” on it, which may suggest that the music refers to Portugal’s colonies. The music was adopted as the marching song of the 1891 rebellion and in 1911 became the national anthem of the new Portuguese Republic.","partner":null}},"curator_status":"Y"},{"id":"2750ade6-0ba3-536b-a712-3d37388d9bf1","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The cover of the sheet music for *Nuit d’Orient*, a waltz for piano by P. Bermalty (d. 1921), fits the prevailing stereotypes of the “East” with the Sphinx in the background, a caravan winding through the desert and a comely young woman in a low-cut blouse. This composer specialised in waltzes, but not all of them involved Orientalist themes.","partner":null}},"curator_status":"Y"}]},{"id":"cc7f9613-da97-5d3a-ae9a-041673daebf0","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_144","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:144","parent_id":"ed9f89ae-f83d-56eb-87dc-8663cfd7ea9c","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"3cd5a4c9-7c30-53cb-877b-5bf9e71bca5b","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The story behind *The Thousand and One Nights* (also known as the *Arabian Nights*) is puzzling. There are various Arabic editions and a number of translations. 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Mardrus.","partner":null}},"curator_status":"Y"},{"id":"ec198745-bf85-5cf3-a025-264676b49e2d","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Jean-Charles Mardrus (1868–1949) was born in Cairo and is best known for his translation of the *Arabian Nights* from Arabic to French. François-Louis Schmied (1873–1941) and Jean Dunand (1877–1942) worked together to illustrate the volume translated by Mardrus, which is widely regarded as the most beautifully illustrated and eloquent French translations.","partner":null}},"curator_status":"Y"}]},{"id":"1e979c01-8558-57f6-b082-94e1239a1a6b","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_152","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:152","parent_id":"74050d04-8c6c-5ad0-9c80-9ac46f59d8c2","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"957ca713-c1c0-5491-8542-164f00239bf4","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Replete with movements and images inspired by the “East”, “Story ballets” were particularly popular in the 19th and early 20th centuries.","partner":null}},"curator_status":"Y"},{"id":"8a730c5e-8120-5c99-a9fa-3fffc09ae06e","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The impact on the Parisian public of “Eastern”-inspired ballets created waves of Orientalist-inspired creations throughout the fashion and art worlds.","partner":null}},"curator_status":"Y"},{"id":"d92eefc6-b8cb-57be-9e74-3bd00aa19302","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Europe’s elite flocked to a dazzling new Cairo to enjoy the sumptuous palaces, Parisian gardens and the newly built Cairo Opera House on the banks of the Nile, where Verdi’s *Aïda* premiered.","partner":null}},"curator_status":"Y"},{"id":"3f21696b-6178-5310-a618-3b1cbb1ec3d6","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"*Scheherazade*, based on the central character from the *Arabian Nights*, was an exotic, timeless, evocative fantasy brimming with awe, sensuality and wonder.","partner":null}},"curator_status":"Y"},{"id":"cc9708c7-7639-577d-908b-b4db3b0e057e","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"The inspiration for the ballet *Scheherazade* was the female storyteller of the *Arabian Nights*. Fokine’s “Eastern”-inspired ballet conveys the sensual aspects of the Orientalist fantasy in expressive movement.","partner":null}},"curator_status":"Y"},{"id":"89881283-d829-5946-bd7c-505438d8c8c0","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"As Romanticism emerged and brought exotic settings into vogue the “East” became a popular theme for many artists and musicians.","partner":null}},"curator_status":"Y"}]},{"id":"ca3022e9-8ad3-59e2-93f3-d903bb50282e","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_156","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:156","parent_id":"f5a5e2a9-8b0f-54f8-936a-212e35f37300","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"16c4b489-744b-54ba-b2f9-e9d429647ac5","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Egyptomania began with Napoleon’s campaign in Egypt in 1798. The design for this bracelet, decorated with hieroglyphics and other Egyptian motifs, is taken from the book by French artist Dominique-Vivant Denon, entitled *Voyage dans la Basse et la Haute Égypte* (1802), and was made by the French jeweller Odiot, one of the most important jewellers of the early 19th century.","partner":null}},"curator_status":"Y"},{"id":"3bc9a9b0-a7fe-59d9-9819-5e3a9265f4a4","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"Egyptomania reached its height with the opening of the Suez Canal in the middle of the 19th century. Its influence can be seen in the jewellery and different decorative motifs inspired by Egypt, in this case lotus flower buds.","partner":null}},"curator_status":"Y"},{"id":"7474b893-ab5b-5cb0-8dbf-1f03e7b4dcb1","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Archaeological discoveries in Egypt and the Near East had an important influence on designers and artists. 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This study by Pierre-Auguste Renoir gives an idea of the different sources of inspiration used by European artists and designers.","partner":null}},"curator_status":"Y"},{"id":"60c41d82-4ce0-5ec0-9037-67792716aba8","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"When making this man’s coat, the designer Mariano Fortuny was inspired by the traditional clothing worn by Bedouins. The decoration is influenced by motifs found in Safawid-period Persian art.","partner":null}},"curator_status":"Y"},{"id":"df6c527d-f54f-5563-b918-6ec2da8e94f9","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Fortuny was inspired by both the *jellaba* (hooded coat) and the tunic from North Africa. The genius of his design is seen here in the combination of North African forms with Renaissance decoration.","partner":null}},"curator_status":"Y"},{"id":"89881283-d829-5946-bd7c-505438d8c8c0","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The artist Sonia Delaunay created a new set of costumes for the lead dancers in *Cleopatra* after they were destroyed in 1917. The costumes for this production performed by Serge Diaghilev’s company Ballets Russes shows how Egyptomania influenced artists and how they reinterpreted these motifs and adapted them to their own style.","partner":null}},"curator_status":"Y"},{"id":"fa113d57-874f-5262-96a7-d769cd7f7fd8","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A *jellaba* designed by Fortuny, inspired by trips he took to North Africa in the 1930s.","partner":null}},"curator_status":"Y"},{"id":"c2865a20-07ed-57a6-a434-0d7f2bfbe970","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Mariano Fortuny was influenced by Orientalism in two ways: his travels and contact with other artists on one hand, and the antique fabrics that he and his father, the painter Mariano Fortuny, and mother before him, collected on the other. These antique fabrics inspired the decorations he used in his fabrics. The combination of motifs from different cultures and eras, in the forms of tunics, *abas*, etc., are hallmarks of this designer.","partner":null}},"curator_status":"Y"}]},{"id":"f338faed-767b-545b-870f-31a9db666136","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_160","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:160","parent_id":"00a1e3fb-228c-596d-a2a8-95ba8bb14e9c","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"54a75fca-9a38-5dc2-9f8e-80faf09f8470","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The artist Halil Pasha studied at the Mühendishane-i Berr-i Hümayun (Engineering School for Armed Forces). This Ottoman military school, opened in 1795, offered a curriculum including mathematics, French and even art. For some students, such as Halil Pasha, the school offered an opportunity to develop their artistic skills beyond their practical requirements.","partner":null}},"curator_status":"Y"},{"id":"c16fad3d-de00-51aa-b32f-c08f9761a3dc","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The artist Halil Pasha attended one of the modern military academies first founded in Ottoman Turkey towards the end of the 18th century. Military academies, the first based in Istanbul, provided advanced education aimed at future officers and senior army personnel.","partner":null}},"curator_status":"Y"},{"id":"f3955418-aaed-57fc-96f9-18195a4d076b","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Although unexpected, a close connection exists between the first modern Turkish painters and the military academies in Istanbul. In addition to technical subjects art was taught to enable students to draw strategic maps. Some used their skills to realise their artistic potential.","partner":null}},"curator_status":"Y"},{"id":"96b87e45-a0fc-5ed9-baea-de7b25724cf7","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"In the wake of major reforms introduced in 1869, the Ottoman reorganisation of public education resulted in a unified network of state schools established throughout the Ottoman provinces. The curriculum they provided aimed at providing the necessary education to work in the Ottoman civil service.","partner":null}},"curator_status":"Y"},{"id":"baa960da-cbd1-54e0-9d5e-f5269a2ff7f6","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"19th century, military schools (preparatory and advanced) were built in many important cities of the Ottoman provinces, becoming part of the urban social fabric of cities from Syria to Yemen. Gradually, a common, pan-Ottoman school system was established throughout the kaleidoscopic societies of the empire.","partner":null}},"curator_status":"Y"},{"id":"5984df39-df0b-5179-8186-0d620e962e8c","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"Butrus al-Bustani was one of the leading personalities in the debate about Arab identity in the 19th century. He developed the idea of education as a way to overcome the divisions that existed in Lebanon. In 1863, he established the National School, which offered education to everyone regardless of religious creed.","partner":null}},"curator_status":"Y"},{"id":"e9467b9f-6942-5d4d-ad65-2a08497b1ca5","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Throughout the Arab and Ottoman world, governments and influential patrons saw the support of education as among their most important duties. Ibrahim ibn Muhammad al-Midfa’, one of the foremost citizens and intellectuals in Sharjah at the time, was actively involved in promoting high-quality education for local children.","partner":null}},"curator_status":"Y"}]},{"id":"9e7a7cbc-75d8-5cef-9df3-ee7a19b1c8e9","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_169","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:169","parent_id":"bd677873-ce69-5041-be5e-82bf4abfea44","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"a77f3909-2307-52b5-b2aa-0229a50ed6c5","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"This plafond, among other works of art, was exhibited in the “Algerian” pavilion at the Exhibition of Art and Industry held in Paris in 1867.","partner":null}},"curator_status":"Y"},{"id":"cbc34421-cbf1-565d-b4bd-d91bdc792930","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Fragments of the *minbar* from the Ibn Tulun Mosque in Cairo were on show at the exhibition held in Paris in 1867. Exhibitions displaying objects such as this sparked interest among European museums to acquire similar artefacts, such as the rosette seen here, which is now in Vienna.","partner":null}},"curator_status":"Y"},{"id":"8c849c6a-3e58-57d8-b731-007ad15dcd18","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The decoration of the Egyptian Gallery at the Kunsthistorisches Museum in Vienna was realized in 1877. It copies exactly the decoration created for the “Egyptian” pavilion, at the World’s Fair held in Vienna in 1873, by Ernst Weidenbach, which he copied from the paintings in the Tomb of Chnumhotep II in Beni Hassan (central Egypt).","partner":null}},"curator_status":"Y"},{"id":"8985fc96-8186-5025-a7f2-72ef2dcdcfcb","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This is a general view of the Egyptian Gallery at the Kunsthistoriches Museum in Vienna where the ancient context is evoked in vivid style: the wall decoration is the same as that used for the “Egyptian” pavilion at the World’s Fair held in Vienna in 1873.","partner":null}},"curator_status":"Y"},{"id":"5f222398-8b87-5911-b8a7-1ddf81006b0c","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"At the exhibition held in Vienna in 1873, at a time when the Austrian Empire was very interested in fostering trade relations with the Ottomans, the Ottoman Empire was represented by a “Turkish” quarter posed, like the Egyptian one, in front of the main hall. In the main pavilion was a re-creation of the Fountain of Sultan Ahmed III, built in 1728, in front of the Topkapı Palace in Istanbul.","partner":null}},"curator_status":"Y"},{"id":"e6ce0745-bf5d-5a64-ab65-c5f97224e8ef","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"For the exhibition held in Rome in 1911, a complex called the “Baths of Diocletian” was re-created under the direction of the archaeologist and topographer Rodolfo Lanciani. At the same site there was an “Archaeological Exhibition dedicated to Roman culture in the Imperial Era with a particular interest in its positive influence on the ex-provinces”. Some material from this exhibition can still be seen at the Museo della Civiltà Romana (Rome). Seen here is the room dedicated to Greece.","partner":null}},"curator_status":"Y"},{"id":"a7c8b211-e332-5686-9c0a-beed901d97e7","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"Archaeological material and casts on display in the room dedicated to Austria at the exhibition held in Rome in 1911. This exhibition, which celebrated the 50th anniversary of the Italy’s Unification travelled from Rome to Florence and then to Turin with a different theme at each location; for example, the Roman exhibition was dedicated to archaeology and the new discipline of ethnography.","partner":null}},"curator_status":"Y"},{"id":"240766f1-2bff-5c21-abf7-80992ebf2e6a","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"Actual material evidence and casts of objects from Islamic Spain displayed in the “Baths of Diocletian” at the exhibition held in Rome in 1911. The material created for this exhibition created so much interest on a scientific level that the curators decided to exhibit them permanently, and most of the works are now held at Museo della Civiltà Romana (Rome).","partner":null}},"curator_status":"Y"},{"id":"2c9ad369-e5c9-5902-9932-97df74755096","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"A perfect reconstruction of the enormous portal from the Great Mosque of Algiers (Djama’a al-Kebir) located near Algiers Harbour. The replica, which was presented at the exhibition held in Paris in 1878, in displaying some of Algeria’s most important architecture, represents a form of cultural promotion of the country.","partner":null}},"curator_status":"Y"},{"id":"fd4f4f6c-55c9-53ba-b261-f3fda9387dc4","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"This faithful reconstruction of the “Chapel of the Mihrab” was made for the exhibition held in Paris in 1878. Construction of the Great Mosque of Córdoba above the previous Christian church was begun by the Emir Abd al-Rahman I in 786 CE. Decoration of the replica was realised by Giuseppe Botana who specialised in mother-of-pearl and the mosaicist Zuloaga.","partner":null}},"curator_status":"Y"},{"id":"21cdc970-7b11-5dbd-a00e-75e0673ddd78","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"The “International Exhibition of Marine and Maritime Hygiene: The Italian Colonial Show”, was held in Genoa in 1914, curated by the architect Gino Coppede. This photo shows the replica, created for the occasion, of the famous Tower of Galata that the Genoese had rebuilt in the district of Constantinople in 1348.","partner":null}},"curator_status":"Y"},{"id":"ecbd97bc-85ed-53b3-ab05-ca13100e4055","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"The most incredible reconstruction on display at the exhibition held in Rome in 1911 was the Temple of Ancyra, dedicated to Augustus and the goddess Roma. Accurate in the extreme, the reconstruction was based on casts taken by the archaeologist Azeglio Berretti, among whose finds is the engraved inscription on bronze tablets, the so-called *Res Gestae*, representing the testament of the Emperor Augustus.","partner":null}},"curator_status":"Y"},{"id":"cb52291b-7b0d-5472-b972-2e4f32848e2f","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"At the Great Exhibition at Crystal Palace in 1851 a massive, full-colour reconstruction of the “Assyrian Court” was based on recent discoveries at the Assyrian city of Nimrud. There was also a parallel “Egyptian Court” as can be seen in this photo.","partner":null}},"curator_status":"Y"},{"id":"ac179872-390d-5c7a-ab3a-2c5e56a1e7df","display_order":14,"variant_order":null,"justifications":{"en":{"curator":"In this chromolithograph from the exhibition held in Paris in 1889 the area dedicated to the exhibit “Histoire de l’habitation humaine” can be seen: there are reconstructions of residences of the world, in a pastiche of styles without continuity, through which visitors can wander.","partner":null}},"curator_status":"Y"}]},{"id":"89b4b696-d0b6-5376-bf86-57c154154a26","type":"subtheme","purpose":null,"internal_name":"sh_exhibition_subtheme_32","backward_compatibility":"mwnf3_sharing_history:sh_exhibition_subthemes:32","parent_id":"b647d8d2-0a0f-5951-af75-816364a08456","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"bff5b327-dd8c-55ac-a7f0-49d5bbc62548","display_order":1,"variant_order":null,"justifications":{"en":{"curator":"The idea of the Corinth Canal was revived after Greece gained independence in 1830 but was soon abandoned for economic reasons. It was formally inaugurated on 23 April 1882. The canal was designed by the Hungarian engineer Béla Gerster with the assistance of the French Vincent Dauzats, a chief engineer of the Suez Canal.","partner":null}},"curator_status":"Y"},{"id":"f5b47725-414d-52d8-902a-bee467f7d304","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"The idea of the Corinth Canal was revived after Greece gained independence in 1830 but soon abandoned for economic reasons. It was formally inaugurated on 23 April 1882. The canal was designed by the Hungarian engineer Béla Gerster with the assistance of the French Vincent Dauzats, a chief engineer of the Suez Canal.","partner":null}},"curator_status":"Y"},{"id":"0ee9442b-fe87-5668-a98a-944398b82de9","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This painting is included in the personal album of the Empress Eugénie of France. The inauguration of the Suez Canal was a great event, being the fulfilment of an ancient idea and for the strategic and economic aims that attracted all countries and the great powers in particular. Paintings were therefore made to immortalise the event.","partner":null}},"curator_status":"Y"},{"id":"49fa2453-a0f1-50d3-9c2e-b116b3fe9fdd","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"The fresh water canal drew drinking water from the Nile river for the workers building the Suez Canal. Ismailia hosted offices and workers. There was an Arab village, a railway station and some large buildings including the Khedive’s palace and the chalet of Ferdinand de Lesseps, the French diplomant responsible for construction of the Suez Canal.","partner":null}},"curator_status":"Y"},{"id":"868c8876-a63c-5812-a3d6-8c1fbf7d0e19","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"Louis Maurice Adolphe Linant de Bellefonds, also known as Linant Bey, was a French painter, traveller and explorer. In Egypt, he collaborated with Muhammad ‘Ali Pasha and Said Pasha and was appointed as director of public works. He was one of the experts the governors hired in order to acquire technical know-how.","partner":null}},"curator_status":"Y"},{"id":"9dcd91c6-e5a8-5dd3-b2fb-aa1eefe94502","display_order":3,"variant_order":null,"justifications":{"en":{"curator":"This plan of the Suez Canal was published in Algiers in 1865. It shows in detail the work in progress, the geographical area surrounding the canal and a portion of the Mediterranean coastline. The Suez Canal would bring positive economic effects to North African trade.","partner":null}},"curator_status":"Y"},{"id":"8dec350b-560d-5475-8a47-00b9dd25268c","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"The inauguration of the Suez Canal represented a strategic innovation also for Austria. This medal was struck by the Austrian Emperor Franz Joseph I to celebrate the opening of the canal. He was invited by the Khedive Ismail to the inauguration.","partner":null}},"curator_status":"Y"},{"id":"9fa1fbea-a4e2-5d50-9509-67fa9073a9d8","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Brass token issued by Borel Lavalley et Companie before the inauguration of the Suez Canal. Its simple iconography is a reminder of the expectations raised by the completion of the building of the canal.","partner":null}},"curator_status":"Y"},{"id":"b34a6459-d73e-575a-bf25-d6eeecca51a1","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"This marble sculpture was commissioned by Pasquale Revoltella to celebrate the Suez Canal. He was a businessman from Trieste (the main commercial port of the Austro-Hungarian empire up to the end of World War I) and vice president of the Compagnie Universelle du Canal Maritime de Suez.","partner":null}},"curator_status":"Y"},{"id":"be44b9c0-4045-581b-a6e2-85c0f3bcd137","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Seafaring and economy were deeply interconnected. Having lost Venice in 1866, Trieste (today an Italian city) became the main port through which Austria conducted commercial relations with Egypt and the Ottoman Empire. The Suez Canal was a further commercial outlet for the Austrian market.","partner":null}},"curator_status":"Y"},{"id":"bf3b00b7-e2b1-52d9-ac3a-710b848a0c69","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"One of the medals issued to celebrate the construction of the Suez Canal. The allegorical figures emphasise its importance as a waterway and as a trade route.","partner":null}},"curator_status":"Y"},{"id":"c74178c2-ab9f-5408-9cbb-cf1f4eff394d","display_order":4,"variant_order":null},{"id":"5483dab5-d84f-5427-be2a-f5641e4aecc1","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Traffic on the Suez Canal and its revenues influenced the European economy. The Commodities Exchange of Trieste was kept up to date with lists of revenues such as this one. The port of Trieste (a “gate to the Orient”) and the Commodities Exchange had been developed by the Habsburgs.","partner":null}},"curator_status":"Y"},{"id":"6d1c8ebf-40bc-511a-925c-b1e167d60a3d","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"An important memo on the profits of the Suez Canal. The practice of keeping records of the canal’s profits was maintained at the beginning of the 20th century.","partner":null}},"curator_status":"Y"},{"id":"ef89ce14-252d-5bb0-8014-da9c14164139","display_order":6,"variant_order":null,"justifications":{"en":{"curator":"All the stages of building the Suez Canal were documented by photographs.","partner":null}},"curator_status":"Y"},{"id":"9ee00ba7-2731-5d14-b9bf-0d46da259600","display_order":7,"variant_order":null,"justifications":{"en":{"curator":"The Khedive Ismail had invested a huge sum to promote the building of the Suez Canal as an attempt to reform and modernise Egypt and to make it economically and strategically stronger against the European powers.","partner":null}},"curator_status":"Y"},{"id":"18fd68f6-0db6-5ad7-aa02-07fc4aa8572e","display_order":8,"variant_order":null,"justifications":{"en":{"curator":"The medal commemorates Ferdinand de Lesseps, the diplomat responsible for the Suez Canal’s construction, and the participation of the Empress Eugénie. Its iconography recalls similar objects issued for the inauguration. The pyramids are connected to symbols of modernity. The European iconography reveals a fashion of the time by focusing on ancient Egyptian history.","partner":null}},"curator_status":"Y"},{"id":"90aa72df-4823-5e48-bcc0-2aa150e3f718","display_order":9,"variant_order":null,"justifications":{"en":{"curator":"This painting was commissioned by Pasquale Revoltella to celebrate the innovation of the Suez Canal. He was a businessman from Trieste (the main commercial port of the Austro-Hungarian empire up to the end of the World War I) and vice-president of the Compagnie Universelle du Canal Maritime de Suez.","partner":null}},"curator_status":"Y"},{"id":"341be9d6-6bac-5978-aa0e-844e03633f92","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"Brăila, on the Danube near the Black Sea, passed from Ottoman sovereignty to the principality of Wallachia after the Treaty of Adrianople (Edirne) was signed with Russia (1829). Wallachia and Moldavia were granted by the Ottoman Empire freedom of trade and navigation on the Danube, and Brăila became a free port.","partner":null}},"curator_status":"Y"},{"id":"61eb1293-6209-599c-bd83-34f180e3bec2","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Constanţa was the junction between the Danubian waterway, its ports and the Black Sea. 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This variety is common in Europe and in the Arab and Ottoman world.","partner":null}},"curator_status":"Y"},{"id":"5e413fe1-4925-55b0-965a-8299b2ba8258","display_order":4,"variant_order":null,"justifications":{"en":{"curator":"Ottoman dress had significant repercussions in the Western world: the fabrics used (transparent chiffon, gauze and muslin), the cut (straight lines in some garments such as jackets) and the use of breeches, all of which attracted the attention of Europeans and inspired Western artists and designers.","partner":null}},"curator_status":"Y"},{"id":"e733f2a6-8940-5e1d-ba96-bb338e5c87f6","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"“Egyptomania” and Orientalism were reflected in European fashion, their influences seen to evolve as decorative motifs and styles of clothing (i.e. the tunic and *jellaba*) were introduced. 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He was involved in the design of the Great Exhibition of 1851 in London and in the creation of the Victoria and Albert Museum (then the South Kensington Museum). He published his collection of designs from different cultures in 1856.","partner":null}},"curator_status":"Y"},{"id":"2ae3984e-4d68-5007-ab52-077d0d39f896","display_order":2,"variant_order":null,"justifications":{"en":{"curator":"Théodore Deck was a well known French ceramicist who researched and reproduced mediaeval techniques, such as a lusterware. In this case, he reproduced the “Vase of the Gazelles” from the Nasrid era. Interest in these pieces and their reproduction was influenced by publications, such as that by Owen Jones on the Alhambra, and other similar works. 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Here, both the technique of enamel painting and the design refer to a Mamluk inspiration, which would have been highly fashionable at the time.","partner":null}},"curator_status":"Y"},{"id":"fcf42d5a-d05c-5ebc-88f3-195d584999e1","display_order":5,"variant_order":null,"justifications":{"en":{"curator":"Museums of decorative arts began to appear in the 19th century to serve both as inspiration for artists and manufacturers and to reassess the “minor arts”. The collections in these museums were made up of numerous objects dating from antiquity to the 19th century. 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Revivalist trends, including Orientalism, were encouraged, at least in part, by the development of museums of decorative and applied art and also the process of reassessing the “minor arts\".","partner":null}},"curator_status":"Y"},{"id":"214be064-96bb-55b5-a13e-9888c7b4d009","display_order":7,"variant_order":null,"curator_status":"N"},{"id":"c1c21018-70eb-5e4f-93fb-c53b4de7b9a0","display_order":8,"variant_order":null,"curator_status":"N"},{"id":"a237773b-cce0-5972-a24d-1e563fd1cb62","display_order":9,"variant_order":null,"curator_status":"N"},{"id":"3cce65e9-b5bd-5b53-9b90-2b8d522d809b","display_order":10,"variant_order":null,"curator_status":"N"},{"id":"f672a566-07c0-5def-83e1-f7239ef4cf19","display_order":11,"variant_order":null,"curator_status":"N"},{"id":"3c18dfa3-8e52-5116-bf41-c9550b769ba0","display_order":12,"variant_order":null,"curator_status":"N"},{"id":"1caa0741-193b-5ce9-9a9c-423846c3eeff","display_order":13,"variant_order":null,"curator_status":"N"}]},{"id":"f3ef049d-33db-5f49-8824-dd9f9890e99c","type":"collection","purpose":null,"internal_name":"sh_hb_page_58_The Suez Canal","backward_compatibility":"mwnf3_sharing_history:sh_countries_historicalbackground_pages:58","parent_id":"bb251210-47fa-5aa3-b296-b39c2652963f","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"90aa72df-4823-5e48-bcc0-2aa150e3f718","display_order":1,"variant_order":null}]},{"id":"6c0c2728-2420-54e3-8612-9a1cba3fb044","type":"collection","purpose":null,"internal_name":"sh_hb_page_60_End of empires","backward_compatibility":"mwnf3_sharing_history:sh_countries_historicalbackground_pages:60","parent_id":"33a5d611-575b-5cd7-aa48-3fa4bc39c3fd","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[{"id":"18fd68f6-0db6-5ad7-aa02-07fc4aa8572e","display_order":1,"variant_order":null}]},{"id":"997f7990-f326-5f78-bf92-546cc2cb296c","type":"collection","purpose":null,"internal_name":"sh_hb_topic_awe_The Arab Revolt","backward_compatibility":"mwnf3_sharing_history:sh_project_about_topics:awe:4","parent_id":"0efd2c14-96c0-59c8-a1ae-ad91adff5cc4","country_id":null,"display_order":4,"latitude":null,"longitude":null,"images":[],"items":[]},{"id":"6b99dfaa-ab1c-5153-b0c4-a5823a98f95c","type":"exhibition","purpose":null,"internal_name":"sh_exhibition_5","backward_compatibility":"mwnf3_sharing_history:sh_exhibitions:5","parent_id":"4b01a0e4-7f13-517c-b774-de51640aacc4","country_id":null,"display_order":5,"latitude":null,"longitude":null,"images":[],"items":[{"id":"00dfb034-7745-571e-9003-aff48bf346d0","display_order":null,"variant_order":null},{"id":"03fa93d0-4ba6-5345-9362-3c66f5efb5d1","display_order":null,"variant_order":null},{"id":"04c6becd-fdd7-5c20-9596-b48f8a6ce25a","display_order":null,"variant_order":null},{"id":"04e56c00-ff8a-5334-9dea-eb0e9fc10644","display_order":null,"variant_order":null},{"id":"057cb072-73f1-5597-b0c3-f4145e5d0880","display_order":null,"variant_order":null},{"id":"077c68fe-2e6b-58e1-8e7b-c457e2fe3a33","display_order":null,"variant_order":null},{"id":"07fa4973-f69d-57f4-8e6d-caeb88f75252","display_order":null,"variant_order":null},{"id":"09551850-4b0e-5e89-a902-5605adcd0825","display_order":null,"variant_order":null},{"id":"0a232d6e-3ce2-5412-be8a-b9cb0af2bff7","display_order":null,"variant_order":null},{"id":"0ba2e663-9318-562e-9c2a-099d167e8112","display_order":null,"variant_order":null},{"id":"0dda7d39-b57f-5849-bcea-6897a0d0d4be","display_order":null,"variant_order":null},{"id":"0e7a0149-6b93-507e-b4df-dc55cdc5bd9f","display_order":null,"variant_order":null},{"id":"109ed34a-507a-5652-bb30-736569eca0ac","display_order":null,"variant_order":null},{"id":"11568132-d5af-54cf-9a3f-f663abfb4f5b","display_order":null,"variant_order":null},{"id":"16c4b489-744b-54ba-b2f9-e9d429647ac5","display_order":null,"variant_order":null},{"id":"17e0e95e-14d7-5aeb-b21f-b18091757a69","display_order":null,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"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)."}}},{"id":"18e02623-b9ad-5163-8ba9-d958a15a6f01","display_order":null,"variant_order":null},{"id":"1b1e3ef8-5e29-5178-ac83-8c4cb0d8ce8c","display_order":null,"variant_order":null},{"id":"1f016872-92d0-54fb-b596-c44b25a26d1a","display_order":null,"variant_order":null},{"id":"1fe2bf0f-28b8-574f-bc6b-664e988fdf29","display_order":null,"variant_order":null},{"id":"24e0347f-f9f3-5254-ba16-aef618e16ba6","display_order":null,"variant_order":null},{"id":"26bb48d2-0468-5e95-b709-f3f74817bef6","display_order":null,"variant_order":null},{"id":"274e910c-7ec1-5f20-8460-292341da7d08","display_order":null,"variant_order":null},{"id":"279e1f50-df40-5f44-a5e0-e9a46ddf29b7","display_order":null,"variant_order":null},{"id":"29723c0f-a1c2-5bb3-aa6b-3b7ef63ed1af","display_order":null,"variant_order":null},{"id":"2d85c81f-8fff-5170-9719-df9f41dbd763","display_order":null,"variant_order":null},{"id":"30b8ffa8-c9e2-5376-85c7-4955c327cf33","display_order":null,"variant_order":null},{"id":"372e3810-b18e-5d0c-b107-9bd837cefb1e","display_order":null,"variant_order":null},{"id":"3a2530bf-22b3-5651-bacc-f8a748c678a1","display_order":null,"variant_order":null},{"id":"3e51e99d-8ff0-545e-95fc-52a15be8b042","display_order":null,"variant_order":null},{"id":"412af98f-597f-5bd8-9bce-18aac056c045","display_order":null,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"The Chronicle of the Universal Exhibition of Paris, 1878 exalts the commercial success achieved by the production of glass in the city of Murano. A huge amount of these objects are numbered among 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."}}},{"id":"45ccc1b2-62ae-540c-ba7c-d71565ea58c3","display_order":null,"variant_order":null},{"id":"4b1cc99c-bdcc-51e9-bf03-770c80101277","display_order":null,"variant_order":null},{"id":"4cb14496-4bb6-5ace-9b66-d5e561825dc3","display_order":null,"variant_order":null},{"id":"4d5b7131-33fe-5c5d-8076-ab9568f98e94","display_order":null,"variant_order":null},{"id":"4ef4f4cf-3d12-58c3-8cc2-6c635b02100f","display_order":null,"variant_order":null},{"id":"522f2144-3034-5e4d-9bc3-6ef8c6f5ecd0","display_order":null,"variant_order":null},{"id":"5250886a-a6a0-5674-9156-a5f133b9cfe8","display_order":null,"variant_order":null},{"id":"52bc1f5c-19f1-5c15-8794-630ecd367289","display_order":null,"variant_order":null},{"id":"54061b49-5654-5a34-bb57-ed20127e9164","display_order":null,"variant_order":null},{"id":"541e7afc-c735-5bac-ad3a-928530f9d141","display_order":null,"variant_order":null},{"id":"54310c6d-87ca-585e-b552-bcb1c5951fe3","display_order":null,"variant_order":null},{"id":"56bae231-ad09-5568-8e83-1f1aa7115444","display_order":null,"variant_order":null},{"id":"5714f381-6e11-56d5-9801-fef85803c128","display_order":null,"variant_order":null},{"id":"576f26e0-f45e-5486-860f-0324e1f36b51","display_order":null,"variant_order":null},{"id":"593969dc-7368-5182-961d-c81a464474fc","display_order":null,"variant_order":null},{"id":"59e106e1-b0a2-5505-af4e-7abfde04a90a","display_order":null,"variant_order":null},{"id":"5c6bfb8e-5045-5559-8078-f4e37350944b","display_order":null,"variant_order":null},{"id":"602e2e1a-614b-533b-b171-c2a7bb60bc72","display_order":null,"variant_order":null},{"id":"60799836-0950-5426-b9f2-6f8fbdaa9f72","display_order":null,"variant_order":null},{"id":"60e43904-297f-56d1-af8b-fa4776b2ccb3","display_order":null,"variant_order":null},{"id":"61d517e1-9410-5522-abb9-809bf66d22a5","display_order":null,"variant_order":null},{"id":"6361ef20-5b25-59b2-bd56-7f7ed9244291","display_order":null,"variant_order":null},{"id":"6737216e-9ec0-5301-bc44-aa17e6e3cff5","display_order":null,"variant_order":null},{"id":"696bbefe-4763-59bf-ad00-3b86378355df","display_order":null,"variant_order":null},{"id":"6e1d143a-f28c-5e23-bd94-fbe16124f587","display_order":null,"variant_order":null},{"id":"6f8705b6-8b55-55ab-a02e-52dedab4e4de","display_order":null,"variant_order":null},{"id":"701d0273-bf02-5200-8f32-6dab9287106b","display_order":null,"variant_order":null},{"id":"7145d9d7-3f20-55d9-a385-486cd31761ab","display_order":null,"variant_order":null},{"id":"73c32255-eecb-5121-b674-c388b401bbb6","display_order":null,"variant_order":null},{"id":"73e736ab-49ec-5eea-8f27-af65046fe133","display_order":null,"variant_order":null},{"id":"77fc77a2-454c-58fa-aa16-959029610bb1","display_order":null,"variant_order":null},{"id":"7935012a-92f2-5749-a878-3506ddbb8dc4","display_order":null,"variant_order":null,"justifications":{"en":{"curator":null,"partner":"The Sicilian artist, formed between Catania, Florence and Naples, moved to Rome in 1875. He was well-known as a painter of antiquities, as well as a decorator of public and private buildings. 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This is an idealised image, and this type of image shows the extent to which there was a taste for pictures showing alternative realities ‒ including imaginary ‒ from faraway places.","partner":null}},"curator_status":"Y"},{"id":"8ccd3080-01c6-56b9-82eb-95127eef1d1d","display_order":10,"variant_order":null,"justifications":{"en":{"curator":"The printed decoration of tulips and lanceolate leaves on this dress demonstrates the important influence that Ottoman designs had on the work of Mariano Fortuny. The use of silk or wool crêpe is a further example of how Ottoman clothing influenced Western fashion.","partner":null}},"curator_status":"Y"},{"id":"9c6f1f64-15f3-5d35-93ad-16dc50cc2b9f","display_order":11,"variant_order":null,"justifications":{"en":{"curator":"Mariano Fortuny was inspired by the shapes, lines and decorative motifs of Ottoman textiles and costumes. 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This late 18th-century garden “mosque”, in the Turkish style, and part of the Schwetzingen Palace complex in Germany, is the earliest of its kind in the country.","partner":null}},"curator_status":"Y"},{"id":"4581d2bd-8265-5fa0-b41e-4e88abe7427e","display_order":12,"variant_order":null,"justifications":{"en":{"curator":"Spain, with its long and complex history of Arab-Islamic rule between the 8th and the 15th centuries, also followed the pan-European trend of Orientalising architectural design features, especially as it considered itself the cradle of the “Moorish” style. The Toledo Railway Station opened in 1919/20.","partner":null}},"curator_status":"Y"},{"id":"427783d7-27c6-57e4-9e7c-ee894a6d6e9d","display_order":13,"variant_order":null,"justifications":{"en":{"curator":"The grand Hotel Excelsior in Venice, built by Giovanni Sardi and opened in 1908, fuses elements of “Moorish” architecture such as minarets and domes with aspects borrowed from medieval art and Art Nouveau. 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