23
10
510
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ae60e8d3fec1b7e31c8311e2dc1a589d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bossoli's Album
Description
An account of the resource
The talents of Carlo Bossoli (1815-1884), a Swiss-born Italian artist who spent his youth in Odessa, attracted the attention of no less a figure than Count Mikhail Vorontsov, governor-general of New Russia and Bessarabia. Vorontsov commissed a series of views of Odessa, which Bossoli executed with success. Between 1840 and 1842 Bossoli lived on Vorontsov's estate at Alupka, using it as a base for exploring the peninsula in its entirety. He produced the album from which these watercolors are taken just as the Crimean War was breaking out in 1853. The timing was auspicious and Bossoli's publisher (Day & Son, lithographers to the Queen) was quite pleased with <a title="the view from London" href="/items/show/615" target="_blank" rel="noopener">the resulting buzz</a>.<br /><br /><span>Bossoli's album is a rarity: no more than 500 copies were printed in 1856. The album consisted of 52 watercolors and pastels. The images shown here were digitized and graciously made available by the <strong>Gordon Library at Worcester Polytechnic Institute</strong>. They are available here for educational, non-commercial purposes only.</span><br /><br />Interestingly enough, a bilingual edition (Russian and English) was <strong>reproduced in Kiev in 2003</strong>. The publication was made possible by 1) the Republican Committee for the Protection of Cultural Heritage, Council of Ministers of the Autonomous Republic of Crimea, 2) the Ministry of Culture of the Autonomous Republic of Crimea, and 3) the vice-chairman of the Council of Ministers of the Autonomous Republic of Crimea.<br /><br />The editors of the 2003 volume had high hopes that Crimea "should become an integral historical-cultural and natural preserve and prosper in the unity of nations living on its land." From their perspective, Bossoli's paintings "show the Crimea as an infinitely beautiful, well-developed, and happy land..." <br /><br />See for yourself.<hr />
Identifier
An unambiguous reference to the resource within a given context
bossoli-paintings
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 34 leaves of colored plates
Physical Dimensions
The actual physical size of the original image
56 cm
Repository
Gordon Library, Worcester Polytechnic Institute [<a href="http://gordonlibrary.wpi.edu/vwebv/holdingsInfo?bibId=6520" target="_blank">go to the record</a>]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Valley of Usembasch
Description
An account of the resource
View of the valley of Usembasch (sic.) with two men in the foreground and mountains and a waterfall in the background.
Bossoli's note: "The view is taken from the path leading to Alupka, through the ridge of the Yaila Mountains."
Source
A related resource from which the described resource is derived
Carlo Bossoli, <em>The beautiful scenery and chief places of interest throughout the Crimea from paintings </em>(London: Day & Son, 1856)
Creator
An entity primarily responsible for making the resource
Carlo Bossoli
Date
A point or period of time associated with an event in the lifecycle of the resource
1840-1844
Rights
Information about rights held in and over the resource
Image courtesy of Preservation, Curation and Archives, Gordon Library, Worcester Polytechnic Institute
landscape
lithograph
mountains
travel
-
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/d96049e9a7988f169f3d473e32dee2eb.jpg
50709788d80061743982eca86b9a1827
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bossoli's Album
Description
An account of the resource
The talents of Carlo Bossoli (1815-1884), a Swiss-born Italian artist who spent his youth in Odessa, attracted the attention of no less a figure than Count Mikhail Vorontsov, governor-general of New Russia and Bessarabia. Vorontsov commissed a series of views of Odessa, which Bossoli executed with success. Between 1840 and 1842 Bossoli lived on Vorontsov's estate at Alupka, using it as a base for exploring the peninsula in its entirety. He produced the album from which these watercolors are taken just as the Crimean War was breaking out in 1853. The timing was auspicious and Bossoli's publisher (Day & Son, lithographers to the Queen) was quite pleased with <a title="the view from London" href="/items/show/615" target="_blank" rel="noopener">the resulting buzz</a>.<br /><br /><span>Bossoli's album is a rarity: no more than 500 copies were printed in 1856. The album consisted of 52 watercolors and pastels. The images shown here were digitized and graciously made available by the <strong>Gordon Library at Worcester Polytechnic Institute</strong>. They are available here for educational, non-commercial purposes only.</span><br /><br />Interestingly enough, a bilingual edition (Russian and English) was <strong>reproduced in Kiev in 2003</strong>. The publication was made possible by 1) the Republican Committee for the Protection of Cultural Heritage, Council of Ministers of the Autonomous Republic of Crimea, 2) the Ministry of Culture of the Autonomous Republic of Crimea, and 3) the vice-chairman of the Council of Ministers of the Autonomous Republic of Crimea.<br /><br />The editors of the 2003 volume had high hopes that Crimea "should become an integral historical-cultural and natural preserve and prosper in the unity of nations living on its land." From their perspective, Bossoli's paintings "show the Crimea as an infinitely beautiful, well-developed, and happy land..." <br /><br />See for yourself.<hr />
Identifier
An unambiguous reference to the resource within a given context
bossoli-paintings
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 34 leaves of colored plates
Physical Dimensions
The actual physical size of the original image
56 cm
Repository
Gordon Library, Worcester Polytechnic Institute [<a href="http://gordonlibrary.wpi.edu/vwebv/holdingsInfo?bibId=6520" target="_blank">go to the record</a>]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steppes between Perekop and Simferopol
Description
An account of the resource
Crimean Tatars on foot, on horseback, and in camel-driven wagons travel along a flat landscape with a large ruin in the background. According to Bossoli's notes, this is the ruin of a mosque.<br /><br />Bossoli also draws our attention to the "mounds of earth, called Kourghour, which are seen in the distance, are generally supposed to have been used as indications of roads and distances." [Kurgans are burial mounds or barrows.]
Source
A related resource from which the described resource is derived
Carlo Bossoli, <em>The beautiful scenery and chief places of interest throughout the Crimea from paintings </em>(London: Day & Son, 1856)
Creator
An entity primarily responsible for making the resource
Carlo Bossoli
Date
A point or period of time associated with an event in the lifecycle of the resource
1840-1844
Rights
Information about rights held in and over the resource
Image courtesy of Preservation, Curation and Archives, Gordon Library, Worcester Polytechnic Institute
camels
kurgans
landscape
lithograph
mosque
ruin
steppe
Tatar culture
travel
-
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5420d7b819348bda920fb830b2189abd
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bossoli's Album
Description
An account of the resource
The talents of Carlo Bossoli (1815-1884), a Swiss-born Italian artist who spent his youth in Odessa, attracted the attention of no less a figure than Count Mikhail Vorontsov, governor-general of New Russia and Bessarabia. Vorontsov commissed a series of views of Odessa, which Bossoli executed with success. Between 1840 and 1842 Bossoli lived on Vorontsov's estate at Alupka, using it as a base for exploring the peninsula in its entirety. He produced the album from which these watercolors are taken just as the Crimean War was breaking out in 1853. The timing was auspicious and Bossoli's publisher (Day & Son, lithographers to the Queen) was quite pleased with <a title="the view from London" href="/items/show/615" target="_blank" rel="noopener">the resulting buzz</a>.<br /><br /><span>Bossoli's album is a rarity: no more than 500 copies were printed in 1856. The album consisted of 52 watercolors and pastels. The images shown here were digitized and graciously made available by the <strong>Gordon Library at Worcester Polytechnic Institute</strong>. They are available here for educational, non-commercial purposes only.</span><br /><br />Interestingly enough, a bilingual edition (Russian and English) was <strong>reproduced in Kiev in 2003</strong>. The publication was made possible by 1) the Republican Committee for the Protection of Cultural Heritage, Council of Ministers of the Autonomous Republic of Crimea, 2) the Ministry of Culture of the Autonomous Republic of Crimea, and 3) the vice-chairman of the Council of Ministers of the Autonomous Republic of Crimea.<br /><br />The editors of the 2003 volume had high hopes that Crimea "should become an integral historical-cultural and natural preserve and prosper in the unity of nations living on its land." From their perspective, Bossoli's paintings "show the Crimea as an infinitely beautiful, well-developed, and happy land..." <br /><br />See for yourself.<hr />
Identifier
An unambiguous reference to the resource within a given context
bossoli-paintings
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 34 leaves of colored plates
Physical Dimensions
The actual physical size of the original image
56 cm
Repository
Gordon Library, Worcester Polytechnic Institute [<a href="http://gordonlibrary.wpi.edu/vwebv/holdingsInfo?bibId=6520" target="_blank">go to the record</a>]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Dance of Tartars"
Description
An account of the resource
Crimean Tatars dance, play music, smoke pipes, and lounge in a remarkably lush landscape.
Bossoli notes that the setting is Massandra - one of the estate properties of Prince Mikhail Semenovich Vorontsov, who served as Governor-General of Novorossiia and Bessarabia from 1823 until 1844. The estate house is visible in the background.
Source
A related resource from which the described resource is derived
Carlo Bossoli, <em>The beautiful scenery and chief places of interest throughout the Crimea from paintings </em>(London: Day & Son, 1856)
Creator
An entity primarily responsible for making the resource
Carlo Bossoli
Date
A point or period of time associated with an event in the lifecycle of the resource
1840-1844
Rights
Information about rights held in and over the resource
Image courtesy of Preservation, Curation and Archives, Gordon Library, Worcester Polytechnic Institute
Neatline Display
Neatline Exhibit
30
landscape
lithograph
mountains
southern coast
Tatar culture
Tatar instruments
-
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f417cd1c51a1b31160ddf9302eb11940
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bossoli's Album
Description
An account of the resource
The talents of Carlo Bossoli (1815-1884), a Swiss-born Italian artist who spent his youth in Odessa, attracted the attention of no less a figure than Count Mikhail Vorontsov, governor-general of New Russia and Bessarabia. Vorontsov commissed a series of views of Odessa, which Bossoli executed with success. Between 1840 and 1842 Bossoli lived on Vorontsov's estate at Alupka, using it as a base for exploring the peninsula in its entirety. He produced the album from which these watercolors are taken just as the Crimean War was breaking out in 1853. The timing was auspicious and Bossoli's publisher (Day & Son, lithographers to the Queen) was quite pleased with <a title="the view from London" href="/items/show/615" target="_blank" rel="noopener">the resulting buzz</a>.<br /><br /><span>Bossoli's album is a rarity: no more than 500 copies were printed in 1856. The album consisted of 52 watercolors and pastels. The images shown here were digitized and graciously made available by the <strong>Gordon Library at Worcester Polytechnic Institute</strong>. They are available here for educational, non-commercial purposes only.</span><br /><br />Interestingly enough, a bilingual edition (Russian and English) was <strong>reproduced in Kiev in 2003</strong>. The publication was made possible by 1) the Republican Committee for the Protection of Cultural Heritage, Council of Ministers of the Autonomous Republic of Crimea, 2) the Ministry of Culture of the Autonomous Republic of Crimea, and 3) the vice-chairman of the Council of Ministers of the Autonomous Republic of Crimea.<br /><br />The editors of the 2003 volume had high hopes that Crimea "should become an integral historical-cultural and natural preserve and prosper in the unity of nations living on its land." From their perspective, Bossoli's paintings "show the Crimea as an infinitely beautiful, well-developed, and happy land..." <br /><br />See for yourself.<hr />
Identifier
An unambiguous reference to the resource within a given context
bossoli-paintings
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 34 leaves of colored plates
Physical Dimensions
The actual physical size of the original image
56 cm
Repository
Gordon Library, Worcester Polytechnic Institute [<a href="http://gordonlibrary.wpi.edu/vwebv/holdingsInfo?bibId=6520" target="_blank">go to the record</a>]
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Alushta
Description
An account of the resource
Panorama view of the city of Alushta, located on Crimea's southern coast with Crimean mountains in the background and Crimean Tatars on foot and on horseback in the foreground.
Source
A related resource from which the described resource is derived
Carlo Bossoli, <em>The beautiful scenery and chief places of interest throughout the Crimea from paintings </em>(London: Day & Son, 1856)
Creator
An entity primarily responsible for making the resource
Carlo Bossoli
Date
A point or period of time associated with an event in the lifecycle of the resource
1840-1844
Rights
Information about rights held in and over the resource
Image courtesy of Preservation, Curation and Archives, Gordon Library, Worcester Polytechnic Institute
cityscape
cypress
Greek church
landscape
lithograph
mountains
southern coast
-
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3247b11b3aa31a1b07ff6c8479e47689
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Uvarov's Antiquities
Description
An account of the resource
<p>This collection contains six images from the volume published by <a href="/items/show/567" target="_self">Count A. S. Uvarov</a> under the title<a href="http://digitalcollections.nypl.org/collections/sobranie-kart-i-risunkov-k-izledovaniam-o-drevnostiakh-iuzhnoi-rossii-i-beregov#/?tab=about"><img style="float: right;" src="http://images.nypl.org/index.php?id=1507200&t=w" alt="" height="300" /></a> <em><a title="go to the Item" href="/items/show/585" target="_self">Collection of maps and drawings for the study of the antiquities of Southern Russia and the Shores of the Black Sea</a></em>.</p>
<p>In part, this was the illustrated companion to Uvarov's <a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><em>Recherches sur les antiquités de la Russie méridionale et des côtes de la mer Noire</em></a> - the written result of the expedition commissioned in 1847. Uvarov's charge came from Maximilian, Duke of Leuchtenberg, President of the Imperial Academy of Arts and of the newly-established (1846) <a title="read about the history of archaeological societies in Russia described in the Brokhaus-Efron Encyclopedia" href="https://ru.wikisource.org/wiki/%D0%AD%D0%A1%D0%91%D0%95/%D0%90%D1%80%D1%85%D0%B5%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8%D0%B5_%D0%BE%D0%B1%D1%89%D0%B5%D1%81%D1%82%D0%B2%D0%B0_%D0%B2_%D0%A0%D0%BE%D1%81%D1%81%D0%B8%D0%B8" target="_blank" rel="noopener">Imperial Archaeological Society</a>. He was to conduct research at any and all sites "mentioned by the ancient writers" from the mouth of the Danube to the mouth of the Phasis (Rioni) in Georgia, and to pay attention to the disposition of burial mounds throughout the region.</p>
<p>Points 4 though 10 of the expedition instruction are an excellent thumbnail sketch of the significance of the Black Sea littoral from the vantage point of mid-19th century archaeologists (and their patrons):</p>
<blockquote><em>4. To determine the elevation of ancient places for which there are no good plans;<br />5. To study the remains and ruins to be found in the Crimean interior, notably along the Salgir, Belbek, and Mangush rivers;<br />6. Apart from antiquities of the classical period, to make inquiries into the antiquities of all time periods, including those of the Scythians, Byzantines, Tatars, Genoese, and Russians;<br />7. To collect all the ancient inscriptions, known or unknown, making copies or imprints of them;<br />8. To verify [Paul] DuBrux's claims about Nymphaea (Kara Bouroum);<br />9. To visit the museums at Nikolaief, Theodosie, and Odessa, and the antiquities found at the church at Taman;<br />10. Sepulchres of several Scythian kings are said to exist along the north coast of the Putrid Sea: to see whether these claims have any foundation...</em><a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><br /></a></blockquote>
<p>Uvarov did not fulfill the instruction. At least, not in print. His <em>Recherches</em>, published in 1855,<em> </em>opens with allusions to extenuating circumstances but also to his decision to exercise discretion, before going on to describe the course of the Dnepr from the famous rapids to Nicopolis (chapter 1), and Olbia and the mouth of the Bug River (chapter 2). Uvarov spent a good deal of time on excavations in Tavrida province in 1853-1854, but the geogrpahical spread of the maps and views included in the volume of illustrations, which was published four years earlier, suggests that Uvarov had in fact made his way through the entire littoral as it was mapped out for him in the expedition instruction. <br /><br />Perhaps, when it came down to it, he simply preferred digging to writing.</p>
<span style="text-decoration: underline;">Contents of the 1851 <em>Collection</em>:</span><br />Dnepr River: 4 views, 1 map, 1 illustration of artifacts<br />Ol'viia: 3 views, 2 maps, 11 illustrations<br />Berezan: 1 map<br />Koblevka:1 view, 1 map<br />Odessa: 1 map<br />Lusdorf: 1 map<br />Dnestr (near Malakhovaia) 1 map<br />Akkerman: 2 views, 1 illustration<br />Ochakov: 1 illustration<br />Kiliia: 1 illustration<br />Kartal: 2 views, 1 map <br />Simferopol: 2 views <br />Bakla Kaia: 1 view<br />Bakhchisarai: 2 views<br />Chufut-Kale: 1 view, 1 illustration<br />Tepekermen: 1 view<br />Siuiren & Cherkes-Kermen: 1 illustration<br />Mangup: 5 views, 2 illustrations<br />Cherkes-Kermen: 3 views<br />Khersones: 1 map, 2 illustrations<br />Ai-Todor: 1 view<br />Balaklava: 1 map<br />Limena-Kale: 1 view<br />Gurzuf: 1 view<br />Eski-Krym: 2 views<br />Temriuk: 1 view, 1 map<br />Stantsiia Sennaia: 1 view<br />Aftanizovka: 1 view<br />Titarovka: 1 view<br /><br />Credit for the production of the illustrations goes not to Uvarov, but to the artist who travelled with him, M. Vebel'. The lithography is by François Joseph Dupressoir. V. Darleng printed the images. <br /><br /><hr />
Identifier
An unambiguous reference to the resource within a given context
uvarov-antiquities
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 69 plates
Physical Dimensions
The actual physical size of the original image
71 cm
Repository
Slavic and East European Collections, The New York Public Library; New York Public Library Digital Collections (<a href="http://digitalcollections.nypl.org/items/510d47de-7abf-a3d9-e040-e00a18064a99" target="_blank">go to the record</a>)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
View of the Nave in the Cave Church
Source
A related resource from which the described resource is derived
Aleksei Sergeevich Uvarov, <em>Sobranie kart i risunkov k izledovaniam o drevnostiakh IUzhnnoi Rossii i beregov CHernago Moria </em>(1851)
Creator
An entity primarily responsible for making the resource
Drawn from nature by M. Vebel'<br /> Chromolithography by Semechkin<br />Printed by V. Darleng
Date
A point or period of time associated with an event in the lifecycle of the resource
1848-1851
Rights
Information about rights held in and over the resource
Digital image courtesy of the New York Public Library
Description
An account of the resource
Chromolithograph of a "cave church" at Mangup. Churches and monasteries were often built into the sides of cliffs in the Crimean mountains.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
POINT(3763464.29732969 5557883.88991366)
altar
architecture
cave
Greek church
iconography
lithograph
Orthodoxy
ruin
-
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bba00f506cd84f1cb7aa0343aab8cf56
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852ed6e3031696da6f0806012ce86eb0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Uvarov's Antiquities
Description
An account of the resource
<p>This collection contains six images from the volume published by <a href="/items/show/567" target="_self">Count A. S. Uvarov</a> under the title<a href="http://digitalcollections.nypl.org/collections/sobranie-kart-i-risunkov-k-izledovaniam-o-drevnostiakh-iuzhnoi-rossii-i-beregov#/?tab=about"><img style="float: right;" src="http://images.nypl.org/index.php?id=1507200&t=w" alt="" height="300" /></a> <em><a title="go to the Item" href="/items/show/585" target="_self">Collection of maps and drawings for the study of the antiquities of Southern Russia and the Shores of the Black Sea</a></em>.</p>
<p>In part, this was the illustrated companion to Uvarov's <a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><em>Recherches sur les antiquités de la Russie méridionale et des côtes de la mer Noire</em></a> - the written result of the expedition commissioned in 1847. Uvarov's charge came from Maximilian, Duke of Leuchtenberg, President of the Imperial Academy of Arts and of the newly-established (1846) <a title="read about the history of archaeological societies in Russia described in the Brokhaus-Efron Encyclopedia" href="https://ru.wikisource.org/wiki/%D0%AD%D0%A1%D0%91%D0%95/%D0%90%D1%80%D1%85%D0%B5%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8%D0%B5_%D0%BE%D0%B1%D1%89%D0%B5%D1%81%D1%82%D0%B2%D0%B0_%D0%B2_%D0%A0%D0%BE%D1%81%D1%81%D0%B8%D0%B8" target="_blank" rel="noopener">Imperial Archaeological Society</a>. He was to conduct research at any and all sites "mentioned by the ancient writers" from the mouth of the Danube to the mouth of the Phasis (Rioni) in Georgia, and to pay attention to the disposition of burial mounds throughout the region.</p>
<p>Points 4 though 10 of the expedition instruction are an excellent thumbnail sketch of the significance of the Black Sea littoral from the vantage point of mid-19th century archaeologists (and their patrons):</p>
<blockquote><em>4. To determine the elevation of ancient places for which there are no good plans;<br />5. To study the remains and ruins to be found in the Crimean interior, notably along the Salgir, Belbek, and Mangush rivers;<br />6. Apart from antiquities of the classical period, to make inquiries into the antiquities of all time periods, including those of the Scythians, Byzantines, Tatars, Genoese, and Russians;<br />7. To collect all the ancient inscriptions, known or unknown, making copies or imprints of them;<br />8. To verify [Paul] DuBrux's claims about Nymphaea (Kara Bouroum);<br />9. To visit the museums at Nikolaief, Theodosie, and Odessa, and the antiquities found at the church at Taman;<br />10. Sepulchres of several Scythian kings are said to exist along the north coast of the Putrid Sea: to see whether these claims have any foundation...</em><a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><br /></a></blockquote>
<p>Uvarov did not fulfill the instruction. At least, not in print. His <em>Recherches</em>, published in 1855,<em> </em>opens with allusions to extenuating circumstances but also to his decision to exercise discretion, before going on to describe the course of the Dnepr from the famous rapids to Nicopolis (chapter 1), and Olbia and the mouth of the Bug River (chapter 2). Uvarov spent a good deal of time on excavations in Tavrida province in 1853-1854, but the geogrpahical spread of the maps and views included in the volume of illustrations, which was published four years earlier, suggests that Uvarov had in fact made his way through the entire littoral as it was mapped out for him in the expedition instruction. <br /><br />Perhaps, when it came down to it, he simply preferred digging to writing.</p>
<span style="text-decoration: underline;">Contents of the 1851 <em>Collection</em>:</span><br />Dnepr River: 4 views, 1 map, 1 illustration of artifacts<br />Ol'viia: 3 views, 2 maps, 11 illustrations<br />Berezan: 1 map<br />Koblevka:1 view, 1 map<br />Odessa: 1 map<br />Lusdorf: 1 map<br />Dnestr (near Malakhovaia) 1 map<br />Akkerman: 2 views, 1 illustration<br />Ochakov: 1 illustration<br />Kiliia: 1 illustration<br />Kartal: 2 views, 1 map <br />Simferopol: 2 views <br />Bakla Kaia: 1 view<br />Bakhchisarai: 2 views<br />Chufut-Kale: 1 view, 1 illustration<br />Tepekermen: 1 view<br />Siuiren & Cherkes-Kermen: 1 illustration<br />Mangup: 5 views, 2 illustrations<br />Cherkes-Kermen: 3 views<br />Khersones: 1 map, 2 illustrations<br />Ai-Todor: 1 view<br />Balaklava: 1 map<br />Limena-Kale: 1 view<br />Gurzuf: 1 view<br />Eski-Krym: 2 views<br />Temriuk: 1 view, 1 map<br />Stantsiia Sennaia: 1 view<br />Aftanizovka: 1 view<br />Titarovka: 1 view<br /><br />Credit for the production of the illustrations goes not to Uvarov, but to the artist who travelled with him, M. Vebel'. The lithography is by François Joseph Dupressoir. V. Darleng printed the images. <br /><br /><hr />
Identifier
An unambiguous reference to the resource within a given context
uvarov-antiquities
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 69 plates
Physical Dimensions
The actual physical size of the original image
71 cm
Repository
Slavic and East European Collections, The New York Public Library; New York Public Library Digital Collections (<a href="http://digitalcollections.nypl.org/items/510d47de-7abf-a3d9-e040-e00a18064a99" target="_blank">go to the record</a>)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Interior View of the Lower Church
Source
A related resource from which the described resource is derived
Aleksei Sergeevich Uvarov, <em>Sobranie kart i risunkov k izledovaniam o drevnostiakh IUzhnnoi Rossii i beregov CHernago Moria </em>(1851)
Creator
An entity primarily responsible for making the resource
Drawn from nature by M. Vebel'<br />Lithography by<span>François Joseph Dupressoir </span><br /> Printed by V. Darleng
Date
A point or period of time associated with an event in the lifecycle of the resource
1848-1851
Rights
Information about rights held in and over the resource
Digital image courtesy of the New York Public Library
Description
An account of the resource
Chromolithograph. The French title of this lithograph ("view of the church at the foot of the mountain") makes no reference to the fact that this is, according to the Russian-language title, an interior view of the <em>lower</em> church. In Crimea, the most famous example of a church with "lower" and "upper churches" is the cathedral of St. Vladimir at Khersones, where the subterranean lower church marks the supposed site of the baptism of Prince Vladimir of Kiev in 988.
architecture
Greek church
lithograph
Orthodoxy
ruin
-
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/300043382e1a4ac385d676c779cea3ea.jpg
c2740e4fb377cfafb36dd8d624aeb04f
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/92439ccf67cd7e7cc6421f553be39daf.jpg
22523eca696d52a50fef34f95bc85955
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Uvarov's Antiquities
Description
An account of the resource
<p>This collection contains six images from the volume published by <a href="/items/show/567" target="_self">Count A. S. Uvarov</a> under the title<a href="http://digitalcollections.nypl.org/collections/sobranie-kart-i-risunkov-k-izledovaniam-o-drevnostiakh-iuzhnoi-rossii-i-beregov#/?tab=about"><img style="float: right;" src="http://images.nypl.org/index.php?id=1507200&t=w" alt="" height="300" /></a> <em><a title="go to the Item" href="/items/show/585" target="_self">Collection of maps and drawings for the study of the antiquities of Southern Russia and the Shores of the Black Sea</a></em>.</p>
<p>In part, this was the illustrated companion to Uvarov's <a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><em>Recherches sur les antiquités de la Russie méridionale et des côtes de la mer Noire</em></a> - the written result of the expedition commissioned in 1847. Uvarov's charge came from Maximilian, Duke of Leuchtenberg, President of the Imperial Academy of Arts and of the newly-established (1846) <a title="read about the history of archaeological societies in Russia described in the Brokhaus-Efron Encyclopedia" href="https://ru.wikisource.org/wiki/%D0%AD%D0%A1%D0%91%D0%95/%D0%90%D1%80%D1%85%D0%B5%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8%D0%B5_%D0%BE%D0%B1%D1%89%D0%B5%D1%81%D1%82%D0%B2%D0%B0_%D0%B2_%D0%A0%D0%BE%D1%81%D1%81%D0%B8%D0%B8" target="_blank" rel="noopener">Imperial Archaeological Society</a>. He was to conduct research at any and all sites "mentioned by the ancient writers" from the mouth of the Danube to the mouth of the Phasis (Rioni) in Georgia, and to pay attention to the disposition of burial mounds throughout the region.</p>
<p>Points 4 though 10 of the expedition instruction are an excellent thumbnail sketch of the significance of the Black Sea littoral from the vantage point of mid-19th century archaeologists (and their patrons):</p>
<blockquote><em>4. To determine the elevation of ancient places for which there are no good plans;<br />5. To study the remains and ruins to be found in the Crimean interior, notably along the Salgir, Belbek, and Mangush rivers;<br />6. Apart from antiquities of the classical period, to make inquiries into the antiquities of all time periods, including those of the Scythians, Byzantines, Tatars, Genoese, and Russians;<br />7. To collect all the ancient inscriptions, known or unknown, making copies or imprints of them;<br />8. To verify [Paul] DuBrux's claims about Nymphaea (Kara Bouroum);<br />9. To visit the museums at Nikolaief, Theodosie, and Odessa, and the antiquities found at the church at Taman;<br />10. Sepulchres of several Scythian kings are said to exist along the north coast of the Putrid Sea: to see whether these claims have any foundation...</em><a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><br /></a></blockquote>
<p>Uvarov did not fulfill the instruction. At least, not in print. His <em>Recherches</em>, published in 1855,<em> </em>opens with allusions to extenuating circumstances but also to his decision to exercise discretion, before going on to describe the course of the Dnepr from the famous rapids to Nicopolis (chapter 1), and Olbia and the mouth of the Bug River (chapter 2). Uvarov spent a good deal of time on excavations in Tavrida province in 1853-1854, but the geogrpahical spread of the maps and views included in the volume of illustrations, which was published four years earlier, suggests that Uvarov had in fact made his way through the entire littoral as it was mapped out for him in the expedition instruction. <br /><br />Perhaps, when it came down to it, he simply preferred digging to writing.</p>
<span style="text-decoration: underline;">Contents of the 1851 <em>Collection</em>:</span><br />Dnepr River: 4 views, 1 map, 1 illustration of artifacts<br />Ol'viia: 3 views, 2 maps, 11 illustrations<br />Berezan: 1 map<br />Koblevka:1 view, 1 map<br />Odessa: 1 map<br />Lusdorf: 1 map<br />Dnestr (near Malakhovaia) 1 map<br />Akkerman: 2 views, 1 illustration<br />Ochakov: 1 illustration<br />Kiliia: 1 illustration<br />Kartal: 2 views, 1 map <br />Simferopol: 2 views <br />Bakla Kaia: 1 view<br />Bakhchisarai: 2 views<br />Chufut-Kale: 1 view, 1 illustration<br />Tepekermen: 1 view<br />Siuiren & Cherkes-Kermen: 1 illustration<br />Mangup: 5 views, 2 illustrations<br />Cherkes-Kermen: 3 views<br />Khersones: 1 map, 2 illustrations<br />Ai-Todor: 1 view<br />Balaklava: 1 map<br />Limena-Kale: 1 view<br />Gurzuf: 1 view<br />Eski-Krym: 2 views<br />Temriuk: 1 view, 1 map<br />Stantsiia Sennaia: 1 view<br />Aftanizovka: 1 view<br />Titarovka: 1 view<br /><br />Credit for the production of the illustrations goes not to Uvarov, but to the artist who travelled with him, M. Vebel'. The lithography is by François Joseph Dupressoir. V. Darleng printed the images. <br /><br /><hr />
Identifier
An unambiguous reference to the resource within a given context
uvarov-antiquities
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 69 plates
Physical Dimensions
The actual physical size of the original image
71 cm
Repository
Slavic and East European Collections, The New York Public Library; New York Public Library Digital Collections (<a href="http://digitalcollections.nypl.org/items/510d47de-7abf-a3d9-e040-e00a18064a99" target="_blank">go to the record</a>)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ruins of the Khan's Crypt
Source
A related resource from which the described resource is derived
Aleksei Sergeevich Uvarov, <em>Sobranie kart i risunkov k izledovaniam o drevnostiakh IUzhnnoi Rossii i beregov CHernago Moria </em>(1851)
Creator
An entity primarily responsible for making the resource
Drawn from nature by M. Vebel' <br />Lithography by François Joseph Dupressoir <br />Printed by V. Darleng
Date
A point or period of time associated with an event in the lifecycle of the resource
1848-1851
Rights
Information about rights held in and over the resource
Digital image courtesy of the New York Public Library
Description
An account of the resource
Chromolithograph of a crypt of an unknown khan. French title: "Ruins of the sepulchral cave of the khans".
burial site
crypt
lithograph
monument
ruin
Tatar culture
-
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/9517a0c1e2bb0c5a45e044308bee5866.jpg
f5f45b8b3782da94bf82db9cdd0ed377
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/41a96deca24c5485ec50be8d928b3cb7.jpg
57f14885c7e09a80ac0abc9ebf407c8d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Uvarov's Antiquities
Description
An account of the resource
<p>This collection contains six images from the volume published by <a href="/items/show/567" target="_self">Count A. S. Uvarov</a> under the title<a href="http://digitalcollections.nypl.org/collections/sobranie-kart-i-risunkov-k-izledovaniam-o-drevnostiakh-iuzhnoi-rossii-i-beregov#/?tab=about"><img style="float: right;" src="http://images.nypl.org/index.php?id=1507200&t=w" alt="" height="300" /></a> <em><a title="go to the Item" href="/items/show/585" target="_self">Collection of maps and drawings for the study of the antiquities of Southern Russia and the Shores of the Black Sea</a></em>.</p>
<p>In part, this was the illustrated companion to Uvarov's <a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><em>Recherches sur les antiquités de la Russie méridionale et des côtes de la mer Noire</em></a> - the written result of the expedition commissioned in 1847. Uvarov's charge came from Maximilian, Duke of Leuchtenberg, President of the Imperial Academy of Arts and of the newly-established (1846) <a title="read about the history of archaeological societies in Russia described in the Brokhaus-Efron Encyclopedia" href="https://ru.wikisource.org/wiki/%D0%AD%D0%A1%D0%91%D0%95/%D0%90%D1%80%D1%85%D0%B5%D0%BE%D0%BB%D0%BE%D0%B3%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8%D0%B5_%D0%BE%D0%B1%D1%89%D0%B5%D1%81%D1%82%D0%B2%D0%B0_%D0%B2_%D0%A0%D0%BE%D1%81%D1%81%D0%B8%D0%B8" target="_blank" rel="noopener">Imperial Archaeological Society</a>. He was to conduct research at any and all sites "mentioned by the ancient writers" from the mouth of the Danube to the mouth of the Phasis (Rioni) in Georgia, and to pay attention to the disposition of burial mounds throughout the region.</p>
<p>Points 4 though 10 of the expedition instruction are an excellent thumbnail sketch of the significance of the Black Sea littoral from the vantage point of mid-19th century archaeologists (and their patrons):</p>
<blockquote><em>4. To determine the elevation of ancient places for which there are no good plans;<br />5. To study the remains and ruins to be found in the Crimean interior, notably along the Salgir, Belbek, and Mangush rivers;<br />6. Apart from antiquities of the classical period, to make inquiries into the antiquities of all time periods, including those of the Scythians, Byzantines, Tatars, Genoese, and Russians;<br />7. To collect all the ancient inscriptions, known or unknown, making copies or imprints of them;<br />8. To verify [Paul] DuBrux's claims about Nymphaea (Kara Bouroum);<br />9. To visit the museums at Nikolaief, Theodosie, and Odessa, and the antiquities found at the church at Taman;<br />10. Sepulchres of several Scythian kings are said to exist along the north coast of the Putrid Sea: to see whether these claims have any foundation...</em><a title="bibliographic citation" href="https://www.zotero.org/groups/beautiful_spaces/items/itemKey/CFKJ3VJZ" target="_blank" rel="noopener"><br /></a></blockquote>
<p>Uvarov did not fulfill the instruction. At least, not in print. His <em>Recherches</em>, published in 1855,<em> </em>opens with allusions to extenuating circumstances but also to his decision to exercise discretion, before going on to describe the course of the Dnepr from the famous rapids to Nicopolis (chapter 1), and Olbia and the mouth of the Bug River (chapter 2). Uvarov spent a good deal of time on excavations in Tavrida province in 1853-1854, but the geogrpahical spread of the maps and views included in the volume of illustrations, which was published four years earlier, suggests that Uvarov had in fact made his way through the entire littoral as it was mapped out for him in the expedition instruction. <br /><br />Perhaps, when it came down to it, he simply preferred digging to writing.</p>
<span style="text-decoration: underline;">Contents of the 1851 <em>Collection</em>:</span><br />Dnepr River: 4 views, 1 map, 1 illustration of artifacts<br />Ol'viia: 3 views, 2 maps, 11 illustrations<br />Berezan: 1 map<br />Koblevka:1 view, 1 map<br />Odessa: 1 map<br />Lusdorf: 1 map<br />Dnestr (near Malakhovaia) 1 map<br />Akkerman: 2 views, 1 illustration<br />Ochakov: 1 illustration<br />Kiliia: 1 illustration<br />Kartal: 2 views, 1 map <br />Simferopol: 2 views <br />Bakla Kaia: 1 view<br />Bakhchisarai: 2 views<br />Chufut-Kale: 1 view, 1 illustration<br />Tepekermen: 1 view<br />Siuiren & Cherkes-Kermen: 1 illustration<br />Mangup: 5 views, 2 illustrations<br />Cherkes-Kermen: 3 views<br />Khersones: 1 map, 2 illustrations<br />Ai-Todor: 1 view<br />Balaklava: 1 map<br />Limena-Kale: 1 view<br />Gurzuf: 1 view<br />Eski-Krym: 2 views<br />Temriuk: 1 view, 1 map<br />Stantsiia Sennaia: 1 view<br />Aftanizovka: 1 view<br />Titarovka: 1 view<br /><br />Credit for the production of the illustrations goes not to Uvarov, but to the artist who travelled with him, M. Vebel'. The lithography is by François Joseph Dupressoir. V. Darleng printed the images. <br /><br /><hr />
Identifier
An unambiguous reference to the resource within a given context
uvarov-antiquities
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 of 69 plates
Physical Dimensions
The actual physical size of the original image
71 cm
Repository
Slavic and East European Collections, The New York Public Library; New York Public Library Digital Collections (<a href="http://digitalcollections.nypl.org/items/510d47de-7abf-a3d9-e040-e00a18064a99" target="_blank">go to the record</a>)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ruins of the Mosque of Sultan Baybars
View of the Mosque of Sultan Bibars
Source
A related resource from which the described resource is derived
Aleksei Sergeevich Uvarov, <em>Sobranie kart i risunkov k izledovaniam o drevnostiakh IUzhnnoi Rossii i beregov CHernago Moria </em>(1851)
Creator
An entity primarily responsible for making the resource
Drawn from nature by M. Vebel' <br />Lithography by François Joseph Dupressoir <br />Printed by V. Darleng
Date
A point or period of time associated with an event in the lifecycle of the resource
1848-1851
Rights
Information about rights held in and over the resource
Digital image courtesy of the New York Public Library
Description
An account of the resource
Chromolithograph of a mosque built by Sultan Baybars (d. 1277) of Egypt. Baybars, one of the great Mamluk sultans, was likely a Kipchak Turk born in the Pontic steppe. He maintained close diplomatic ties with the Kipchak Khanate (also known as the Golden Horde), which controlled Crimea from the late thirteenth century to the mid fifteenth century, and commissioned the building of this mosque in Solhat (as Eski Krym was then known).<br /><a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/neatline/fullscreen/the-mosque-of-sultan-baybars" target="_blank">Go to the annotated image.</a>
architecture
burial site
gravestones
Islam
lithograph
mosque
ruin
Tatar culture
-
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/6d81536b2d0be476bbd389052453e21c.jpg
3bc35e49a69b734e8995d1a68b28e7a1
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/6832e6b0270ffc559e018b849d58422e.jpg
5785b3fc05f910cf2bca96dd3e7e858f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Estates
Description
An account of the resource
From the 1830s onward Crimea was a favored venue for prominent displays of wealth by powerful members of the ruling elite generally associated with the gulf-side imperial capital far away to the north. Rather than recreate the architecture of St. Petersburg on the Black Sea, many of those well-connected and well-to-do landowners made a conscious effort to accentuate the foreignness – perhaps even the exotic nature – of Crimea in the architecture of their estates and palaces. <br /><br />For some, the distinctiveness of the landscape was rooted in its Greek legacy. Russians and foreigners alike, inspired by the classical revival in architecture sweeping across Europe, pointed excitedly to the tangible residue of this legacy which suddenly placed Tavrida on the intellectual and cultural map of western civilization. Grecian elements therefore dominated many early nineteenth-century buildings.<br /><br />Other landowners – particularly the most wealthy and well-connected – played up the more exotic “Asiatic” legacy of Tavrida in their domestic landscapes. These nobles found it not just aesthetically pleasing but also empowering to incorporate elements of the local architectural tradition and natural landscape. In this they were no different than imperial elites elsewhere. <br /><br />In Russia, private residences were of particular importance to the articulation of the imperial presence in the borderland precisely because they were anything but private. Country houses and palaces were essentially public spaces, meant to attract the gaze of peers and peasants alike. The dignitaries, travelers and other visitors who penned detailed descriptions of Alupka, Gaspra, and Gurzuf inscribed these structures into the symbolic landscape of the province, but even on their own, the usad’by served as daily reminders of the reality of imperial authority to those who inhabited neighboring villages and worked in estate orchards and vineyards. <br /><br />Of course, not all landowners were wealthy enough to build palaces or manor houses that could accommodate such lavish public spectacles. The majority of those who did command that level of wealth were not provincial nobles, but members of the ruling elite who owned estates but neither registered in the Tavrida noble register nor otherwise participated in daily life in the province. <br /><br />The bulk of Tavrida’s registered nobles were not part of the ruling elite, nor were they distinguished for their wealth. In 1789 Governor Zhegulin pointed out to Potemkin that many of the (non-Tatar) officials in Tavrida were quite small-time Little Russian nobles or Polish szlachta who owned between five and thirty-five serfs. The low population density of the province together with the freedom of the native population from serfdom prevented landowners from accumulating wealth in the form of souls until well into the nineteenth century. <br /><br />However, most nobles (96% of non-Tatars and 88% of mirzas) in 1815 for example did own land from which they presumably drew sufficient income to maintain an honorable lifestyle. Of the 225 nobles registered between 1830 and 1853 for whom I have property data, 65% owned either arable or pasture land, and another 12% owned land in the form of orchards, gardens or vineyards. The remaining 23% owned houses and/or household servants and peasants, but did not mention landholding in their entries. Among ennobled mirzas, 96% owned land of some kind. Interestingly enough, they enjoyed average holdings three times larger than those of others, and a number of mirzas accumulated (or maintained) considerable annual incomes.<hr />
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Repository
Slavic and East European Collections, The New York Public Library; New York Public Library Digital Collections (<a href="http://digitalcollections.nypl.org/items/510d47e3-3459-a3d9-e040-e00a18064a99" target="_blank">go to the record</a>)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
View of the Imperial Palace of Orianda in Crimea
Haupt Ansicht des kaiserlichen Schlosses Orianda in der Krimm.
Source
A related resource from which the described resource is derived
Werke der höheren Baukunst für die Ausführung erfunden von Schinkel (<a href="http://digitalcollections.nypl.org/items/510d47e3-3459-a3d9-e040-e00a18064a99/book?parent=72337480-c6ba-012f-e5e3-58d385a7bc34#page/1/mode/2up" target="_blank">view as a book</a>) (Potsdam, 1848)<br /><span><br />The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection, The New York Public Library</span>
Creator
An entity primarily responsible for making the resource
Created by Karl Friedrich Schinkel <br />Lithography by H. Mützel <br /> Published by Ferd Riegel
Date
A point or period of time associated with an event in the lifecycle of the resource
1848
Rights
Information about rights held in and over the resource
Digital image courtesy of the New York Public Library
Description
An account of the resource
Chromolithograph of the "Palace of Orianda" designed by Karl Friedrich Schinkel (1781 – 1841).
architecture
landscape
lithograph
palace
sea
southern coast
-
https://s3.amazonaws.com/atg-prod-oaas-files/beautifulspaces/original/75011c3bf69ee51d7281cbc748d97910.jpg
0ccbe6688296477ba8f64259e1a68916
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Demidov's Voyage Illustrations
Description
An account of the resource
Illustrations from a volume held at the John Hay Library, Brown University
Creator
An entity primarily responsible for making the resource
Anatole de Demidoff
Source
A related resource from which the described resource is derived
Voyage dans la Russie Meridionale et la Crimee
Identifier
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demidov-voyage
Still Image
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Physical Dimensions
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56 cm
Repository
John Hay Library, Brown University
Dublin Core
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Title
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Chateau of Count Voronstov
Description
An account of the resource
View of Count Mikhail Vorontsov's palace in the distance with Crimean Tatar men gathered in a circle in the foreground. According to Demidov, the (coastal) region around Alupka, "washed in sunlight and bathed by the sea," was quite the fashionable destination as a romantic realm of summer residences studded with "Gothic castles, English cottages, Swiss chalets, [and] American farms" [28]<br /><br />The image is dated 12 August 1837.
Source
A related resource from which the described resource is derived
Anatolii Demidov, <em>Album du Voyage dans la Russie méridionale et la Crimée, par la Hongrie, La Valachie et la Moldavie>, ed. Ernest Bourdin (Paris, 1838)</em>
Creator
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Denis Auguste Marie Raffet
Date
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1837
Rights
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Image courtesy of the Anne S.K. Brown Military Collection, Brown University Library
castle
landscape
lithograph
sea
southern coast
Tatar culture