to show

If it is about the gaps in between + how to fill them

The word history comes from the root *weid-, "to know, to see".^[8] This root is also present in the English words wit, wise, wisdom, vision, and idea, in the Sanskrit word veda,^[9]

The Ancient Greek word ἱστορία, historía, means "inquiry, knowledge acquired by investigation".

It was in that sense that Aristotle used the word in his Περὶ Τὰ Ζῷα Ἱστορίαι, Peri Ta Zoa Ηistoriai or, in Latinized form, Historia Animalium.^[11] The term is derived from ἵστωρ, hístōr meaning wise man, witness, or judge. We can see early attestations of ἵστωρ in Homeric Hymns, Heraclitus, the Athenian ephebes' oath, and in Boiotic inscriptions (in a legal sense, either "judge" or "witness", or similar). The spirant is problematic, and not present in cognate Greek εἴδομαι - eídomai ("to appear"). The form ἱστορεῖν - historeîn, "to inquire", is an Ionic derivation, which spread first in Classical Greece and ultimately over all of Hellenistic civilization.

It was still in the Greek sense that Francis Bacon used the term in the late 16th century, when he wrote about "Natural History". For him, historia was "the knowledge of objects determined by space and time", that sort of knowledge provided by memory (while science was provided by reason, and poetry was provided by fantasy).

The word entered the English language in 1390 with the meaning of "relation of incidents, story". In Middle English, the meaning was "story" in general. The restriction to the meaning "record of past events" arises in the late 15th century. In German, French, and most Germanic and Romance languages, the same word is still used to mean both "history" and "story". The adjective historical is attested from 1661, and historic from 1669.^[12]

Historian in the sense of a "researcher of history" is attested from 1531. In all European languages, the substantive "history" is still used to mean both "what happened with men", and "the scholarly study of the happened", the latter sense sometimes distinguished with a capital letter, "History", or the word historiography.^[11]

Historiography is the history of history, the aspect of history and of semiotics that considers how knowledge of the past, either recent or distant, is obtained and transmitted.^[1] Formally, historiography examines the writing of history, the use of historical methods, drawing upon authorship, sources, interpretation, style, bias, and the reader; moreover, historiography also denotes a body of historical work.

Beginning in the nineteenth century, at the ascent of academic history, a corpus of historiography literature developed, including What is History? (1961), by E. H. Carr, and Metahistory (1973), by Hayden White.

text source : http://en.wikipedia.org/

Franz Anton Bustelli (sculptor contributing to industry part 02)

Franz Anton Bustelli (April 12, 1723 — April 18 1763) was a Swiss-born German modeller for the Bavarian Nymphenburg Porcelain Factory from 1754 to his death in 1763.
He is widely regarded as the finest modeller of porcelain in the Rococo style: "if the art of European porcelain finds its most perfect expression in the rococo style, so the style finds its most perfect expression in the work of Bustelli".^[2]

He was born in Locarno in Italian-speaking Switzerland, and died in Munich, Bavaria, just after his 40th birthday.

Few details of his life are known, but he trained as a sculptor, probably mostly in wood,^[3] and perhaps in Italy.

The sculptor was employed at Porzellan Manufaktur Nymphenburg on 3 November 1754 as a figure-maker – just shortly after Joseph Jakob Ringler succeeded in making porcelain. Within just a brief period, he became model master at the manufactory and helped it achieve world fame with his elaborate rococo designs. Bustelli remained with Porzellan Manufaktur Nymphenburg until his death in 1763 and, after just nine years, left around 150 new designs.

Bustelli is the outstanding figure of Rococo porcelain, and his best work has a unique grace, energy, drama and often wit. His figures are thoroughly designed in the round, meant to be appreciated from all angles. The bases are unusually thin, and often include scroll-work that integrates elegantly with the figures. Some subjects are drawn from engravings, and many seem to show the influence of the conventional theatrical gestures of the period.^[10]

He was not very highly paid, and his possessions at his death included furniture and personal effects, some of his own figures, 228 engravings, and 31 books on chemistry.^[11]


above: Liebesgruppe, 1760, 14.4 cm

below: Painter's Notes, Nymphenburg services



























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text source : http://en.wikipedia.org/
image 01 source: http://www.swansea.gov.uk/
image 02 source : http://www.nymphenburg.com/

If it is about the gaps in between.... then editing is crucial

The wikipedia of 1764, the apotheosis of Homer and some gaps

John Flaxman (6 July 1755 – 7 December 1826), English sculptor and draughtsman

Flaxman re-interpreted a red figure design which appeared as a decoration on a calyx krater vase, purchased by the British Museum in London from Sir William Hamilton. This original vase was one of the ancient so-called Etruscan vases amassed by Sir William Hamilton when he was resident in Italy. The calyx krater vase is featured in the four-volume work compiled by d'Hancarville entitled Antiquities, Etrusques Grecques, et Romaines (published 1766-67), Volume III, plate 31.

Wedgwood referred to Flaxman's relief model in a letter to his Ornamental Ware partner Thomas Bentley, dated 19 August 1778. Bentley had already interpreted the scene as: '....some honor paid to the genius of Homer'.

Eight years later the bas relief was chosen by Josiah Wedgwood as the principal ornament for his most important jasper vase to date, sometimes known as the Pegasus Vase. The first copy of the vase was produced in February 1786. In May of the same year Wedgwood presented a copy of it to the British Museum, saying of it: '...it is the finest and most perfect I have ever made.'

Various examples of the vase exist in a number of collections. The one on display in the Wedgwood museum is made of white jasper, which has received a mid-blue dip, with white bas-relief figures. A superb specimen of the same subject, in a greenish-buff jasper dip, with the Pegasus or winged-horse finial in white, on solid pale blue jasper clouds, is retained by the Castle Museum, Nottingham.

During the 19th century examples of the vase appeared in black basalt. Subsequently smaller-size versions of the vase were issued by Wedgwood in jasper (of varying colours, usually with white bas reliefs) and in more recent times in black with the raised bas-relief ornamentation enhanced by the addition of exquisite gilding. This form of decoration has its source in the latter decades of the 19th century, when exquisite ornamental wares were made in black basalt with the bas-relief figures enhanced by bronzing and gilding.

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text and image source : http://www.wedgwoodmuseum.org.uk/
secondary source :http://digi.ub.uni-heidelberg.de/