1.
Hannibal
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Hannibal Barca, was a Carthaginian general, considered one of the greatest military commanders in history. His father Hamilcar Barca was the leading Carthaginian commander during the First Punic War and his younger brothers were Mago and Hasdrubal, and he was brother-in-law to Hasdrubal the Fair. One of his most famous achievements was at the outbreak of the Second Punic War, when he marched an army which included war elephants from Iberia over the Pyrenees, Hannibal occupied much of Italy for 15 years but was unable to march on Rome. An enemy counter-invasion of North Africa forced him to return to Carthage, after the war, Hannibal successfully ran for the office of sufet. During this time, he lived at the Seleucid court, where he acted as advisor to Antiochus III the Great in his war against Rome. Antiochus met defeat at the Battle of Magnesia and was forced to accept Romes terms and his flight ended in the court of Bithynia, where he achieved an outstanding naval victory against a fleet from Pergamon. He was afterwards betrayed to the Romans and committed suicide by poisoning himself, military historian Theodore Ayrault Dodge called Hannibal the father of strategy, because his greatest enemy, Rome, came to adopt elements of his military tactics in its own strategic arsenal. This praise has earned him a reputation in the modern world. The English form of the name is derived from the Latin, Greek historians rendered the name as Anníbas Bárkas. Hannibals name was recorded in Carthaginian sources as ḤNBʻL and its precise vocalization remains a matter of debate. Suggested readings include Ḥannibaʻl or Ḥannibaʻal, meaning grace of Baʻal, Baal is gracious, or Baal has been gracious, or Ḥannobaʻal, Barca was the surname of his aristocratic family, meaning shining or lightning. It is thus equivalent to the Arabic name Barq or the Hebrew name Barak or the ancient Greek epithet keraunos, in English, his clan are sometimes collectively known as the Barcids. As with Greek and Roman practice, patronymics were a part of Carthaginian nomenclature. Hannibal was one of the sons of Hamilcar Barca, a Carthaginian leader and he was born in what is present day Tunisia. He had several sisters and two brothers, Hasdrubal and Mago and his brothers-in-law were Hasdrubal the Fair and the Numidian king Naravas. He was still a child when his sisters married, and his brothers-in-law were close associates during his fathers struggles in the Mercenary War, in light of Hamilcar Barcas cognomen, historians refer to Hamilcars family as the Barcids. However, there is debate as to whether the cognomen Barca was applied to Hamilcar alone or was hereditary within his family, if the latter, then Hannibal and his brothers also bore the name Barca. After Carthages defeat in the First Punic War, Hamilcar set out to improve his familys, with that in mind and supported by Gades, Hamilcar began the subjugation of the tribes of the Iberian Peninsula
2.
Battle of Cannae
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The Battle of Cannae was a major battle of the Second Punic War that took place on 2 August 216 BC in Apulia, in southeast Italy. The army of Carthage, under Hannibal, surrounded and decisively defeated an army of the Roman Republic under the consuls Lucius Aemilius Paullus and Gaius Terentius Varro. It is regarded both as one of the greatest tactical feats in history and as one of the worst defeats in Roman history. Having recovered from their losses at Trebia and Lake Trasimene, the Romans decided to engage Hannibal at Cannae, with roughly 86,000 Roman, the Romans massed their heavy infantry in a deeper formation than usual, while Hannibal utilized the double-envelopment tactic. This was so successful that the Roman army was destroyed as a fighting force. Following the defeat, Capua and several other Italian city-states defected from the Roman Republic to Carthage, shortly after the start of the Second Punic War, the Carthaginian general Hannibal crossed into Italy by traversing the Pyrenees and the Alps during the summer and early autumn. He quickly won major victories over the Romans at Trebia and at Lake Trasimene, after these losses, the Romans appointed Quintus Fabius Maximus Verrucosus as dictator to deal with the threat. Fabius used attrition warfare against Hannibal, cutting off his supply lines, the majority of Romans were eager to see a quick conclusion to the war. It was feared that, if Hannibal continued plundering Italy unopposed, therefore, when Fabius came to the end of his term, the Senate did not renew his dictatorial powers and command was given to consuls Gnaeus Servilius Geminus and Marcus Atilius Regulus. But on this occasion, so great was the alarm and terror of what would happen, they resolved to bring not only four, Rome typically employed four legions each year, each consisting of four thousand foot soldiers and two hundred cavalry. Eight legions, some 40,000 Roman soldiers and an estimated 2,400 cavalry, however, some have suggested that the destruction of an army of 90,000 troops would be impossible. They argue that Rome probably had 48,000 troops and 6,000 cavalry against Hannibals 35,000 troops and 10,000 cavalry, Livy quotes one source stating the Romans added only 10,000 men to their usual army. While no definitive number of Roman troops exists, all agree that the Carthaginians faced a considerably larger foe. Consuls were each assigned two of the four legions to command, rarely employing all four legions at once to the same assignment, however, the Senate feared a real threat and not only employed all four legions into the field, but all eight, including allies. Ordinarily, each of the two consuls would command his own portion of the army, but since the two armies were combined into one, Roman law required them to alternate their command on a daily basis. The traditional account puts Varro in command on the day of the battle, however, his low origins seem to be exaggerated in the sources, and Varro may have been made a scapegoat by the aristocratic establishment. In the spring of 216 BC, Hannibal took the initiative and seized the large depot at Cannae, in the Apulian plain. Hannibal recently harvested his crops so he had an army ready for action in the city of Cannae
3.
Palace of Versailles
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The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres II
4.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
5.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
6.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
7.
Rococo
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Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
8.
Antwerp
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Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
9.
Tuileries Palace
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The Tuileries Palace was a royal and imperial palace in Paris which stood on the right bank of the River Seine. It was the usual Parisian residence of most French monarchs, from Henry IV to Napoleon III, built in 1564, it was gradually extended until it closed off the western end of the Louvre courtyard and displayed an immense façade of 266 metres. After the accidental death of Henry II of France in 1559 and she sold the medieval Hôtel des Tournelles, where her husband had died, and began building the palace of Tuileries in 1564, using architect Philibert de lOrme. The name derives from the tile kilns or tuileries which had occupied the site. The palace was formed by a range of long, narrow buildings. During the reign of Henry IV, the building was enlarged to the south, so it joined the long gallery, the Grande Galerie. During the reign of Louis XIV major changes were made to the Tuileries Palace, from 1659 to 1661 it was extended to the north by the addition of the Théâtre des Tuileries. From 1664 to 1666 the architect Louis Le Vau and his assistant François dOrbay made other significant changes, a new grand staircase was installed in the entrance of the north wing of the palace, and lavishly decorated royal apartments were constructed in the south wing. The kings rooms were on the floor, facing toward the Louvre. At the same time, Louis gardener, André Le Nôtre, the Court moved into the Tuileries Palace in November 1667, but left in 1672, and soon thereafter went to the Palace of Versailles. The Tuileries Palace was virtually abandoned and used only as a theatre, the boy-king Louis XV was moved from Versailles to the Tuileries Palace on 1 January 1716, four months after ascending to the throne. He moved back to Versailles on 15 June 1722, three months before his coronation, both moves were made at the behest of the Regent, the duc dOrléans. The king also resided at the Tuileries for short periods during the 1740s, on 6 October 1789, during the French Revolution, Louis XVI and his family were forced to leave Versailles and brought to the Tuileries where they were kept under surveillance. For the next two years the palace remained the residence of the king. The Tuileries covered riding ring, the Salle du Manège, home to the royal equestrian academy, the royal family tried to escape after dark, on 20 June 1791, but were captured at Varennes and brought back to the Tuileries. The Paris National Guard defended the King, but the daughter of King Louis XVI claimed that many of the guard were already in favor of the revolution, in November 1792, the Armoire de fer incident took place at the Tuileries palace. This was the discovery of a place at the royal apartments. The incident created a scandal that served to discredit the King
10.
Gardens of Versailles
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The Gardens of Versailles occupy part of what was once the Domaine royal de Versailles, the royal demesne of the château of Versailles. Situated to the west of the palace, the gardens cover some 800 hectares of land, in addition to the meticulous manicured lawns, parterres of flowers, and sculptures are the fountains, which are located throughout the garden. Dating from the time of Louis XIV and still using much of the network of hydraulics as was used during the Ancien Régime. On weekends from spring to early autumn, the administration of the museum sponsors the Grandes Eaux – spectacles during which all the fountains in the gardens are in full play. In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List, one of thirty-one such designations in France. With Louis XIII’s final purchase of lands from Jean-François de Gondi in 1632 and his assumption of the role of Versailles in the 1630s. Records indicate that late in the decade Claude Mollet and Hilaire Masson designed the gardens and this early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the definition of the main east-west. From this point forward, the expansion of the gardens of Versailles followed the expansions of the château, accordingly, Louis XIVs building campaigns apply to the gardens as well. At every stage the prescribed tour was managed, under the Sun Kings directions. First building campaign In 1662, minor modifications to the château were undertaken, existing bosquets and parterres were expanded and new ones created. Most significant among the creations at this time were the Orangerie, the Versailles Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided an area in which orange trees were kept during the winter months. The Grotte de Thétys, which was located to the north of the château, formed part of the iconography of the château, the grotto would be completed during the second building campaign. By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de l’Île Enchantée. The event, which officially was to celebrate his mother, Anne d’Autriche, guests were regaled with fabulous entertainments in the gardens over a period of one week. As a result of this fête – particularly the lack of housing for guests, Louis realized the shortcomings of Versailles and began to expand the château and the gardens once again. With this new phase of construction, the gardens assumed the topographical and iconological design vocabulary that would remain in force until the 18th century. ”
