Događaji
 15. veljače – Prvi je put službeno proglašena Francuska zastava (trobojnica) u revolucionarnoj Francuskoj
 17. srpnja – U mračnoj francuskoj revoluciji podivljali revolucionari pogubili u Parizu giljotinom šesnaest karmelićanki iz Compiègnea.Bitno.net Josip Antolović: Blažene karmelićanke iz Compiègnea – mučenice iz vremena Francuske revolucije ubijene zbog ‘vjerskog fanatizma’, 17. srpnja 2017.Narod.hr rž:17. srpnja 1794. francuski revolucionari ‘giljotinirali’ 16 moliteljica – časnih sestara karmelićanki, 17. srpnja 2015.Verbum  Georges Bernanos  (pristupljeno 29. ožujka 2018.)
 Otvorena park-šuma Maksimir u Zagrebu, prva u jugoistočnoj Europi

 Rođenja
 10. ožujka – Matthew Calbraith Perry, američki časnik († 1858.)

 Smrti
 8. svibnja – Antoine Laurent de Lavoisier, francuski kemičar (* 1743.)
 28. srpnja – Maximilien Robespierre, francuski revolucionar (* 1758.)
 5. prosinca – Wolfgang Amadeus Mozart, kompozitor (* 1756.)

 Izvori

 Vanjske poveznice

17. SRPNJA
Blažene karmelićanke iz Compiègnea – mučenice iz vremena Francuske revolucije ubijene zbog ‘vjerskog fanatizma’
Kad je buknula revolucija, sestre su odlučno odbile zahtjev da svuku svoje redovničko odijelo. Znale su dobro da nije u pitanju toliko uniforma koliko njihovo zvanje
Jednog lijepog rujanskog dana 1977. ukrcao sam se u Parizu na Gare du Nord u brzovlak za Amsterdam. Vlak je po ustaljenoj europskoj praksi točno na sekundu krenuo put sjeveroistoka prema Belgiji. Na dugoj relaciji do Hertogenboscha u Nizozemskoj za mene je bio najzanimljiviji Compiègne, grad na rijeci Oise, koji broji samo tridesetak tisuća stanovnika. Nisam sišao s vlaka niti sam se prošetao njegovim ulicama; nije bilo vremena za to, pa ipak sam na dugom putovanju mislima boravio baš u tome gradu. Razlog tome nije lijepi kraljevski dvorac iz XVIII. stoljeća, nije bogati muzej, nisu tvornice, nisu ni povijesni događaji iz novije europske povijesti.
Poznato je da je u željezničkom vagonu u Compiègneskoj šumi 11. studenoga 1918. pred maršalom Fochom, vatrenim katolikom, potpisana kapitulacija Njemačke. U istom je vagonu 22. lipnja 1940. Hitler primio kapitulaciju poražene Francuske. Za mene je Compiègne zanimljiv zbog 16 karmelićanki, koje su za vrijeme Francuske revolucije poginule kao mučenice. Njihovo je mučeništvo prava epopeja koja je ušla u najljepše stranice svjetske književnosti, koju je uglazbio Francis Poulenc, koju je režirao poznati filmski režiser Philippe Agostini, stvorivši vrhunski film Razgovor karmelićanki.
Otkako je g. 1931. Gerdtruda von Le Fort objavila o karmelićankama iz Compiègnea svoj roman Posljednja na stratištu, u svijetu umjetnosti djelo neosporne umjetničke vrijednosti, zanimanje za njih raste. P. R. Bruckberger, nadahnut tim djelom, želio je snimiti film, a redakciju teksta za film povjerio je g. 1937. Georgesu Bernanosu. Njemu je tek deset godina kasnije uspjelo izraditi tekst, ali ga je smrt spriječila da ga još bolje dotjera. God. 1949. Bernanosov je tekst objavljen kao zasebno djelo Razgovor karmelićanki, doživjevši posvuda izvanredan uspjeh. A. Beguin ga je brzo priredio za pozornicu, a uspjeh je drame posvuda bio neočekivan. Tko su, dakle, te junakinje koje svojim junaštvom zatraviše i naše suvremenike, koje su pružile umjetničko nadahnuće tolikim umjetnicima? – Upoznajmo ih prema sigurnim povijesnim izvorima, no ne zadovoljimo se samo time, već nastojmo ući u sve ono tako lijepo i privlačno u njihovu životu i mučeništvu.
To je u prvom redu njihov poziv. I one su kao i Abraham, praotac naše vjere, jednog dana čule glas: “Idi iz zemlje svoje, iz zavičaja i doma očinskog, u krajeve koje ću ti pokazati” (Post 12,1)! Čule su taj glas i zaputile se kamo ih je Gospodin zvao. Bilo ih je 16, a glavarica im je bila majka Terezija od sv. Augustina, u svijetu Marija Magdalena Klaudija Lidoine, rođena 22. rujna 1752. u Parizu, u skromnoj obitelji, tako da joj je potreban miraz za samostan morala pribaviti kraljica Marija Antoinetta. Iz skromnih su obitelji potjecale i sve ostale sestre, osim gospođice de Croissy, Colbertove nećakinje, u redu sestre Henrikete od Isusa. Sve su one čule Božji zov te pošle u Karmel u Compiègne.
Taj je samostan osnovan g. 1641., a prve su sestre došle u nj iz Amiensa. Uz samostansku zgradu nalazi se i crkva Navještenja, tajna puna sadržaja i poticaja za svaku karmelićanku. Iako se samostan nalazio u blizini kraljevskoga dvorca, gdje je kraljeva obitelj sa svom svojom svitom svake godine provela po nekoliko tjedana, iako je bio pod naročitom zaštitom kraljice Ane Austrijske, Marije Terezije Austrijske i Marije Leczinske, u njemu je uvijek cvao pravi redovnički duh, hvale vrijedna revnost, opsluživanje pravila, ideali sv. Terezije Velike. Zbog svih tih je vrlina uživao velik ugled ne samo u Compiègnu, već i drugdje. Čak mu je uspjelo održati se po strani žučljivih janzenističkih prepirki, koje su zahvatile i zatrovale mnoge francuske samostane i redovničke zajednice. Zato je Francusku revoluciju sa svim njezinim strahotama dočekao spreman i dorastao.
Kad je buknula revolucija, sestre su odlučno odbile zahtjev da svuku svoje redovničko odijelo. Znale su dobro da nije u pitanju toliko uniforma koliko njihovo zvanje. Videći tmaste oblake što se nadviše na Francusku, sestre su se g. 1792. slijedeći nadahnuće svoje majke glavarice Terezije od sv. Augustina, ponudile Bogu kao žrtve paljenice “da bi ublažile njegov gnjev te izmolile Crkvi i domovini onaj božanski mir što ga je na svijet donio Božji Sin”. Svoj su čin predanja Bogu svaki dan kroz dvije godine obnavljale, dok ga nisu mučeničkom smrću pod giljotinom i zapečatile.
Strašni su događaji revolucije munjevitom brzinom slijedili jedni druge. I karmelićanke iz Compiègnea 14. rujna 1792. bile su iz samostana istjerane. No one su i dalje nastavile svoj život molitve i žrtve, podijeljene u četiri skupine u gradu pod mudrim vodstvom majke priorice Terezije od sv. Augustina. Ona, prema sebi uvijek veoma stroga, prema sestrama je pokazivala začudnu dobrotu i blagost.
Revolucionarni je komitet otkrio sestre te ih 24. lipnja 1794. sve zatvorio u samostan sestara od Pohođenja koji je, po nalogu “naroda”, bio pretvoren u zatvor. Odatle su bile prevezene u Pariz, kamo stigoše 13. srpnja i biše zatvorene u strašni zatvor Conciergerie. Tu je bilo mnoštvo svećenika, redovnika, redovnica, koji su čekali smrt. Karmelićanke su iz Compiègna pružale svima primjer izvanredne smirenosti, vedrog pouzdanja u Boga, nepokolebljive vjernosti Kristu i privrženosti Crkvi. Njihova je prisutnost zračila pravu radost. Na blagdan Karmelske Gospe, kao izraz svoje duhovne radosti, a predviđajući skoro mučeništvo, jedna je karmelićanka na melodiju Marseljeze ugljenom napisala pjesmu, koja je i himan i molitva.
Sutradan, tj. 17. srpnja, sestre su po kratkom postupku osuđene na smrt zbog svoje vjernosti redovničkom zvanju i zbog svoga “fanatizma”, koji se odnosio na njihovu pobožnost prema Srcu Isusovu i Marijinu. Istog su dana odvedene na stratište Barriere-du-Throne. Dok su ih kraj mnoštva, koje je u šutnji sve promatralo, vozili u smrt, sestre su na glas pjevale psalam “Miserere” te himan “Zdravo Kraljice” i “Tebe Boga hvalimo”. Došavši do podnožja giljotine, sestre su zapjevale himan “O dođi Stvorče Duše Svet”! Zatim je jedna za drugom pred majkom prioricom obnovila redovničke zavjete. To je bilo sve što su još na ovome svijetu mogle učiniti. Okrutna ih je sjekira sve poubijala. Posljednja je pošla pod giljotinu majka priorica, koja je za tu svečanost sestre tako divno pripremila. Bila je to divna duša koja običavaše govoriti: “Ljubav će uvijek pobijediti. Kad se ljubi, onda se sve može.”
Te slavne mučenice, tako vjerne svome pozivu, tako neustrašive u progonstvu, tako žarke u ljubavi i pobožnosti, tako poučljive prema Gospodinovu vodstvu, blaženima je proglasio 13. svibnja 1906. papa Pio X. Tko ih želi još dublje upoznati neka čita Bernanosov Dijalog karmelićanki. Imamo ga, hvala Bogu, u hrvatskom prijevodu. To je pjesma u prozi i mora biti pjesma kad je najdivnija pjesma bio sam život i mučeništvo blaženih karmelićanki iz Compiègnea. Tko se ne bi svega toga, vozeći se kraj Compiègnea, sjetio? Po njima je taj grad postao slavan slavom koja je poput neuvelog vijenca neprolazna.
Na smrt karmelićanki iz Compiègna možemo primijeniti Pavlove riječi: “Krist uništi smrt i obznani život i besmrtnost Radosne vijesti” (2 Tim 1,10). One su u to vjerovale i zato su s pjesmom na usnama pošle u smrt znajući da idu u život i besmrtnost, u pravu radost. Njihova se Golgota pretvorila u Tabor, smrt u preobraženje.
Josip Antolović, SJ | Bitno.net

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park - šuma Maksimir u Zagrebu , prva u jugoistočnoj

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Events 15 February – The first time was officially declared the French flag ( trobojnica ) in the revolutionary France 17 July – In the dark French revolution surprising revolutionaries killed in Paris by a gillotine of sixteen karmelićanki from Compiègnea.Bitno.net Josip Antolović : Blessed karmelićanki from Compiègnea – martyrs from the time of the French revolution killed for ‘ faithful fanatism ’ , 17 July 2017 .

Open park - shuma Maximir in Zagreb , first in Southeast Europe

Events 15 February – The first time was officially declared the French flag (trobojnica) in the revolutionary France 17 July – In the dark French revolution surprising revolutionaries killed in Paris by a gillotine of sixteen karmelićanki from Compiègnea.Bitno.net Josip Antolović: Blessed karmelićanki from Compiègnea – martyrs from the time of the French revolution killed for ‘faithful fanatism’, 17 July 2017. Open park-shuma Maximir in Zagreb, first in Southeast Europe


Događaji
 Zagrebački biskup Maksimilijan Vrhovac ukinuo zagrebački obred u prvostolnici i uveo rimski obred.

 Rođenja
 22. siječnja – George Gordon Byron, engleski književnik († 1824.)
 22. veljače – Arthur Schopenhauer, njemački filozof († 1860.)
 20. travnja – Juraj Haulik, hrvatski kardinal i zagrebački nadbiskup († 1869.)
 10. svibnja – Augustin Jean Fresnel, francuski fizičar († 1827.)
 18. lipnja – Karl Sigismund Kunth, njemački botaničar, biolog i istraživač († 1850.)
 oko 9. listopada – Jožef Košič, slovenski pisac, pjesnik, etnolog, povjesničar, rimsko katolički svećenik, iz Mađarske. (†1867.)

 Smrti
 21. lipnja – Johann Georg Hamann – njemački filozof (* 1730.)
 2. kolovoza – Thomas Gainsborough, engleski slikar i grafičar (* 1727.)
 14. prosinca – Carl Philipp Emanuel Bach, njemački skladatelj i čembalist (* 1714.)

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British, 1727 - 1788
Thomas Gainsborough was born in Sudbury, Suffolk, the youngest of the nine children of John Gainsborough and the sister of the Reverend Humphry Burroughs; he was baptized in Sudbury on 14 May 1727. He attended Sudbury Grammar School, of which his maternal uncle was the master. He took to sketching at an early age, and when he was thirteen prevailed upon his father to send him up to London to become an artist. A pupil of the French illustrator and draftsman Hubert Gravelot, Gainsborough was intimately involved with avant-garde rococo art and design, and seems to have assisted Francis Hayman on his genre paintings for the decoration of Vauxhall Gardens.
After a short period on his own in London between about 1744 and 1748, during which he painted small-scale portraits and landscapes in the manner of Jan Wijnants and Jacob van Ruisdael, and married Margaret Burr, Gainsborough returned to his native Suffolk. After a few years in Sudbury he moved, in 1752, to the larger seaport town of Ipswich. There is only one, uncorroborated, reference (to a visit to Flanders in later life) to suggest that he ever traveled abroad, as was customary among his fellow artists. By 1759, still finding it difficult to make ends meet and now with two daughters to support, he realized he had exhausted the possibilities of local patronage and moved to the fashionable spa town of Bath, where he achieved instantaneous success.
Set back by a nervous illness in 1763, he later became a founding member of the Royal Academy of Arts, contributing to its first exhibition a scintillating female full-length portrait in the manner of Van Dyck. Unlike many of his contemporaries, Gainsborough customarily painted his portraits entirely with his own hand; his only known assistant was his nephew Gainsborough Dupont, who was apprenticed to him in 1772.
In 1774 Gainsborough moved to London, where he settled in a wing of Schomberg House, Pall Mall. In 1777 he received the first of many commissions from the royal family. In 1780 he exhibited a wide range of landscape compositions, and in 1783 made a tour of the Lake District in search of picturesque scenery. An original printmaker, he experimented in these years with soft-ground etching and aquatint; influenced by Philippe-Jacques de Loutherbourg's popular entertainment, the Eidophusikon, he also constructed a peep-show box in which transparencies were seen magnified and lit by candles from behind, producing a dramatic and colorful effect. After quarreling with the Royal Academy about the hanging of his pictures (he rarely participated in Academy affairs), from 1784 onward Gainsborough arranged annual exhibitions in his studio. He was by then comparatively well off. He died of cancer in London on 2 August 1788.
[Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 80-82.]

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21 June - Johann Georg Hamann , German philosopher ( born 1730 )

August 2 – Thomas Gainsborough , English painter and graphic designer ( born 1727 )

14 December - Carl Philipp Emanuel Bach , German composer and composer ( born 1714 ) .

21 June - Johann Georg Hamann, German philosopher (born 1730) August 2 – Thomas Gainsborough, English painter and graphic designer (born 1727) 14 December - Carl Philipp Emanuel Bach, German composer and composer (born 1714).


Događaji
 1. kolovoza - Osnovana prva štedionica (Sparkasse) na svijetu. Bila je to Opća opskrbna ustanova u Hamburgu.Hrvatski povijesni muzej: [IZ FUNDUSA] Na današnji dan, 1. kolovoza 1778. osnovana je prva štedionica u Hamburgu.  Facebook. 1. kolovoza 2020. Pristupljeno 20. kolovoza 2020.

 Rođenja
 9. rujna – Clemens Brentano, njemački književnik († 1842.)
 6. prosinca – Joseph Louis Gay-Lussac, francuski fizičar i kemičar († 1850.)

 Smrti
 10. siječnja – Carl von Linne, švedski botaničar (* 1707.)
 5. veljače – Mikula Gorup, vjerski pisac (* 1713.)
 19. ožujka – Bogomir Palković, hrvatski pisac iz Gradišća (* 1714. ili 1715.)
 29. ožujka – Baltazar Adam Krčalić, hrvatski povjesničar, teolog i pravnik (* 1715.)
 6. svibnja – Jean Baptiste Christophore Fusée Aublet –  francuski ljekarnik, botaničar i istraživač (* 1720.)
 30. svibnja – Voltaire, francuski književnik, povjesničar i filozof (* 1694.)
 2. kolovoza – Jean Jacques Rousseau, francuski književnik i filozof (* 1712.)

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Events 1 August - The first Sparkasse (Sparkasse) in the world was founded.

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Events 1 August - The first Sparkasse ( Sparkasse ) in the world was founded .


Događaji

 25. lipnja – Posada broda Dolphina pod zapovjedništvom Samuela Wallisa otkrila je Tahiti; Tobias Furneaux prvi je Europljanin koji je stupio na tlo Tahitija.adb.anu.edu.au, "Furneaux, Tobias (1735–1781)", objavljeno 2005., pristupljeno 17. rujna 2013.
 Osnovano Splitsko gospodarsko društvo (jedan od osnivača bio je Julije Bajamonti).
 Osnovano Hrvatsko kraljevsko vijeće.

 Rođenja
 15. ožujka – Andrew Jackson, 7. predsjednik SAD-a († 1845.)
 22. lipnja – Wilhelm von Humboldt, njemački filozof († 1835.)
 11. srpnja – John Quincy Adams, 6. predsjednik SAD-a († 1848.)
 8. rujna – August Wilhelm Schlegel, njemački književnik († 1845.)
 24. listopada – Tomaš Mikloušić, hrvatski (kajkavski) pisac, prevoditelj, dramatik († 1833.)

 Smrti
 25. lipnja – Georg Philipp Telemann, njemački skladatelj

 Izvori

 Vanjske poveznice

June 25 – The crew of the Dolphin ship under the command of Samuel Wallis was discovered by Tahiti.

This article was published:
Tobias Furneaux (1735-1781), navigator, was born on 21 August 1735 at the family estate, Swilly, near Plymouth, Devon, England, son of William Furneaux—believed to have been descended from a progenitor who accompanied William of Normandy in 1066—and his wife Susanna, née Willcocks. Tobias was christened at St Andrew's Church, Stoke Damerel, Devonport. Joining the Royal Navy, in February 1755 he became a midshipman in H.M.S. Marlborough. He was stationed for a time in the West Indies in the Seven Years War and was promoted lieutenant in November 1759 for good behaviour in action. In 1760 he returned to England.
Serving in the frigate Melampe from October 1762, Furneaux was second lieutenant in H.M.S. Dolphin, under Samuel Wallis, which sailed from the Nore in July 1766, under Admiralty instructions 'to discover and obtain a complete knowledge of the Land or Islands supposed to be situated in the Southern Hemisphere'. Passing through the Strait of Magellan, Wallis reached Otaheite (Tahiti) on 19 June 1767. During the protracted Pacific voyage, when Wallis and his first lieutenant suffered sickness Furneaux often assumed command. Thus, on 25 June, he took possession of Tahiti, declaring it to be 'King George's Island'. After one month the Dolphin continued westwards, reaching the Thames estuary in March 1768. Furneaux was paid off on 24 June.
Furneaux was third lieutenant in H.M.S. Trident in December 1770 and, from 30 December, in H.M.S. Torbay, later becoming second lieutenant. On 29 November next year he was promoted commander and appointed captain of H.M.S. Adventure under James Cook's overall command in H.M.S. Resolution. The expedition sailed from Plymouth in July 1772, called at Cape Town in November, and headed south and east. On 8 February 1773 the ships were separated in fog and Adventure made for the agreed rendezvous, Queen Charlotte Sound, New Zealand. En route Furneaux directed his course for Van Diemen's Land, sighting South West Cape on 9 March, becoming the first English vessel to retrace Tasman's 1642 sightings. Adventure lay off Bruny Island from 11 March 1773 'wooding and watering' in this haven, which Furneaux called Adventure Bay. Other features in the region he named were the Mewstone, the Friars, Fluted Cape and Penguin Island.
Sailing north on 15 March, Furneaux named St Patrick's Head, St Helen's Point, Bay of Fires and Eddystone Point, all on 17 March. Next day he noted 'the land trenches away to the westward, which I believe forms a deep bay'; it was, in fact, the entrance to Banks Strait. On this day islands were sighted, the land high and rocky, and the south-eastern point was named Cape Barren. He considered investigating whether a strait lay westward but decided to rejoin his commander and on 19 March the vessel 'haul'd up for New Zealand'. Furneaux later declared that 'it is my opinion that there is no strait between New Holland and Van Diemen's Land', a view he persuaded Cook to accept. Adventure and Resolution were united in New Zealand in May 1773 and in August Furneaux re-visited Tahiti where the Tahitian Omai was taken on board. The vessels were again separated in October and Furneaux returned to England, arriving at Spithead in July 1774.
During the American War of Independence, in August 1775, he took command of the 28-gun frigate Syren. The ship was sunk in Narragansett Bay in November 1777 and her crew imprisoned. Released next April, Furneaux was acquitted by court martial of any misconduct. He acted as a volunteer in H.M.S. Isis in July 1778, but had no further naval service, being resident at Swilly in September 1779 when he applied to be entered on the half-pay list. He died, unmarried, on 18 September 1781, and was interred in Stoke Damerel church.
An experienced, if somewhat unimaginative, navigator, who twice circumnavigated the globe, Furneaux had solid achievements in two lengthy Pacific voyages. George Robertson, master of the Dolphin, described him as 'a Gentele Agreeable well behaved Good man and very humain to all the Ships company'. The Furneaux islands in Bass Strait, named by Cook, commemorate him. His portrait in oils by James Northcote was held until 2014 by the late Lady Juliet Townsend of Banbury, England, and a copy is in Parliament House, Canberra.
Dan Sprod, 'Furneaux, Tobias (1735–1781)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/furneaux-tobias-12932/text23367, published first in hardcopy 2005, accessed online 11 October 2022.
This article was published in hardcopy in Australian Dictionary of Biography, Supplementary Volume, (Melbourne University Press), 2005
View the front pages for the Supplementary Volume

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June 25 – The crew of the Dolphin ship under the command of Samuel Wallis was discovered by Tahiti .


Događaji
 Marija Terezija obnavlja hrvatske županije
 1. srpnja – Marija Terezija raspustila Vojnu krajinu.Povijesni kutak Piše: Stjepan Beretić, Razvojačenje u Somboru,  br. 183

 Rođenja
 19. kolovoza – Johan Gahn, švedski kemičar i otkrivač mangana († 1818.)

 Smrti
 19. listopada – Jonathan Swift, engleski književnik (* 1667.)

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Events Mary Teresa renews the Croatian municipality on July 1 – Mary Teresa dispersed the military landscape.Poviesni kutak Wise: Stjepan Beretić, Development in Sombor, no. 183

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Question: where were moviesni kutak wise published

Stjepan Beretić , Razvojačenje u Somboru , br .

Question: when did mary teresa renew the croatian municipality

Question: who was the director of development in sombor

Question: who renews the croatian municipality on july 1

Question: where was development in 1745

Events Mary Teresa renews the Croatian municipality on July 1 – Mary Teresa dispersed the military landscape . Poviesni kutak Wise : Stjepan Beretić , Development in Sombor , no . 183


Događaji

 Rođenja
 23. svibnja – Andrea Luchesi, talijanski skladatelj († 1801.)
 30. listopada – Angelica Kauffmann, slikarica († 1807.)

 Smrti
 28. srpnja – Antonio Vivaldi, talijanski skladatelj (* 1678.)

 Izvori

 Vanjske poveznice

Angelica Kauffman RA (1741 - 1807)
RA Collection: People and Organisations
Angelica Kauffman spent only 15 years in England, but made a significant impact on the 18th-century London art scene, becoming one of only two female Founder Members of the Royal Academy.
Born in Chur, Switzerland in 1741, Kauffman was quickly recognised as a child prodigy. Her father, a painter himself, gave her drawing lessons from a young age as the family moved between Austria, Switzerland and Italy. In Italy she established a reputation as an artist and was elected a member of the Roman Accademia di San Luca at the age of 23. After moving to London in 1766, Kauffman struck up a close friendship with Joshua Reynolds, commemorated in the portraits they painted of each other. When the Royal Academy of Arts was established in 1768 with Joshua Reynolds as President, she and Mary Moser were the only two women invited to become Founder Members.
Kauffman painted portraits and landscapes, but identified herself primarily as a history painter, the genre Reynolds placed at the heart of the Academy’s teaching. During this period, women were still prohibited from drawing nude models and could only draw the male figure from existing casts, as Kauffman depicts in Design.
Kauffman did have influence, though. In 1775, she successfully prevented a painting she found offensive from being displayed in the Summer Exhibition. Nathaniel Hone’s The Conjurer casts Joshua Reynolds in the title role, while Kauffman is possibly depicted as a child leaning against his knee. Reynolds was 18 years older than Kauffman, and the painting was scandalously interpreted as a thinly veiled critique of a rumored affair between the two. This may have been too embarrassing for Kauffman to acknowledge so she expressed outrage over a naked female figure in the background dancing in black stockings, which was subsequently painted over in the final painting. In her letter to the President and Council, Kauffman threatened to remove her work from the show, stating:
“I have but one request to make, to send home my Pictures if that is to be exhibited”
The Committee’s ready compliance with her demands reflects her important status within the Academy. In 1778, Kauffman was commissioned by the Royal Academy to paint a set of four ‘Elements of Art’, to be displayed in a new Council Chamber. A visual representation of the theories that Reynolds set out in his Discourses on Art, the four huge ceiling paintings present four female figures as Invention, Composition, Design and Colour. In her later years, Kauffman retired to Rome, where she died in 1807. Soon after, a bust of Kauffman sculpted by her cousin Johann Peter Kauffmann was placed in the Pantheon in Rome, beside Raphael’s.
Profile
Foundation Member
Born: 30 October 1741 in Coire, Switzerland
Died: 5 November 1807
Nationality: Swiss
Elected RA: 10 December 1768
Gender: Female
Preferred media: Painting
Works by Angelica Kauffman in the RA Collection
12 results
Angelica Kauffman RA
Woman resting her head on a book, 1770
Etching
Angelica Kauffman RA
Invention, 1778-80
Oil on canvas
Angelica Kauffman RA
Composition, 1778-80
Oil on canvas
Angelica Kauffman RA
Design, 1778-80
Oil on canvas
Angelica Kauffman RA
Colour, 1778-80
Oil on canvas
Angelica Kauffman RA
A scene from the story of Rhodope and King Psammetichus of Egypt, 1780
Pen and ink and wash on cream laid paper
Angelica Kauffman RA
Cow, 1762-1807
Etching
Angelica Kauffman RA
Telemachus at the Court of Sparta, 1770
Angelica Kauffman RA
Lady in a Turkish Dress, 1775
Printed in sanguine.
Angelica Kauffman RA
Ariadne abandoned by Theseus, 1778
Angelica Kauffman RA
Sappho composing an ode to Venus, 1778
Angelica Kauffman RA
Diana Preparing for Hunting, 1780
Stipple engraving
Works after Angelica Kauffman in the RA Collection
14 results
After Angelica Kauffman RA
Helen, 24 July 1776
Stipple engraving
After Angelica Kauffman RA
Catullus and Lesbia, 16 October 1784
Stipple engraving
After Angelica Kauffman RA
Portrait of Elizabeth (Vernon), Countess of Harcourt, 1 October 1784
Stipple engraving
After Angelica Kauffman RA
Self-portrait personifying Painting, May 1783
Stipple-engraving
After Angelica Kauffman RA
Angelica and Sacripante, 1783
Line engraving
After Angelica Kauffman RA
Self-portrait, 1 May 1809
Stipple engraving
After Angelica Kauffman RA
Portrait of Mrs Anne Damer with emblems of Fame and Sculpture
Stipple engraving
After Angelica Kauffman RA
The Nursing of Bacchus, 20 February 1791
Stipple engraving
After Angelica Kauffman RA
Self-portrait, 1 May 1809
Stipple engraving
After Angelica Kauffman RA
The Three Fine Arts, 10 November 1783
Stipple engraving
After Angelica Kauffman RA
Self-portrait, ca. 1805?
Line engraving
After Angelica Kauffman RA
Mourners at a Tomb, 1 February 1781
Stipple-engraving
Jean-Marie Delatre
Dido invoking the Gods, 15 March 1784
Stipple-engraving and etching
Jean-Marie Delatre
Penelope weeping over the bow of Ulysses, 15 March 1784
Stipple-engraving and etching
Works associated with Angelica Kauffman in the RA Collection
4 results
Jean-Marie Delatre
A scene from the story of Rhodope and King Psammetichus of Egypt, 1 May 1780
Etching and engraving
John Hamilton Mortimer ARA
Bacchanal, 1762-1807
Etching
After Unidentified artist
Portrait of Angelica Kauffman RA
Stipple engraving
Henry Singleton
The Royal Academicians in General Assembly, 1795
Oil on canvas
Associated books
6 results
Giovanni Gherardo De Rossi
Vita Di Angelica Kauffmann Pittrice Scritta Dal Cav. Giovanni Gherardo De Rossi - Firenze: [1810]
05/2404
A Collection Of Prints, From Pictures Painted For The Purpose Of Illustrating The Dramatic Works Of Shakspeare, By The Artists Of Great-Britain. Volume I. (II.) - London,: [1803]
04/3171
Richard Morton Paye
Etchings, by & from the most esteem'd English artists - [s.l.]: c.1875]
05/341
Léon de Wailly
Angelica Kauffmann Par Léon De Wailly. Tome Premier (Second) - Paris: 1859 Droit de traduction réservé
05/3592
Associated archives
20 results
James Northcote, Rome, to Saml. Northcote, Plymouth, Devonshire, England
29 May 1779
Item NOR/50
Kauffman: memoria delle pittura
1781-1798
Fonds KAU
James Northcote, Argyll Place, to J. H. Burn
22 Sep 1827
Item JU/2/136
Angelica Kauffman, Golden Square [to an unidentified recipient]
19 Feb 1777
Item JU/1/73

Question: who was the italian composer born 23 may 1701

Question: who was the painter born in 1807 who died in 1741

Question: when was angelica kauffmann born

Question: when was the painter born in 1807

Question: what was andrea luchesi's profession

Born 23 May – Andrea Luchesi , Italian composer ( † 1801 )

October 30 – Angelica Kauffmann , painter ( † 1807 )

Born 23 May – Andrea Luchesi, Italian composer († 1801) October 30 – Angelica Kauffmann, painter († 1807)


Događaji

 Rođenja
 14. svibnja (kršten) – Thomas Gainsborough, engleski slikar i grafičar († 1788.)
 5. lipnja – Adam Smith – škotski ekonomist i etičar († 1790.)

 Smrti

Izvori

 Vanjske poveznice

Question: which scottish economist and ethicist was born in 1727

Question: who was the painter and graphic designer born may 14, 1788

Question: when was adam smith born

Question: what nationality was thomas gainsborough

Question: what was thomas gainsborough's profession

Born May 14 – Thomas Gainsborough , English painter and graphic designer ( † 1788 )

5 June - Adam Smith , Scottish economist and ethicist ( † 1790 )

Born May 14 – Thomas Gainsborough, English painter and graphic designer († 1788) 5 June - Adam Smith, Scottish economist and ethicist († 1790)


Događaji

 Rođenja
 Francesco Antonio Baldassare Uttini, talijanski skladatelj († 1795.)
 Štefan Küzmič slovenski pisac, prevoditelj i pastor († 1779.)
 22. ožujka – Lovrenc Bogović hrvatski pisac iz Gradišća († 1789.)
 16. srpnja – Joshua Reynolds, engleski slikar († 1792.)

 Smrti
 30. kolovoza – Antony van Leeuwenhoek, nizozemski trgovac i znanstvenik. (* 1632.)
 1. rujna – Dimitrie Cantemir, moldavski knez i rumunjski znanstvenik i političar (* 1673.)

 Izvori

 Vanjske poveznice

Sir Joshua Reynolds PRA (1723 - 1792)
RA Collection: People and Organisations
The Royal Academy’s first president, Joshua Reynolds, was considered the leading portrait painter of his day and a key figure in the Academy. Still in print today, and widely translated, his groundbreaking Discourses in Art were hugely influential on the development of British art.
The son of a Devonshire reverend and schoolmaster, Reynolds received a comprehensive education before being apprenticed to the portrait painter Thomas Hudson aged 17. In 1749, he was invited to join the HMS Centurion on a voyage to the Mediterranean; Reynolds disembarked in Rome and stayed there for two years, studying the Old Masters. While in Rome he suffered from a bad cold which left him partially deaf so that he often carried an ear trumpet round with him, and was often depicted carrying the trumpet.
Soon after his return, Reynolds set up a studio in London and quickly established himself as a sought-after portrait painter, making important aristocratic connections in the process. His circle of friends included 18th-century notables such as the writer Dr Samuel Johnson, actor and playwright David Garrick and statesman Edmund Burke. He painted memorable portraits of all of them.
Reynolds played a central role in organising the group of 34 artists and architects who signed a petition to found a Royal Academy of Arts, which was to hold annual exhibitions of living artists’ work (now known as the Summer Exhibition) and establish a free art school. After King George III approved the petition, Reynolds was unanimously elected the Academy’s President and knighted the following year. However, Reynolds was not a court favourite and painted the King only once, in a commission for the opening of the Royal Academy’s first official home at Somerset House in 1780.
Between 1769 and 1790, Reynolds set out his theories on art in a series of fifteen lectures in the Royal Academy Schools, published as Discourses on Art. He argued that painters should look to classical and Renaissance art as their model and should seek to idealise nature rather than copy it, setting out what would become known as the “grand manner” of painting. Reynolds positioned paintings of epic, historic scenes as the highest genre of art, despite the fact that high demand for his portraits meant that he rarely painted them himself.
Reynolds used his knowledge of the Old Masters to invigorate many of his portraits. His full-length portrait of Captain Keppel depicting the naval commander energetically striding forward is actually based on the classical statue of the Apollo Belvedere. Some artists such as Nathanial Hone felt he was too reliant of Old Masters and painted a picture titled The Conjurer in which prints of Old Masters whirl around the conjurer which was a veiled reference to his practice. Another Royal Academician, Thomas Gainsborough, fell out with Reynolds for years before seeking reconciliation on his deathbed, writing that he had always “admired and sincerely loved Sir Joshua Reynolds”.
Reynolds’s death was greatly mourned. When he died in 1792, Edmund Burke’s eulogy honoured him as “the first Englishman who added the praise of the elegant arts to the other glories of his country”. His body lay in the Royal Academy before being moved to St. Paul’s Cathedral and the procession included ninety one carriages carrying many distinguished persons, and was followed by all the Academicians and students from the RA Schools. There is a statue by Alfred Drury, installed in 1931 and around this statue which still greets visitors to the Royal Academy today. The fountains and lights arranged around the statue reflect the alignment of planets, the moon and stars at midnight on the night of Reynolds’s birth.
RA Collections Decolonial Research Project - Extended Case Study
According to an account by the abolitionist Thomas Clarkson, Reynolds stated his opposition to the slave-trade at a dinner with friends around 1787. Clarkson had shown the group samples of African cloth, and Reynolds ‘gave his unqualified approbation of the abolition of this cruel traffic’ (see Notes, 1). Reynolds also supported through subscription the second edition of the anti-slavery tract written by Ottobah Cugoano, Thoughts and sentiments on the evil of slavery (1791) (see Notes, 2). Cugoano had been a servant in the household of the artists Richard and Maria Cosway, and through the Cosways had met many prominent artists, writers and politicians.
Reynolds had a Black servant who appears to have joined his household around the mid-1760s. Unlike Cugoano, however, his name is not recorded despite the artist and writer James Northcote suggesting that the servant modelled for several of Reynolds’ paintings (see Notes, 3). Northcote stated that the man had been brought to Britain (presumably from the Caribbean) by the wife of Valentine Morris, a British landowner and politician who also owned plantations in Antigua and who was Governor of St Vincent from 1772-79. There are, however, inconsistencies and conflicting chronologies in this account (see Notes, 4).
Reynolds’ servant is described in Northcote’s Memoirs in connection with an incident in which he was the victim of a crime. After accompanying an elderly lady who had dined with Reynolds to her home, he met some friends and found himself locked out on his return. He spent the night at a watch-house – an early form of a police station that also provided overnight accommodation for those unexpectedly with nowhere to sleep – where his watch was stolen by one of the ‘miserable company’ there. The thief was charged, with the servant as witness, and Northcote recalls that Reynolds learnt of this from reading an account of the Old Bailey proceedings in a newspaper (see Notes, 5). Hearing that the thief was to be condemned to death, Reynolds became angry with his servant and made him deliver his own food to the thief in prison, ‘as a penance’. Meanwhile, Reynolds successfully asked Edmund Burke to have the thief’s sentence changed to transportation.
The same servant was said to be the model for the groom in the portrait of John Manners, Marquis of Granby (c.1766-70). This is one of a number of paintings by Reynolds which depict Black people, mostly as servants in portraits of wealthy white patrons, for example The Temple Family (1780-2), a portrait of Frederick William Ernest, Count of Schaumburg-Lippe, and a portrait of Lieutenant Paul Henry Ourry MP (c.1748). The Black model depicted as the groom in the latter painting has been identified as ‘Jersey’, but he was not Reynolds’ servant (see Notes, 6).
The following paragraph includes offensive language cited from an archival document. The original wording has been used to preserve its historical significance.
A Black servant also features in Lady Elizabeth Keppel (1761). Details of eight appointments with Lady Keppel are recorded in Reynolds’ sitters’ book for 1761 (Reynolds used these books to log his sitters throughout his career – see Notes, 7). In December 1761, there are two separate appointments to capture the likeness of her female servant; Reynolds records these with the word ‘negro’ rather than recording her name. Such disregard for people of colour and their individuality was common in British society at this time.
Reynolds’ most famous depiction of a Black person is the portrait thought to show Francis Barber, the servant and heir of the lexicographer Samuel Johnson. The unfinished portrait, now in the Menil Collection, Houston, casts Barber as a romantic, almost heroic, figure against a stormy sky. The identity of the sitter is not completely certain, and it may even portray Reynolds’ own servant, but the careful treatment of the subject implies that Reynolds – or the person who commissioned the painting – held this sitter in high esteem. By the 1770s when this portrait was painted, Barber was likely assisting Johnson with revising his Dictionary of the English Language and it is possible that he commissioned the portrait of Barber, whom he held in great affection.
Interestingly, there are several versions of the original painting of Barber by Reynolds, copies by later artists and those in Reynolds’ immediate circle. It may be that Reynolds encouraged his students to copy and learn from this portrait. The original was also exhibited at the British Institution in 1813, when it would have been seen and possibly reproduced by many artists (see Notes, 8).
Notes
Thomas Clarkson, History of the Rise, Progress, and Accomplishment of the Abolition of the African Slave Trade (London, 1839), I:160-1; https://www.google.co.uk/books/edition/TheHistoryoftheRiseProgressand_Acc/gKgNAAAAQAAJ?hl=en&gbpv=0 (accessed 2 March 2022).
Ottobah Cugoano, Thoughts and sentiments on the evil or slavery; Or, the nature of servitude as admitted by the law of God, compared to the modern slavery of the Africans in the West-Indies; in an answer to the advocates for slavery and oppression. Addressed to the sons of Africa, by a native (London, 1791); James Northcote, Memoirs of Sir Joshua Reynolds (London, 1813), p. 117; https://link.gale.com/apps/doc/CB0126566527/ECCO?u=lonlib&sid=bookmark-ECCO&xid=f994b30d&pg=1 (accessed March 2, 2022).
https://archive.org/details/memoirsofsirjosh00nortrich/page/116/mode/2up (accessed 2 March 2022).
James Northcote, Memoirs of Sir Joshua Reynolds (London, 1813), pp. 117-18; https://archive.org/details/memoirsofsirjosh00nortrich/page/116/mode/2up (accessed 2 March 2022). The chronology of events is difficult to determine due to inconsistencies in the biographies of Valentine Morris, his wife Mary Mordaunt and his daughter. Although according to Northcote, Reynolds’ Black servant was brought to England by Morris and entered Reynolds’ service after Morris’ death, this does not seem possible given that the anecdote described in his Memoirs is said to have taken place around 1768-9 but Morris died in 1789.
A search of the Old Bailey proceedings online has so far failed to identify this case and therefore the name of the servant remains unknown.
Nicholas Penny (ed.), Reynolds (1986), p. 173.
Joshua Reynolds’ pocket book for 1761, RA Archive reference code REY/1/5; https://www.royalacademy.org.uk/art-artists/archive/pocket-book-4?allfields=book&archivetitlefond=2.01.OG&date=&form=archives&index=6&name=&referencecode=&total_entries=29&utf8=%E2%9C%93 (accessed 7 March 2022).
https://www.tate.org.uk/art/artworks/reynolds-a-young-black-man-francis-barber-t01892 (accessed 7 March 2022).
Relevant ODNB entries
Postle, Martin. “Reynolds, Sir Joshua (1723–1792), portrait and history painter and art theorist.” Oxford Dictionary of National Biography. 23 Sep. 2004; Accessed 2 Mar. 2022. https://www-oxforddnb-com.lonlib.idm.oclc.org/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-23429.
Profile
Foundation Member
Born: 16 July 1723 in Plympton, Devon, England, United Kingdom
Died: 23 February 1792
Nationality: British
Elected RA: 10 December 1768
President from: 1768 - 1792
Gender: Male
Preferred media: Painting
Works by Sir Joshua Reynolds in the RA Collection
11 results
Sir Joshua Reynolds PRA
Lavinia, Countess Spencer
Mixed method engraving
Sir Joshua Reynolds PRA
Lavinia, Countess Spencer
Mixed method engraving
Sir Joshua Reynolds PRA
Portrait of Francis Hayman, R.A., 1756
Oil on canvas
Sir Joshua Reynolds PRA
Theory, 1779-1780
Oil on canvas
Sir Joshua Reynolds PRA
Studio Experiments in Colour and Media
Oil on canvas
Sir Joshua Reynolds PRA
Portrait of Queen Charlotte, 1779
Oil on canvas
Sir Joshua Reynolds PRA
Portrait of Giuseppe Marchi, 1753
Oil on canvas
Sir Joshua Reynolds PRA
Portrait of King George III, 1779
Oil on canvas
Sir Joshua Reynolds PRA
Portrait of Sir William Chambers, R.A., ca. 1780
Oil on panel
Sir Joshua Reynolds PRA
Self-portrait of Sir Joshua Reynolds, PRA, ca. 1780
Oil on panel
Sir Joshua Reynolds PRA
Spectacles belonging to Joshua Reynolds
Metal spectacles in a burgundy and brown leather case
Works after Sir Joshua Reynolds in the RA Collection
30 results
After Sir Joshua Reynolds PRA
Garrick Between Tragedy and Comedy, after Sir Joshua Reynolds, 1 December 1811
Stipple engraving
After Sir Joshua Reynolds PRA
Portrait of Sir Joshua Reynolds, 20 January 1811
Stipple engraving
After Sir Joshua Reynolds PRA
Portrait of John, Marquis of Granby, 1 December 1810
Stipple engraving
After Sir Joshua Reynolds PRA
Portrait of John Dunning, Lord Ashburton, 4 June 1809
Stipple engraving
After Sir Joshua Reynolds PRA
Portrait of Oliver Goldsmith, 1 December 1770
Mezzotint
After Sir Joshua Reynolds PRA
Portrait of Sir William Chambers RA, 1 March 1785
Stipple-engraving
After Sir Joshua Reynolds PRA
Portrait of Giuseppe Baretti, 6 March 1794
Stipple engraving
After Sir Joshua Reynolds PRA
Portrait of George III, 18 June 1789
Stipple engraving
William Blake
The Graphic Muse, 21 February 1806
Line engraving with stipple
After Sir Joshua Reynolds PRA
Portrait of Samuel Johnson, 1 January 1787
Line engraving
After Sir Joshua Reynolds PRA
Portrait of Angelica Kauffman, R.A., 3 September 1780
Stipple engraving
After Sir Joshua Reynolds PRA
Portrait of James Boswell, c. 1825?
Stipple engraving
After Sir Joshua Reynolds PRA
Portrait of Miss Theophila Palmer, 14 July 1785
Stipple engraving
After Sir Joshua Reynolds PRA
Self portrait, 1 March 1789
Stipple engraving
After Sir Joshua Reynolds PRA
Self-portrait, 1 February 1795
Mezzotint
After Sir Joshua Reynolds PRA
Self-portrait, 10 July 1770
Mezzotint
After Sir Joshua Reynolds PRA
James Paine, Architect and James Paine Jun., [1767]
Mezzotint
Francis Haward ARA
Mrs. Siddons in the character of the Tragic Muse, 4 June 1787
Stipple-engraving
After Sir Joshua Reynolds PRA
Sir Jeffery Amherst, [1766?]
Mezzotint
After Sir Joshua Reynolds PRA
Self-portrait, 1 December 1780
Mezzotint
James Ward RA
Mrs. Billington as St. Cecilia, 10 January 1803
Mezzotint
Francis Haward ARA
George, Prince of Wales, 18 January 1793
Stipple-engraving
After Sir Joshua Reynolds PRA
The Holy Family, 12 August 1792
Line-engraving
William Say
Cupid and Psyche, 1814
Mezzotint
William Say
The Society of Dilettanti, [April 1821]
Mezzotint
Charles Turner ARA
The Society of Dilettanti, [April 1821]
Mezzotint
After Sir Joshua Reynolds PRA
Sir William Chambers, K.P.S., Treasurer of the Royal Academy, 1 December 1780
Mezzotint
After Sir Joshua Reynolds PRA
Portrait of Samuel Johnson, 1770
Mezzotint
Joseph Grozer
The Death of Dido, 30 May 1796
Mezzotint
After Henry Thomson RA
The Infant Hercules, ?1790s
Oil on canvas
Works associated with Sir Joshua Reynolds in the RA Collection
182 results
François Vivares
Jupiter and Europa, 10 April 1771
Line engraving
Attributed to Sir Joshua Reynolds PRA
Lady with a Fan, ca. 1746
Oil on panel
Giacomo De' Rossi
Letterpressed title-page of the latin descriptions of the plates, 1672
Pietro Santi Bartoli
Plate 119: Other war trophies of the Emperor Trajan, 1672
Pietro Santi Bartoli
Plate 118: War trophies of the Emperor Trajan, 1672
Pietro Santi Bartoli
Plate 117: Latin inscriptions celebrating the victory over the Dacians, 1672
Pietro Santi Bartoli
Plate 116: other series of coins celebrating the victory over the Dacians, 1672
Pietro Santi Bartoli
Plate 115: Coins celebrating the victory over the Dacians, 1672
Pietro Santi Bartoli
Plate 114: Dacian cattle , 1672
Pietro Santi Bartoli
Plate 113: Dacian families migrating to another territories, 1672
Pietro Santi Bartoli
Plate 112: Roman soldiers setting fire to the Dacian fortifications , 1672
Pietro Santi Bartoli
Plate 111: Roman soldiers imprisoning some Dacian soldiers, 1672
Pietro Santi Bartoli
Plate 110: Roman soldiers making Dacian prisoners , 1672
Pietro Santi Bartoli
Plate 109: Roman soldiers capturing the Dacian officials, 1672
Pietro Santi Bartoli
Plate 108: Roman soldiers capturing the Dacian officials, 1672
Pietro Santi Bartoli
Plate 107: the Dacian cavalry fleeing the Romans, 1672
Pietro Santi Bartoli
Plate 106: Roman cavalry chasing the Decian cavalry, 1672
Pietro Santi Bartoli
Plate 105: a group of Dacians surrendering to Trajan and bringign gifts, 1672
Pietro Santi Bartoli
Plate 104: Decebalus addressing the Dacians; and Decebalus stabbing himself to death, 1672
Pietro Santi Bartoli
Plate 103: Emperor Trajan standing addressing two Roman legions while some soldiers carry Decebalus'treasures , 1672
Pietro Santi Bartoli
Plate 102: Dacians fleeing after being defeated , 1672
Pietro Santi Bartoli
Plate 101: Dacians assaulting a Roman fortress, 1672
Pietro Santi Bartoli
Plate 100: Dacians leaving their fortifications in order to attack the Romans , 1672
Pietro Santi Bartoli
Plate 99: Dacian ambassadors kneeling before Emperor Trajan asking for peace, 1672
Pietro Santi Bartoli
Plate 97: Roman soldiers listening to Emperor Trajan's speech , 1672
Pietro Santi Bartoli
Plate 96: Roman soldier distributing wheat to other soldiers, 1672
Pietro Santi Bartoli
Plate 95: a group of Dacians at right kneeling and asking for Trajan's clemence , 1672
Pietro Santi Bartoli
Plate 94: Dacians running out of the city and askign for clemence , 1672
Pietro Santi Bartoli
Plate 93: Dacians poisoning themself after their defeat, 1672
Pietro Santi Bartoli
Plate 92: Dacians setting fire to one of their city, 1672
Pietro Santi Bartoli
Plate 91: a Dacian kneeling before emperor Trajan at centre, 1672
Pietro Santi Bartoli
Plate 90: Roman soldiers cutting trees and making piles of wood, 1672
Pietro Santi Bartoli
Plate 89: Roman soldiers destroying a Dacian fortress, 1672
Pietro Santi Bartoli
Plate 88: Dacian soldiers stop the pace of Trajan's troops coming to the rescue, 1672
Pietro Santi Bartoli
Plate 87: a Roman soldier informing Emperor Trajan about the battle with the Dacians, 1672
Pietro Santi Bartoli
Plate 86: Roman soldiers attempting to climb the Dacian defense wall, 1672
Pietro Santi Bartoli
Plate 85: Battle between Roman and Dacian soldiers , 1672
Pietro Santi Bartoli
Plate 84: Dacians presiding their camps, 1672
Pietro Santi Bartoli
Plate 83: Troops harvesting the crops, 1672
Pietro Santi Bartoli
Plate 82: Continued march of the armies, 1672
Pietro Santi Bartoli
Plate 81: Veteran soldiers and Romans with musical instruments , 1672
Pietro Santi Bartoli
Plate 80: Emperor Trajan sending his soldiers to battler, 1672
Pietro Santi Bartoli
Plate 79: Emperor trajan addressing the Roman soldiers, 1672
Pietro Santi Bartoli
Plate 78: two men bringing the bull, the ram and the pork for the sacrifice , 1672
Pietro Santi Bartoli
Plate 77: a sacrifice in honour of emperor Trajan's arrival, 1672
Pietro Santi Bartoli
Plate 76: Emperor Trajan and Hadrian leading the Roman army , 1672
Pietro Santi Bartoli
Plate 75: Dacian and Sarmatian soldiers sent to Emperor Trajan in order to establish the condition for the peace, 1672
Pietro Santi Bartoli
Plate 74: Emperor Trajan followed by veterans; and Trajan performing a sacrifice, 1672
Pietro Santi Bartoli
Plate 73: Emperor Trajan on horseback leading the Roman cavalry, 1672
Pietro Santi Bartoli
Plate 72: Roman soldiers occupying Dacian fortifications, 1672
Pietro Santi Bartoli
Plate 71: Dacian soldiers attaching a Roman camp, 1672
Pietro Santi Bartoli
Plate 70: Dacian soldiers guarding a city, 1672
Pietro Santi Bartoli
Plate 69: a group of men cutting trees and consolidating buildings, 1672
Pietro Santi Bartoli
Plate 68: Romans and Dacians assist to a sacrifice performed by the Emperor Trajan, 1672
Pietro Santi Bartoli
Plate 67: Iazyges greeting Emperor Trajan; and Trajan performing a sacrifice, 1672
Pietro Santi Bartoli
Plate 66: Roman sacerdotes following a Roman cavalry , 1672
Pietro Santi Bartoli
Plate 65: Emperor Trajan land on the shore and advabce by land, 1672
Pietro Santi Bartoli
Plate 64: Emperor Trajan making a sacrifice to Jupiter, 1672
Pietro Santi Bartoli
Plate 63: a group of Roman soldiers greeting emperor Trajan, 1672
Pietro Santi Bartoli
Plate 62: emperor Trajan entering a Roman town through a triumphal arch
Pietro Santi Bartoli
Plate 61: a group of Romans greeting the Emperor Trajan, 1672
Pietro Santi Bartoli
Plate 60: Romans making sacrifice in honour of emperor Trajan, 1672
Pietro Santi Bartoli
Plate 59: Emperor Trajan leaving for the Second Dacian War, 1672
Pietro Santi Bartoli
Plate 58: the personification of Victory writing on a shield , 1672
Pietro Santi Bartoli
Plate 57: Emperor Trajan and Decebalus addressing the Thirteenth Legion, 1672
Pietro Santi Bartoli
Plate 56: Dacian officials kneeling before Emperor Trajan while castles and fortifications are demolished, 1672
Pietro Santi Bartoli
Plate 55: Decebalus and the Dacians kneeling before Emperor Trajan askign for clemence, 1672
Pietro Santi Bartoli
Plate 54: Emperor Trajan establishing peace with the Decebalus, 1672
Pietro Santi Bartoli
Plate 52: Last battle between Dacians and Romans , 1672
Pietro Santi Bartoli
Plate 51: Roman soldiers bringing two heads of Dacian prisoners before emperor Trajan, 1672
Pietro Santi Bartoli
Plate 50: Dacians being defeated by the Romans soldiers , 1672
Pietro Santi Bartoli
Plate 49: Dacians ambushing Roman soldiers while cutting trees in the forests, 1672
Pietro Santi Bartoli
Plate 48: Roman soldiers cutting trees and building new camps, 1672
Pietro Santi Bartoli
Plate 47: Dacians fighting the Roman and Sarmatian soldiers , 1672
Pietro Santi Bartoli
Plate 46: Roman and Sarmatian soldiers fighting the Dacians , 1672
Pietro Santi Bartoli
Plate 45: Emperor Trajan receiving two Dacians while Roman soldiers build new fortifications, 1672
Pietro Santi Bartoli
Plate 44: The defeated Dacians seek shelter in the forests, 1672
Pietro Santi Bartoli
Plate 42: Praetorian guards, 1672
Pietro Santi Bartoli
Plate 40: emperor Trajan on horseback, and Roman soldiers building camps, 1672
Pietro Santi Bartoli
Plate 38: Emperor Trajan addressing the soldiers, 1672
Pietro Santi Bartoli
Plate 37: Emperor Trajan sacrificing a pork, a ram, and a bull, 1672
Pietro Santi Bartoli
Plate 36: Emperor Trajan receiving the Dacian ambassadors, Roman soldiers building fortifications, 1672
Pietro Santi Bartoli
Plate 35: Emperor Trajan discussing with soldiers a plan to fight the enemies, 1672
Pietro Santi Bartoli
Plate 34: Emperor Trajan leading the army ouside the camp to fight , 1672
Pietro Santi Bartoli
Plate 33: Emperor Trajan distributing the congiary; Dacian women torturing Roman prisoners with torches, allies of the Romans bringing provisions, 1672
Pietro Santi Bartoli
Plate 32: Dacian soldiers being defeated by the Roman soldiers, 1672
Pietro Santi Bartoli
Plate 31: Dacian soldiers being defeated by the Roman soldiers, 1672
Pietro Santi Bartoli
Plate 30: Roman soldiers preparing for the fourth battle with the Dacians / engraved plate from Colonna Traiana by Pietro Santi Bartoli, published by Giacomo de Rossi (Rome, 1672), 1672
Pietro Santi Bartoli
Plate 29: Dacian soldiers being received by Trajan, Roman soldiers are consolidating walls, doctors are giving assistance , 1672
Pietro Santi Bartoli
Plate 28: Battle between Romna soldiers and Decians, 1672
Pietro Santi Bartoli
Plate 27: Sarmatian cavalry fleeing the Roman army, 1672
Pietro Santi Bartoli
Plate 26: Emperor Trajan on horseback leading his army against Decebal, 1672
Pietro Santi Bartoli
Plate 25: The emperor Trajan's landing, 1672
Pietro Santi Bartoli
Plate 24: emperor Trajan entering the city in a boat , 1672
Pietro Santi Bartoli
Plate 23: Dacians besieging Roman a fortress and Romans bringing provisions, 1672
Pietro Santi Bartoli
Plate 22: Dacians being caught in a swollen river, the Sarmatian cavalry attacking a Roman fortress, 1672
Pietro Santi Bartoli
Plate 21: Dacians defeted, Emperor Trajan ordering his soldiers to free the women and the children, 1672
Pietro Santi Bartoli
Plate 19: battle scene with Dacians Dacians fleeing and the Romans and victorious Roman soldiers crossing Tisa river with trophies, 1672
Pietro Santi Bartoli
Plate 18: Dacian and Roman soldiers asking for Jupiter's protection, a group of men at centre carrying the dead body of a Dacian prisoner, 1672
Pietro Santi Bartoli
Plate 17: Roman soldiers at right presenting two heads of Dacian prisoners before emperor Trajans, 1672
Pietro Santi Bartoli
Plate 16: Roman soldiers cutting trees and another group wearing armour and carrying war trophies, 1672
Pietro Santi Bartoli
Plate 15: A group of Roman soldiers on horseback crossing a wooden bridge, and Roman soldiers in armour, 1672
Pietro Santi Bartoli
Plate 53: Emperor Trajan determining the conditions for a peace treatise with the Decebalus, 1672
Pietro Santi Bartoli
Plate 14: Roman soldiers building fortifications, soldiers holding the horses of the emperor, and soldiers guarding the Porta Pretoria, 1672
Pietro Santi Bartoli
Plate 13: two Dacian prisoners being presented before Emperor Trajan while other soldiers building fortifications, 1672
Pietro Santi Bartoli
Plate 12: Emperor Trajan observing the fortifications built by the Roman soldiers, 1672
Pietro Santi Bartoli
Plate 11: Emperor Trajan sending explorers and soldiers cutting trees, 1672
Pietro Santi Bartoli
Plate 10: Emperor Trajan supervises the works at the camp with a Prefect and a Tribun, 1672
Pietro Santi Bartoli
Plate 9: soldiers building a camp, 1672
Pietro Santi Bartoli
Plate 8: Emperor Trajan addressing the soldiers, 1672
Pietro Santi Bartoli
Plate 7: Emperor Trajan making a sacrifice, 1672
Pietro Santi Bartoli
Plate 6: Emperor Trajan sitting on a camp stool discussing with Lucio Prefetto , 1672
Pietro Santi Bartoli
Plate 5: Roman soldiers marching carrying war trophies, led by soldiers on horseback, 1672
Pietro Santi Bartoli
Plate 4: the statue of river Danube and the army crossing the river on a bridge made of boats, 1672
Pietro Santi Bartoli
Plate 3: 'Scapha vinaria', boats for transporting wine, oil and grain to the fortifications, 1672
Pietro Santi Bartoli
Plate 2: Praetorian soldiers and fortifications, 1672
Pietro Santi Bartoli
Plate 1: granary, heap of wood for fortifications, bundles of horse feed, castles , 1672
Pietro Santi Bartoli
Right and left sides of the column plinth showing the 'Throphies', 1672
Pietro Santi Bartoli
Front and back sides of the column plinth showing the 'Throphies', 1672
Pietro Santi Bartoli
Elevation and interior section of the top of the column, 1672
Pietro Santi Bartoli
Elevation and interior section of the body of the column, 1672
Pietro Santi Bartoli
Elevation and interior section of the base of the column, 1672
Pietro Santi Bartoli
Colonna Traiana, 1672
Pietro Santi Bartoli
Plate 20: Emperor Trajan receiving the Dacian envoy, 1672
Giorgio Vasari
Stamp of Jacopo Giunti (from Giorgio Vasari, Le Vite De' Piu Eccellenti Pittori, Scultori, E Architettori), 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Perino del Vaga, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Sebastiano Veneziano, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Giulio Romano, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Antonio da Sangallo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Marcantonio Raimondi, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Valerio Vicentino, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Baccio D'Agnolo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Francesco Granacci, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Liberale da Verona, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Palma il Giovane, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Parmigianino, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Border for a portrait of Marco Calabrese, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Morto da Feltre, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Franciabigio, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Bartolomeo Ramenghi, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Rosso Fiorentino, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Polidoro da Caravaggio, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Girolamo da Treviso, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Giovanni Antonio Sogliani, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Il Pordenone, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Alfonso Lombardi , 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Properzia de' Rossi, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Giovan Francesco Penni, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Baldassarre Peruzzi, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Lorenzo Lotti, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Lorenzo di Credi, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Baccio da Montelupo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Benedetto da Rovezzano, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Andrea dal Monte Sansovino, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Vincenzo Tamagni , 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Andrea Ferrucci, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Domenico Puligo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Simone del Pollaiolo ( Il Cronaca), 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Guillaume de Marcillat, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Raphael (Raffaello Sanzio), 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Giuliano da Sangallo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Decorative frame for portrait of Pietro Torrigiano , 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Raffaellino del Garbo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Andrea del Sarto, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Mariotto Albertinelli, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Fra Bartolomeo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Donato Bramante, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Piero di Cosimo, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Decorative frame for portrait of Correggio, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Giorgione, 1791 [-1795]
Woodcut on laid paper
Giorgio Vasari
Leonardo da Vinci, 1791 [-1795]
Woodcut on laid paper
Unidentified photographer
A group of 110 photographs of sculpture by Francis Derwent Wood R.A.
Giuseppe Ceracchi
Bust of Sir Joshua Reynolds, P.R.A., ca. 1778
Marble
Unknown
Cast of a bust of Sir Joshua Reynolds, P.R.A., ca. 1778
Plaster cast
Conrad Martin Metz
Madonna and Child from the Cupola of the church of St. John at Parma attributed to Correggio, 1789
Etching and aquatint
Conrad Martin Metz
Madonna and Child attributed to Correggio, 1789
Crayon-manner etching
Conrad Martin Metz
Study of a nude bearded man seen half-length attributed to Carlo Cignani , 1789
Crayon-manner etching
Conrad Martin Metz
Study of Icarus (?) attributed to Rubens, 1789
Crayon-manner etching
Conrad Martin Metz
Parmigianino's 'Madonna of St Margaret' , 1789
Etching
Conrad Martin Metz
Madonna and Child with Saint John the Baptist /, 1789
Etching and aquatint printed in colour
Conrad Martin Metz
Studies of man (front and back), harm, and head of a horse , 1789
Etching and aquatint printed in colour
Ivory miniature of Joshua Reynolds
Watercolour on ivory
Associated books
58 results
Sir Joshua Reynolds PRA, 1723-1792.
A discourse, delivered to the students of the Royal Academy, on the distribution of the prizes, December 11, 1769, by the President [Sir Joshua Reynolds] - London: 1769
14/3025
Sir Joshua Reynolds PRA
The Discourses Of Sir Joshua Reynolds; Illustrated By Explanatory Notes & Plates By John Burnet, F.R.S. - London.: 1842.
07/1662
Sir Joshua Reynolds PRA
The Literary Works Of Sir Joshua Reynolds, First President Of The Royal Academy. To Which Is Prefixed, A Memoir Of The Author; With Remarks On His Professional Character, Illustrative Of His Principles And Practice. By Henry William Beechey. In Two Volumes. Vol. I. (II.) - London:: 1835.
05/5039
Sir Joshua Reynolds PRA
Sir Joshua Reynolds' Notes And Observations On Pictures, Chiefly Of The Venetian School, Being Extracts From His Italian Sketch Books; Also, The Rev. W. Mason's Observations On Sir Joshua's Method Of Coloring. And Some Unpublished Letters Of Dr. Johnson, Malone, And Others. With An Appendix, Containing A Transcript Of Sir Joshua's Account Book, Showing What Pictures He Painted And The Prices Paid For Them. Edited By William Cotton, Esq. - London:: [1859]
05/4008

Question: which english painter was born in 1792

Question: who was the slovenian writer, translator and pastor who died in 1779

Question: when did francesco antonio baldassare uttini die

Question: which italian composer died in 1795

Question: who died on july 16, 1789

Bogović hrvatski pisac iz Gradišća ( † 1789 . ) 16 . srpnja – Joshua Reynolds , engleski

Question: when did stefan kuzmič die

Question: in what year did lovrenc bogovic die

Question: when did joshua reynolds die

Francesco Antonio Baldassare Uttini , Italian composer ( † 1795 )

Stefan Küzmič ( Slovenian writer , translator and pastor ) ( † 1779 ) 22 March – Lovrenc Bogović ( † 1789 ) 16 July – Joshua Reynolds , English painter ( † 1792 )

Francesco Antonio Baldassare Uttini, Italian composer († 1795) Stefan Küzmič (Slovenian writer, translator and pastor) († 1779) 22 March – Lovrenc Bogović († 1789) 16 July – Joshua Reynolds, English painter († 1792)


Događaji
Daniel Defoe napisao je knjigu "Robinson Crusoe"

 Rođenja
 11. veljače - Bazilije Božičković, hrvatski grkokatolički biskup († 1785.)
 14. studenog – Leopold Mozart, austrijski skladatelj († 1787.)

 Smrti
16. siječnja – Petar Kanavelić, hrvatski pjesnik, epski i dramski pisac (* 1637.)

 Vanjske poveznice

 Izvori

Daniel Defoe wrote the book "Robinson Crusoe"

Question: who wrote the book robinson crusoe in 1719

Daniel Defoe napisao je knjigu "" Robinson Crusoe

Question: what was the name of daniel defoe's book published in 1719

Question: what book did daniel defoe write in 1719

Question: in 1719 daniel defoe wrote which famous book

Question: who wrote robinson crusoe in 1719

Daniel Defoe wrote the book " Robinson Crusoe "


Događaji
 U djelu Isaaca Newtona: "Philosophiae naturalis principia mathematica" objavljeni su tri zakona klasične mehanike (Newtonovi zakoni gibanja)
Velika seoba Hrvata iz Rame u Cetinsku krajinu(ur.: Marijan Karaula) Selidba Ramljaka: radovi s povijesno-teološkog simpozija u povodu 300. obljetnice odlaska franjevaca i puka iz Rame u Cetinsku krajinu održanog na Šćitu 4. i 5. rujna 1987. godine
 9./10. lipnja – Hrvatski sabor je na svom zasjedanju proglasio Sv. Josipa zaštitnikom Hrvatskog kraljevstva. Proglašen je jednoglasnom odlukom redova i staleža Hrvatskog sabora.ph, ij: 10. lipnja 1687. – Sveti Josip postao zaštitnik Hrvatske i hrvatskog naroda  Narod.hr. 10. lipnja 2020. Pristupljeno 10. lipnja 2020.
 12. kolovoza – bitka kod Mohača, velika pobjeda hrvatsko-ugarskih, austrijskih i bavarskih snaga nad Turcima
 Vukovar je oslobođen od Turaka
 21. studenoga - Svećano posvećena barokna crkva Santa Maria della Salute u Veneciji. Huljev, Ivica.  Kako je u vrijeme epidemije kuge u Veneciji sagrađena veličanstvena zavjetna crkva Bitno.net

 Rođenja

 Smrti

 Izvori

 Vanjske poveznice

Selidba Ramljaka: works with a historic and theological symposium on the occasion of the 300th anniversary of the departure of the French and the Pucks from Rame to the Cetinsk landscape held at Ščita on 4 and 5 September 1987 on 9/10 June – the Croatian Council declared St. Joseph as the protector of the Croatian Kingdom.

Question: who was the leader of the roman catholic church in 1687

Question: who was declared the protector of the croatian kingdom in 1987

Question: where was the 300th anniversary of the departure of the french and the pucks

Question: when was the 300th anniversary of the departure of the french and the puck from r

Question: who declared st joseph the protector of the croatian kingdom

franjevaca i puka iz Rame u Cetinsku krajinu održanog na Šćitu 4 . i 5 . rujna 1987 . godine 9./10 . lipnja – Hrvatski sabor je na svom zasjedanju proglasio Sv . Josipa

Question: when was st joseph declared the protector of the croatian kingdom

Selidba Ramljaka : works with a historic and theological symposium on the occasion of the 300th anniversary of the departure of the French and the Pucks from Rame to the Cetinsk landscape held at Ščita on 4 and 5 September 1987 on 9/10 June – the Croatian Council declared St. Joseph as the protector of the Croatian Kingdom .

June 10th, 2020.

Accessed on June 10, 2020.

SANTA MARIA DELLA SALUTE
Kako je u vrijeme epidemije kuge u Veneciji sagrađena veličanstvena zavjetna crkva
Santa Maria della Salute, velika barokna crkva, smještena na ulazu Canala Grande, jedan je od najimpresivnijih arhitektonskih spomenika Venecije.
Venecija, metropola Mletačke Republike, bila je tijekom prošlosti izvorište različitih utjecaja koji su oblikovali mnoga ostvarenja na prostoru jadranske Hrvatske. U Veneciji je ujedno živjela i hrvatska iseljenička zajednica u kojoj je bilo veoma istaknutih pojedinaca, a najveći broj hrvatskih iseljenika živio je u venecijanskom predjelu Castello. Venecija je privlačila ljude različitih potreba i mogućnosti. Stoga je razumljivo da su iz nje potekli i vjerski utjecaji, a ne samo bogati likovni fond naših crkava i ostali predmeti u njima.
Ipak, nije riječ o copy-paste metodi utjecaja, nego o prožimanju vjerskih i kulturnih silnica, što je urodilo prepoznatljivim vjerskim i kulturnim oblicima na našoj strani Jadrana. Reći da su na našim otocima i obali vrijedna ostvarenja u arhitekturi, umjetnosti, književnosti i u ostalim umijećima dio mletačke baštine, znak je pukog neznanja ili plod jeftine iredentističke propagande. Među mletačke vjerske utjecaje nedvojbeno spada štovanje Gospe od Zdravlja. Riječ je o kultu koji se u 17. st. proširio iz Venecije i do danas ima svoje prepoznatljivo mjesto u vjerničkoj svijesti na otocima i obali. To ne znači da se vjernici i prije nisu utjecali Gospi zbog svojih tjelesnih boli, već se hoće reći da je kult Gospe od Zdravlja dobio svoje uporište u jednom prijetećem povijesnom događaju u gradu sv. Marka.
Zavjet Gospi
Naime, 1630. g. Veneciju je zahvatila kuga koja će desetkovati stanovništvo. Kugu su prenijeli vojnici na povratku iz rata s Mantovom. Poduzete su različite mjere oko suzbijanja zaraze, ali bez uspjeha. Poslije poduzetih i, dakako, neuspješnih mjera, na red je došla krajnja mjera – zavjet Gospi. Veneciji to, istina, nije bilo prvi put, jer je već poznavala zavjet Presvetom Otkupitelju. U nizu različitih vjerskih zbivanja najprije se bilježi da je venecijanski patrijarh predvodio brojna molitvena okupljanja u bazilici sv. Marka i procesije s Presvetim Sakramentom. Takvo stanje duha nama je danas teško zamisliti, a o religioznom poimanju uzroka kuge da i ne govorimo. Razumljivo je da je praznovjerje u kriznim trenucima odigralo veliku ulogu. Potom su dužd i Senat odlučili da će kroz 15 subota obavljati molitve u bazilici sv. Marka i u procesiji nositi čudotvornu ikonu Gospe od pobjede – Nicopeia, koja potječe iz Carigrada te je u Veneciji bila izrazito čašćena, posebno u ključnim trenucima venecijanske prošlosti.
Neki zapisi govore da je dužd Nikola Contarini htio čuti savjetodavno mišljenje Senata o novčanom iznosu kojeg treba utrošiti u izgradnju Gospine crkve ako zavjet bude uslišan. Navodno se tajno glasovalo, ali je jedan glas bio protiv predloženog sadržaja zavjeta. Potom je onaj koji je tajno glasovao ustao i kazao: Gospodo, moj glas nije protiv zavjeta, Gospe ili Republike, već sam protiv ograničavanja iznosa koji se ima utrošiti ako zavjet bude uslišan. Tim su stavom svi bili oduševljeni pa se, kako se navodi, odlučilo neograničavati iznos. U subotu 26. listopada 1630. g., pred spomenutom Gospinom ikonom, dužd je izrekao zavjet o podizanja crkve Gospe od Zdravlja i da će se na dan prestanka kuge svake godine hodočastiti u Gospinu crkvu koja se ima podići. Kuga je prestala u studenome 1631. Umrlo je oko 47.000 ljudi u gradu, a u okolnom području oko 95.000 (Murano, Chioggia i Malamocco).
Crkva – biser baroka
Tako je došlo do izgradnje jedne od najpoznatijih venecijanskih crkava iz razdoblja baroka. Zavjetna crkva Gospe od Zdravlja izdiže se nad Canalom Grande te daje snažan dojam mletačke moći iz vremena koje je ostavilo tragove u brojnim sakralnim zdanjima. Građena je u razdoblju između 1631. i 1687. g. Od jedanaest mogućih projekata izabran je projekt mladog Baldasara Longhene. Početak radova je bio 1. travnja 1631. kad je blagoslovljen kamen temeljac.
Crkva je blagoslovljena i otvorena za bogoslužje 1653. g., a svečano je posvećena 21. studenoga 1687. g. Do ulaza u baziliku vodi 15 stuba, što označavaju 15 otajstava krunice, a cijela crkva je prožeta marijanskom simbolikom. Nad središnjim dijelom glavnog oltara kip je Gospe s Djetetom, dok su uz nju kipovi-alegorije Venecije i kuge koju izgoni anđeo s bakljom. Sa strane su kipovi sv. Marka Evanđeliste i sv. Lovre Justinijanija, dvojice zaštitnika Venecije. Na oltaru je 1670. g. postavljena Gospina ikona pod nazivom Posrednica mira koja je u Veneciju donesena kad su Turci osvojili Kretu.
U bazilici Gospe od Zdravlja nalazi se podni natpis UNDE ORIGO INDE SALUS. Natpis polazi od toga da je utemeljenje Venecije bilo na Blagovijest 421., a po Mariji je došao i spas od kuge.
Zanimljivosti
Crkva Madona della Salute izgrađena je dijelom od kamenih blokova osam kula Dioklecijanove palače u današnjem Splitu, sa sjevernog i istočnog zida, koje su porušene po zapovjedi mletačkog providura Alvisea Zorzija.
Štovanje Gospe od Zdravlja koja je spasila Veneciju vrlo brzo proširilo se na cijelu Dalmaciju, a jedna od najljepših crkava Gospe od Zdravlja je u Zadru. U našim krajevima Gospi od Zdravlja posvećene su mnoge župe, crkve i kapele: Grdoselo kod Pazina, Vodnjan, Hreljići kod Marčane, Vrbnik na Krku, Nerezine na Lošinju, Lun na Pagu, Neviđane na Pašmanu, Radovin kod Ražanca, Smilčić kod Benkovca, Zadar, Jezera na Murteru, Brodarica kod Šibenika, Dubrava kod Šibenika, Vinišće kod Marine, Split-Dobri, Podstrana, Brela Gornja, Poljica Kozička kod Vrgorca, Jabuka kod Trilja, Grubine kod Podbablja, Jelsa na Hvaru, Runović, Osobjava kod Janjine na Pelješcu, Vela Luka na Korčuli, Vlaka kod Opuzena, Neum, Turčinovići kod Širokog Brijega, Zagorje kod Posušja, Grebci kod Trebinja, Kotor.
Mnogi znaju da je kaštradina (lat. castratus = škopac) – suho dimljeno ovčje ili kozje meso prepoznatljivo jelo Dalmatinske zagore, ali ne samo Zagore. No, kako nema pravih slavlja bez jela i pića, tako je i blagdan Gospe od Zdravlja (Festa della Salute) u Veneciji poznat po kaštradini. Uz to je vezana legenda koja kaže da je posljednji pristigli brod za vrijeme kuge 1630. bio natovaren kaštradinom iz Istre. Postoji i druga inačica legende koja kaže da su Veneciju tijekom izolacije opskrbljivali brodovi s istočne obale Jadrana. Tako se Castradina Sciavona u Veneciji tradicionalno jede 20. studenoga, tj. navečer uoči Gospina blagdana, a zapravo je riječ o jelu bogatih i siromašnih, jelu koje simbolički govori o kugi koja je pokosila jedne i druge.
Izvor: Kroz Samariju

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June 10th, 2020. Accessed on June 10, 2020. August 12 – Battle at Mohach, the great victory of the Croatian-Guardian, Austrian and Bavarian forces over the Turks Vukovar was liberated from the Turks on November 21 – Sacredly dedicated Baroque Church of Santa Maria della Salute in Venice.