Les negotiations de monsieur le president Jeannin.

"Oeuvres meslees de monsieur le president Jeannin": v.4, p.189-348.

Négociations diplomatiques et politiques du président Jeannin : ambassadeur et ministre de France sous François Ier., Henri IV et Louis XIII inclusivement.

Mode of access: Internet.

Les sentimens de la France sur la délivrance de messieurs les princes, presentez à Monseigneur le Prince de Condé. Par le Pere P. de Vallongnes de la Compagnie de Jesus.

[Mazarinade. 1651]

Determination of Holocene cave temperatures from Kr and Xe concentrations in stalagmite fluid inclusions

From the concentrations of dissolved atmospheric noble gases in water, a so-called “noble gas temperature” (NGT) can be determined that corresponds to the temperature of the water when it was last in contact with the atmosphere. Here we demonstrate that the NGT concept is applicable to water inclusions in cave stalagmites, and yields NGTs that are in good agreement with the ambient air temperatures in the caves. We analysed samples from two Holocene and one undated stalagmite. The three stalagmites originate from three caves located in different climatic regions having modern mean annual air temperatures of 27 °C, 12 °C and 8 °C, respectively. In about half of the samples analysed Kr and Xe concentrations originated entirely from the two well-defined noble gas components air-saturated water and atmospheric air, which allowed NGTs to be determined successfully from Kr and Xe concentrations. One stalagmite seems to be particularly suitable for NGT determination, as almost all of its samples yielded the modern cave temperature. Notably, this stalagmite contains a high proportion of primary water inclusions, which seem to preserve the temperature-dependent signature well in their Kr and Xe concentrations. In future work on stalagmites detailed microscopic inspection of the fluid inclusions prior to noble gas analysis is therefore likely to be crucial in increasing the number of successful NGT determinations.

Commentaria in prologomena syntaxe[o]n mirabilis artis ... /

Mode of access: Internet.

Syntaxes artis mirabilis in libros septem digestae ... /

Mode of access: Internet.

De repvblica libri sex et viginti, in dvos tomos distincti:

"Cet ouvrage contient une critique des théories politiques émises depuis Aristote jusqu'à la fin du seizième siècle."--Nouv. biog. générale, t. 21, p. 880.

« Minuttes de plusieurs instructions données par les rois de France [et principalement par Louis XIII], à plusieurs personnes envoyées en divers endroicts, tant dedans que dehors le royaume. » (XVIe et XVIIe siècles).

Contient : Instructions à monsieur de « Vallançay » [Montpellier] (f. 7), — au comte Du Lude [Lorraine], 1617 (f. 11), — au sieur de Baugy [Allemagne], 1612, janvier (f. 14), et pièce annexe (f. 16), — au même [Allemagne], 1612, mars (f. 18), — à monsieur Ancel [Allemagne], 1612, avril (f. 26), — au secrétaire Grenelle [Bavière], 1624 (f. 48), et pièce annexe (f. 62), — à monsieur de Préaux-Chasteauneuf [Flandre], 1611 (f. 64), — au comte de La Rocheguyon [Flandre], 1619 (f. 68), — au vicomte d'Auchy [Flandre], 1621 (f. 72), et pièce annexe (f. 74), — à Aubéry-Dumaurier [Hollande], 1617 (f. 77), — au sieur de Marsillac [Hollande], 1618 (f. 80), — à monsieur de Boissise [Hollande], 1618 (f. 83), — à Eustache de Reffuge [Suisse], 1607 (f. 98), — à Pierre Jeannin de Castille [Suisse], 1611 (f. 104), — à Étienne Gueffier [Grisons], 1615 (f. 110), — à monsieur de Montholon [Grisons], 1627 (f. 115), — à Étienne Gueffier [Grisons], s. d. (f. 125), — au sieur Dourrier [Angleterre], s. d. (f. 131), — au président « Jehan de Selva » et autres [Angleterre], s. d. (f. 137), et pièce annexe (f. 141), — au sieur de Bisseaux [Angleterre], 1611 (f. 143), — à monsieur de Boissise [Angleterre, Hollande et Flandre], 1614 (f. 146 et 154), — à monsieur « Desmarests » [Angleterre], 1615 (f. 156), — au marquis de Tresnel [Angleterre], 1619 (f. 169), — au comte de Tillières [Angleterre], 1619 (f. 175), — au maréchal de Cadenet [Angleterre], s. d. [1620] (f. 183), — à monsieur de La Rochepot [Espagne], 1600 (f. 188), — à monsieur de Vaucelas [Espagne], 1609 (f. 199), — à monsieur de Mayenne [Espagne], 1612 (f. 205), — à monsieur de Sillery [Espagne], 1615 (f. 211), — à monsieur Du Fargis [Espagne], 1618 (f. 213 et 224), — à monsieur « de Seaux » [Espagne], 1617 (f. 218), — à monsieur de Bassompierre [Espagne], 1621 (f. 238), — à monsieur de La Bourdaizière [Rome], s. d. (f. 245), — à monsieur de Luxembourg [Rome], 1589, copie (f. 251), — au cardinal de Joyeuse [Rome], 1606 (f. 253), — au cardinal de Gonzague [Rome], 1612 (f. 259), — au cardinal de Bonzy [Rome], 1615 (f. 265), — à Denys de Marquemont, archevêque de Lyon [Rome], 1617 (f. 272), — au marquis de Coeuvres [Rome], 1618 (f. 281), — à Noël Brulart, commandeur de Sillery [Rome], 1622 (f. 296), — au marquis de Tresnel [François des Ursins], « allant à Rome pour le mariage de monsieur de Montmorency avec la fille du duc de Braciano », de la main de Villeroy (f. 314), — à messieurs de Lesdiguières et de Bullion [Savoie], 1611, mars, de la main de Villeroy (f. 318), et 1611, octobre, de la main de Villeroy (f. 325), — à Guillaume Foucquet, sieur de La Varane [Savoie], 1611 (f. 320), — à monsieur de Rambouillet [Piémont], 1614 (f. 333), — à Etienne Gueffier [Piémont], 1618 (f. 342), — à monsieur de Rambouillet [Savoie], 1615 (f. 348), — à monsieur de Modène [Piémont],1618 (f. 352), — à monsieur de Maroussan [Piémont], 1621 (f. 360), — à monsieur de La Clyelle [Mantoue], 1611 (f. 364), — à monsieur de Marillac [Mantoue], 1611 (f. 368), — à Étienne Gueffier [Mantoue], 1613 (f. 372), — au marquis de Coeuvres [Mantoue], 1613 (f. 378), — à Charles Brulart, prieur de Léon [Venise], 1611 (f. 388), — à monsieur de Villiers [Venise], 1620 (f. 395), — à monsieur de Sanzay [Venise et Constantinople], 1571 (f. 406), — à Harlay de Césy [Constantinople], 1619 (f. 411), — à Harlay de Sancy [Constantinople], 1611 (f. 420), — et à messieurs de Nans et Angusse [Constantinople], 1618 (f. 426) ; Pièces diverses ; « Dépesche du Roy au Grand-Seigneur, envoyée par monsieur de Sanzay », 1571 ; Minutes de lettres de la Cour à Arnaud Du Ferrier, ambassadeur à Venise [1571 ?]

L'esprit de S. François de Sales évesque et prince de Geneve : recueilli de divers ecrits de M. Jean Pierre Camus éveque de Bellay /

La lettre du clergé de France au Pape et la Bulle du Pape pour la canonisation de Saint François de Sales .../ par messire P.D.P.D.D.S.: p. [573]-630.

Le festin de pierre avant Molière : Dorimon--de Villiers--Scénario des Italiens /

With reproductions of original title-pages of the plays by Dorimon and by de Villiers.

Esprit Futur : Le Corbusier and José Oubrerie at Saint-Pierre De Firminy, Firminy-Vert, France, 1968–2006

What is the secret mesmerism that death possesses and under the operation of which a modern architect – strident, confident, resolute – becomes rueful, pessimistic, or melancholic?1 Five years before Le Corbusier’s death at sea in 1965, the architect reluctantly agreed to adopt the project for L’Église Saint-Pierre de Firminy in Firminy-Vert (1960–2006), following the death of its original architect, André Sive, from leukemia in 1958.2 Le Corbusier had already developed, in 1956, the plan for an enclave in the new “green” Firminy town, which included his youth and culture center and a stadium and swimming pool; the church and a “boîte à miracles” near the youth center were inserted into the plan in the ’60s. (Le Corbusier was also invited, in 1962, to produce another plan for three Unités d’Habitation outside Firminy-Vert.) The Saint-Pierre church should have been the zenith of the quartet (the largest urban concentration of works by Le Corbusier in Europe, and what the architect Henri Ciriani termed Le Corbusier’s “acropolis”3) but in the early course of the project, Le Corbusier would suffer the diocese’s serial objections to his vision for the church – not unlike the difficulties he experienced with Notre Dame du Haut at Ronchamp (1950–1954) and the resistance to his proposed monastery of Sainte-Marie de la Tourette (1957–1960). In 1964, the bishop of Saint-Étienne requested that Le Corbusier relocate the church to a new site, but Le Corbusier refused and the diocese subsequently withdrew from the project. (With neither the approval, funds, nor the participation of the bishop, by then the cardinal archbishop of Lyon, the first stone of the church was finally laid on the site in 1970.) Le Corbusier’s ambivalence toward the project, even prior to his quarrels with the bishop, reveals...

Permanent shift: the topology of Didier Vermeiren's Cariatide à la Pierre

Photographic documentation of sculpture produces significant consequences for the way in which sculptural space is conceived. When viewed as discrete mediums the interaction of the photograph and its sculptural subject is always framed by notions of loss. However, when taken as a composite system, the sculpture-photograph proposes a new ontology of space. In place of the fixity of medium, we can observe a topology at play: a theory drawn from mathematics in which space is understood not as a static field but in terms of properties of connectedness, movement and differentiation. Refracted through the photographic medium, sculpture becomes not a field of fixed points in space, but rather as a fluid set of relations - a continuous sequence of multiple ‘surfaces’, a network of shifting views. This paper will develop a topological account of studio practice through an examination of the work of the contemporary Belgian sculptor Didier Vermeiren (b. 1951). Since the 1980s, Vermeiren has made extensive use of photography in his sculptural practice. By analysing a series of iterations of his work Cariatide à la Pierre (1997-1998), this paper proposes that Vermeiren’s use of photography reveals patterns of connection that expand and complicate the language of sculpture, while also emphasising the broader topology of the artist’s practice as a network of ‘backward glances’ to previous works from the artist’s oeuvre and the art-historical canon. In this context, photography is not simply a method of documentation, but rather a means of revealing the intrinsic condition of sculpture as medium shaped by dynamic patterns of connection and change. In Vermeiren’s work the sculpture-photograph, has a composite identity that exceeds straightforward categories of medium. In their place, we can observe a practice based upon the complex interactions of objects whose ontology is always underpinned by a certain contingency. It is in this fundamental mobility, that the topology of Vermeiren’s practice can be said to rest.

Francine and Jean-Pierre Durand at Aenny Catzenstein's 80th birthday; London Portraits Family

Digital Image

Jean-Pierre Durand, Patrick Matthiesen, unidentified woman and Serge Donabedian working on a puzzle at Aenny's 80th birthday; London.

Digital Image