Summer is for falling behind . . . and for catching up . . . The long 18th century in the June issue of The Burlington:
The Burlington Magazine 166 (June 2024)
e d i t o r i a l
• "La Serenissima," p, 543.
Henry James famously wrote in his Italian Hours (1909) that there is nothing more to be said about Venice. As so much ink has been spilt over its charms you can see his point. However, James then proceeded to rhapsodise at length about its beauty; and it is imperative that we, similarly, keep talking and writing and championing it, not least because all that it represents seems to be more precious and precarious than ever.
a r t i c l e s
• Ittai Gradel, "Nothing To Do with Menander: A Rediscovered Roman Cameo from the Caylus Collection," pp. 546–53.
A Roman cameo published in 1752, but since lost, has been rediscovered. It shows actors rehearsing The Pimp by Posidippus, who portrait is included on the cameo. All other identifiable scenes of comedies in Roman art depict plays by Menander, the most popular Greek comic poet on the Roman stage.
• Gauvin Alexander Bailey, "The Cathedral of Notre-Dame-de-la-Conception, Pondicherry," pp. 580–95.
When the cathedral at Pondicherry, the most ambitious in French India, was begun in 1771, its anonymous designer was obliged to make allowance for separation of the castes, despite a papal edict that they must attend public worship together. The cathedral was completed with the construction of its west facade in 1788–91; its design was based on seventeenth-century Parisian models and is here attributed to the engineer-architect François-Anne-Maire Rapine de Saxy.
• Ricarda Brosch, "The Art of Qing Imperial Afterlife: The Pictures of Ancient Playthings (Guwantu 古玩圖) Revisited," pp. 596–611.
Two magnificent eighteenth-century handscrolls depict myriad precious objects made of jade, bronze, porcelain, glass, and bamboo. A novel interpretation of their function suggests that the illustrations were originally for wall decorations and remounted as scrolls for the Yongzheng Emperor's tomb. The paintings' remediation and repurposing offer a compelling example of the art of Qing imperial afterlife.
r e v i e w s
• Johnny Yarker, Review of the exhibition Angelica Kauffman (London: Royal Academy of Arts, 2024), pp. 620–23.
• William Barcham, Review of Martin Gayford, Venice: City of Pictures (Thames & Hudson, 2023), p. 653.
• Lianming Wang, Review of Henriette Lavaulx-Vrécourt and Niklas Leverenz, Berliner Schlachtenkupfer: 34 Druckplatten der Kaiser von China / Berlin Battle Engravings: 34 Copperplates for the Emperors of China (Deutscher Kunstverlag, 2021), pp. 654–55.
• Amina Wright, Review of Frédéric Ogée, Thomas Lawrence: Le génie du portrait anglais (Cohen & Cohen, 2022), pp. 655–56.
• Barry Bergdoll, Review of Didem Ekici, Patricia Blessing, Basile Baudez, eds., Textile in Architecture: From the Middle Ages to Modernism (Routledge, 2023), pp. 662–63.
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