Fireworks

Lo studio della storia dell'architettura si arricchisce di suggestione se, parallelamente all'analisi delle architetture in pietra, calcestruzzo, malta e mattoni, giunte fino a noi, si porta avanti in modo costante lo studio di quelle che sono state le strutture effimere della festa, ossia quell'insieme di manufatti in tela, legno, stucco, gesso e cartapesta che, calati nel tessuto vivo e pulsante della città, hanno costituito delle forme complementari a quella che era l'architettura permanente: la costante che gli architetti ricercavano in queste vere e proprie rappresentazioni teatrali era rendere vivida nello spettatore l'effetto di sinestesia, nel quale la luce, l'architettura, la musica e il tempo si fondevano insieme a creare una vera e propria forma di "arte totale".

Parigi, per l'impagabile disponibilità. Mentre il saggio attendeva di essere pubblicato è scomparso Michael Kitson del Paul Mellon Center (Università di Yale, Londra), uno dei più autorevoli studiosi del Gellée che mi espose la sua ipotesi di postdatare la data di nascita di Claude. Ma il ringraziamento più vivo e sentito lo devo a Giovanna Perini che da tempo incoraggia i miei studi guidandoli con le sue continue attenzioni e i suoi preziosi consigli.

It is 1664 and the lavish festivities staged in the gardens of Versailles are underway. King Louis XIV of France is hosting a seven-day “Plaisirs de l’île enchantée” event where on one night alone more than two thousand rockets will be launched into the sky (Aillagon, 2008). This is the first display of feux d’artifices at Versailles (Masson, 2008) and rockets light up the night. They embodied more than their physical sparks of power from canons. In 17th century France, the understanding of feux d’artifice differs from the modern meaning of the phrase. The notion of fireworks are first explored through entries in Furetière’s “Dictionnaire Universel,” which acts more as an encyclopedia of what the phenomenon was a the time (1690a, 1690b). Through Furetière’s work, fireworks during this period were seen as literary, performative, militaristic, sensual, celebratory, and emotive, and innately tied to the French monarchy. From these definitions, the fireworks can then be situated within their historical context of the fireworks at Versailles at Louis XIV’s event. Fireworks at the festival are simultaneously considered at the time period for their physical, ephemeral nature and also for their metaphorically eternal nature. These understandings of fireworks and their place at the event in 1664 draws to the central aspect of the conceptualization of what fireworks meant at this time an place in history. The engraving of Jean Le Pautre in 1676 documented the fireworks and was entitled “Sixième Journée: Illuminations autour du grand canal de Versailles” (Schwartz, 2014, p. 44). This work serves as evidence of the historical and national memory consisted of in the mind of the public for centuries to come. At many times, fireworks can be seen as a metonym for the King. The French court had a “taste for light” which heightened the monarch’s ability to demonstrate his power in artistic and innovative means (Masson, 2008, p. 20). Just as the ephemeral blaze of the fireworks was fleeting, as was the life of the physical man who lived in the 17th century, so did the memory and metaphorical magnificent brilliance of the legend of the Sun King last long after his death on the eternal memory of history.

This article draws on a rare extant manuscript of the Melissino Rite, preserved in the archives of the Prince Fredrik Masonic Centre in The Hague, as well as on other primary material, in order to examine the pivotal role played by Pyotr Ivanovich Melissino (1726-1797) in forming an Illuminist-Masonic milieu in St. Petersburg from the mid-1760s. Melissino and his high-grade Masonic Rite have hitherto been largely overlooked by scholars, yet this article aims to emphasize the formative influence he played in Russia in creating an “invisible chapter” in which select initiates could embrace currents of Illuminist thought (alchemy, theosophy and Christian Kabbalah in particular). Scholars have principally examined the development of Illuminism in the second half of the eighteenth century within the restricted space of the Chapters of high-degree Freemasonry in France (and to a lesser extent in Germany and other European countries). Little attention has been paid to Illuminism in Russia prior to rise of the Rosicrucian Circle associated with Nikolai Novikov and Johan Schwarz in Moscow in the 1780s. Thus, this article seeks to re-examine the Melissino Rite as part of a pan-European phenomenon, whilst also highlighting its importance within the sizeable aristocratic Masonic milieu in Russia.

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Charles Le Brun (1619-1690), le Premier peintre de Louis XIV, est resté fameux pour ses grands décors de palais, en particulier, ceux qu’il conduisit à Versailles. Cet ouvrage, consacré à ses décorations de fêtes et de cérémonies, met en lumière une partie encore méconnue de son œuvre. Ces créations extraordinaires du Grand Siècle unissaient les arts dans de savantes mises en scène. Pendant quelques heures, les édifices ou les jardins se trouvaient métamorphosés grâce aux apparats conçus pour l’occasion, réunissant des peintures, des sculptures, des tapisseries ou de grandes structures, telles que des arcs de triomphe. Détruites à la fin des événements qu’elles accompagnaient, ces œuvres ont reçu peu d’attention jusqu’à présent. L’analyse des sources contemporaines et des images des décors permet de restituer ces ouvrages, mais également de les replacer dans leur contexte. La genèse de ces œuvres, leur conception et leur fabrication sont étudiées, redessinant les liens que Le Brun avait tissés avec les hommes d’État (le roi, Séguier, Fouquet et Colbert), avec les hommes de lettres, ainsi qu’avec ses principaux collaborateurs  notamment à la Manufacture des Gobelins. L’une des particularités de Le Brun dans ce domaine fut d’ordonner lui-même des fêtes et des cérémonies, ce qui constitue peut-être un cas unique pour un peintre à cette période. Ces œuvres oubliées complètent donc le portrait d’un des plus grands artistes français du XVIIe  siècle. Plus que tout autre ouvrage, les décorations ordonnées par Le Brun donnent l’image la plus juste de ses recherches et de ses goûts. Enfin, l’étude de ces célébrations et de leur réception offre une meilleure compréhension de ces créations exceptionnelles, tout en leur conférant la pérennité qu’elles méritent.

This article examines the theory and the practice of fireworks in the work of C.-F. Ménestrier. In seventeenth-century Lyons, Ménestrier teamed with the best painters and engravers, namely T. Blanchet and N. Auroux, with whom he created the splendid Réjouissances de la Paix (20 March 1660). This spectacle can be explained through a theoretical piece of writing (Advis nécessaire pour la conduite des feux d’artifice) showing that the element of fire plays a crucial role in public celebrations. Its presence in Christian celebrations is derived from the autodafés. Ménestrier also suggests that fireworks can lead to an inamoramento and can be thus used as an eloquent luminous language able to ignite the spark of love in the hearts of the viewers.

A norma della legge sul diritto d'autore e del codice civile è vietata la riproduzione di questo libro o di parte di esso con qualsiasi mezzo, elettronico, meccanico, per mezzo di fotocopie, microfilm, registratori o altro. Le fotocopie per uso personale del lettore possono tuttavia essere effettuate, ma solo nei limiti del 15% del volume e dietro pagamento alla SIAE del compenso previsto dall'art. 68, commi 4 e 5 della legge 22 aprile 1941 n. 633. Ogni riproduzione per finalità diverse da quelle per uso personale deve essere autorizzata specificatamente dagli autori o dall'editore.

On pourrait reconnaître dans ces premiers élans du poète jésuite toute la ferveur épique d’Ignace de Loyola, mais nous croyons aussi qu’ils renvoient l’écho d’expériences festives et spectaculaires qui imprégnèrent sa mémoire depuis son plus jeune âge.

Gioacchino Ersoch, architect of swiss origins, was born in Rome on July 6, 1815. Best known as the designer of the Mattatoio (slaughterhouse) in Testaccio, Ersoch lived, as a real protagonist, a crucial transition phase in the city’s history, going from the conservative climate of the previous two decades of Papal Government to the innovation boost of the new Italy, of which Rome would be proclaimed capital in 1870. His long professional career continued until his death on June 12, 1902.
After initial studies and obtaining an architect licence in 1838, Ersoch became assistant to Enrico Calderari, architect of the Roman people, in the service of Camera Capitolina. In 1849 he was appointed “deputy architect” for the Corpo Artistico of the renovated pontifical municipality. In 1870 he became “first-class” architect, and in 1881 he was promoted to director of Division III “Architecture” of the “Construction and Public Works” Office. Retired in 1889, the senior technician kept the supervision of the new slaughterhouse in Testaccio, inaugurated on November 29, 1891.
It is in Rome that Ersoch realized almost all of his work, which today reveals the contradictions of an era in which urban and architectural development still looked at the reinterpretation of Ancient and Renaissance traditions in a “neoclassical” and “purist” way, opening though, towards a modern interest in new technologies of materials. After having dealt with construction and design assignments for private clients, from 1870 Ersoch devoted almost all of his time to municipal works: amongst them the adaptation of municipal offices, schools and military construction, new markets and cemetery planning, and also projects of “town furniture” to rewrite the urban fabric of Rome, often decrepit and poorly qualified. Noteworthy, in this regard, is the care taken to re-embellish the public walk of the Pincio, adapting it to the needs and decorum of a city that aspired to compete with other European capitals.
The research for functional rationality, already peculiarly manifested in the design plans for the slaughterhouse of Porta del Popolo (1859-1869), and perfectly fulfilled in the ones of Testaccio (1888-1891), is undoubtedly Ersoch’s most significant contribution. Other interesting works are also the eclectic experimentations, leaning towards composition, made to revive a popular festive town practice, the firework displays, which the municipal architect honored, designing suggestive canvas and papier-mache constructions to “burn” in occasion of national public holidays in Castel Sant’Angelo or the Pincio, in continuity with the secular tradition of Papal Rome’s art and entertainment.

Questo numero è stato curato da Fulvia Scaduto e Giuseppe Antista Gli articoli devono essere inviati al direttore della rivista, presso il Dipartimento di Architettura, corso Vittorio Emanuele 188 -90133 Palermo, o in alternativa all'indirizzo di posta elettronica della casa editrice [email protected]. Gli scritti pervenuti saranno valutati dal comitato scientifico e dal comitato di review che, di volta in volta, sottoporranno i testi ai referees, secondo il criterio del blind peer review.

In the Far East, and many centuries later in the West, the art and science of pyrotechnics had developed to form an integral part of a festive event, cultural or otherwise. Indeed, as in the case of the Maltese Archipelago, the art of pyrotechnics qualifies as intangible heritage in terms of the UNESCO‟s Convention for the Safeguarding of the Intangible Cultural Heritage. It is an expression of living heritage which lends identity to a community and its cultural milieu.
As the manufacturing process has to abide with optimal health and safety standards, the protection of fireworks production sites is of paramount significance. Development planning policies should be designed (i) to minimize the impact of such factories on the environment, whether it is natural, cultural and/or social and (ii) to protect these factories against urbanization, a major parameter in densely populated areas such as the Maltese Islands. Such policies should take into account the legacy of pyrotechnics, a cultural heritage of humanity.
Working out and developing policies with the official authorities will guarantee implementable, scientifically grounded, planning regulations applicable to sites for the production and the setting off of fireworks. This will ensure sustainable existence of pyrotechnics with the socio-economic benefits which are associated with it.

Le immagini del verde pubblico nell'Ottocento possono essere sinteticamente suddivise in due principali tipologie progettuali molto diverse tra loro per contesto e dinamiche di formazione: da una parte la «pubblica passeggiata» e dall' altra la «piazzagiardino» o square 1 • La tardiva realizzazione a Roma di queste due categorie di spazio pubblico, nelle quali la natura contribuisce alla «ricreazione» del cittadino, è stata favorita in prinlis da eventi di tipo politico: la prima tipologia fu sviluppata a seguito dell' occupazione napoleon ica che «catalizzò» l'incontro-scontro culturale tra architetti francesi e italiani>; la seconda fu il risultato dell' applicazione di modelli urbani del nord Italia a seguito della «modernizzazione» urbanistica della città divenuta capitale J . Le passeggiate pubbliche, a partire dal

About 90 per cent of India's production of fireworks is at Sivakasi.  The children, even if they attend school, take up the work whenever they are at home.  This deters their education and performance at school and examination which becomes a pretext for withdrawal from school.

During religious feasts in the Teotihuacán and Texcoco regions northeast of Mexico City, people 'dance for the saint,' often to fulfill a vow made in a supplication for healing. Based on fieldwork carried out between 2011 and 2019, and online interviews and monitoring of Facebook postings in late 2020 and early 2021, in this article we explore the impact of the coronavirus on the devotional dances staged in the context of religious feasts. In particular, we examine the cases of new practices adopted during the lockdown. Drawing on Jeremy Stolow's (2005) concept of "religions as media," we show how a combination of digital and in-person media make it possible for local Catholic communities to maintain the relationship with their patron-saint during the pandemic, based on the principle of do ut des, "though differently." We conclude by raising questions concerning the future of the devotional dances and religious feasts in these regions as pandemic restrictions entered their second year.

Read the article online in: https://tandfonline.com/eprint/KQAGNDJQFZGT2UZMGACG/full?target=10.1080/24741604.2019.1629075
El artículo explora los tratados de artillería, pirotecnia y fuegos artificiales que se publicaron en los siglos XVI y XVII, poniendo de manifiesto el papel que desempeñaron artilleros e ingenieros en el proceso de hibridación entre el arte militar y la escenografía, gracias a la adquisición de competencias técnicas que les permitían trabajar en los dos ámbitos. Se analizan con especial atención los tratados de artillería y fuegos artificiales para la guerra y la fiesta elaborados para el servicio de la Monarquía Hispánica, poniendo el acento en la capacidad que desempeñaron las máquinas de fuegos artificiales para generar escenografías caracterizadas por la exhibición de la técnica militar puesta al servicio de una mecánica lúdica, basada en la capacidad para entretener, divertir y transmitir contenidos políticos.

This panel promotes a discussion on artistic practices behind the creation of spectacle in 18thCentury Europe. The worlds of stage design, machinery, and popular attractions are inherently transient and contingent and often leave few traces. During this period, moreover, a host of stage decorators, machinists, fireworks technicians, circus performers, and foreign entertainers circulated across Europe, spreading ideas and practices that were frequently appropriated and
standardized while their origins or creators went unacknowledged. These influential artists and performers, often lacking strong institutional affiliation, have not been given the same critical attention paid to visual artists, musicians, or dramatists.
This panel encourages a behind-the-scenes look at such artistic practices that can expand our view and understanding of 18th-century spectacle and its varied constituents. For example, how did artists involved in ephemeral or peripheral activities exert their individual personalities? In what ways did certain attractions like wax statues and dioramas, cabinets d’optique, and Wunderkammer inform and overlap with science and technology? How might we account for the
status of the marvelous within an era of so-called “Enlightenment” rationality? How can we appreciate décor and other special effects not only as artistic products, but also as autonomous cultural phenomena?
The session seeks to foster interdisciplinary dialogue on performance creation, stage settings, and the circulation of artists and ideas. It welcomes submissions from scholars at any career stage, as well as from arts professionals in or outside academia. Contributions informed by the experience of staging (or planning to stage) an eighteenth-century work are especially encouraged.

Deadline: 17th of September, 2021.

Presentazione del volume “Gioacchino Ersoch, architetto comunale”, curato da Alessandro Cremona, Claudio Crescentini, Massimo Pentiricci e Eleonora Ronchetti, che si terrà presso la Sala Ovale dell’Archivio Storico Capitolino (ingresso piazza dell’Orologio, 4) martedì 24 febbraio alle ore 16,00.

h i g h l i g h t s Both long-term and short-term study reveals an increase in pollutant concentration. PM10 has been found to be the most dominant air pollutants during this Deepawali. Boundary layer is affected by retained change in lapse rate and low relative humidity. Windrose diagram also validated the cause of severe urban Deepawali pollution. Increased pollution is a serious concern on the changing pattern of environment.

Many of us are afraid of name hacking. We believe that hackers are a threat to our computers and can reveal confidential
information that they want to do. But that is not the case and here we bring you the exact difference between hacker and cracker.
This put an end to all the myths about hackers. Hackers and crackers are the only people who have extensive knowledge of how
computers and networks are built, maintained, operating systems, code and all matters related to security

This contribution examines several machines and instruments that use fireworks to create light drawings in the sky. Since time immemorial, and even today, numerous publications focus on this issue, including different kinds of Italian handbooks written by chemical artillery experts who focus on these pyrotechnical problems. In the late eighteenth century several important hand- books used extremely accurate and precise graphic representations to explain the composition of these unique mechanisms, the techniques used to create, and the ensuing results. This contribution reviews the most important images and drawings in one of these handbooks written in 1785 by John Maskall and entitled “Artificial fireworks”. It also focuses on the design of pyrotechnical devices.

Dans cette communication nous souhaitons proposer une étude de la description textuelle du feu d’artifice dans les relations de fête françaises au XVIIe siècle. L’analyse vise les procédés rhétoriques que les auteurs emploient afin de corriger l’aberration mnémonique des impressions de lumière et de reproduire la complexe chorégraphie pyrotechnique, ses formes, l’effet cinétique.
Elle s’attachera particulièrement à l’utilisation du lexique et aux variations du double registre de l’écriture qui caractérise ces descriptions : le langage technique qui reproduit un répertoire de formes conventionnelles fixées dans les traités pyrotechniques, ainsi que la métaphore qui restitue au lecteur le récit symbolique du spectacle.
Les deux langages qui décrivent deux dimensions différentes de l’évènement festif se fondent, s’écartent ou s’opposent au cours du siècle dans une tension continue pour aboutir à la mimèsis du spectacle de feu– par sa nature irréductible – dans les relations de fête comme dans les reproductions visuelles contemporaines qui parfois accompagnent les textes.
Ces variations agissent sur la perception du lecteur – nouveau spectateur de l’événement et rendent compte des enjeux religieux, politiques et institutionnels qui justifient la reproduction – textuelle et graphique – de l’éphémère.
[en] In this paper we propose a study of the textual description of fireworks in French festive relations in the 17th century. The analysis focuses on the rhetorical processes that the authors employ to correct the mnemonic aberration of impressions of light and to reproduce the complex pyrotechnic choreography, its forms, the kinetic effect.
We will focus in particular on the use of the lexicon and the variations in the double register of writing that characterizes these descriptions: the technical language that reproduces a repertoire of conventional forms fixed in the pyrotechnic treatises, as well as the metaphor that returns to the reader the symbolic narrative of the show.The two lexicons describing two different dimensions of the festive event merge, diverge or oppose each other in the course of the century in a continuous tension to arrive at the mimesis of the fire show - by its irreducible nature - in festive relations as well as in contemporary visual reproductions that sometimes accompany the texts.
These variations act on the reader's perception - a new viewer of the event - and reflect the religious, political and institutional stakes that justify the reproduction - textual and graphic - of the ephemeral.