Country House History

The Garí family’s theatre at Torre del Cros (Argentona) The Cros house in Argentona, the summer home of the Galí family for generations, has a large private theatre hall designed by Josep Puig i Cadafalch between 1897 and 1898 that has recovered its original appearance following a complete restoration carried out a century later. During the second half of the 19th and 20th centuries, the theatre was the backbone of family summers, even before Modernista work. This paper reviews the evolution of this theatre hall with various renovations, as well as the available data on the plays performed by the family members themselves.

The Garí family’s theatre at Torre del Cros (Argentona)
The Cros house in Argentona, the summer home of the Galí family for generations, has a
large private theatre hall designed by Josep Puig i Cadafalch between 1897 and 1898 that has
recovered its original appearance following a complete restoration carried out a century later.
During the second half of the 19th and 20th centuries, the theatre was the backbone of family
summers, even before Modernista work. This paper reviews the evolution of this theatre hall with
various renovations, as well as the available data on the plays performed by the family members
themselves.

The Cros house in Argentona, the summer home of the Galí family for generations, has a large private theatre hall designed by Josep Puig i Cadafalch between 1897 and 1898 that has recovered its original appearance following a complete restoration carried out a century later. During the second half of the 19th and 20th centuries, the theatre was the backbone of family summers, even before Modernisme work. This paper reviews the evolution of this theatre hall with various renovations, as well as the available data on the plays performed by the family membres themselves.

This essay examines the Wilton House collection and its presentation throughout the eighteenth century, focusing on how catalogues functioned as tools for both interpretation and social signaling. The collection, housed at Wilton House-the stately home of the Earl of Pembroke-was documented in a series of catalogues published between 1731 and 1795. Over the course of the century, more than ten editions appeared, some of which were illustrated. These editions provided insight into the artworks, family background, and collecting practices, shaping how visitors experienced the collection and understood its cultural value. In eighteenth-century Britain, such collections were markers of prestige, turning private wealth into public status and influence. Through an analysis of select rooms at Wilton House-using the catalogues as a primary source-this essay addresses broader issues of display, gender, and identity, highlighting the cultural significance of collecting in the British aristocratic tradition.

The aim of this article is to find, scientifically define, and locate the most frequent occurrences of the gardens of Transylvania in the Late Renaissance period (17–18th centuries), and to collect and prepare a comprehensive plant list of these gardens. During our investigation, based on archival and literary sources, as well as field studies carried out, we identified 81 Late Renaissance residency gardens located in Transylvania. We defined the most typical garden types for the region and we delineated the most characteristic ornamental, fruit, and vegetable plants, including fodder plants, used at that time in residential gardens. Meanwhile, the article intends to give a general overview of the first decisive time period in the Carpathian Basin, represented by the Late Renaissance garden art, from a garden and landscape architectural point of view.

A hazai kertörökség kutatása régi múltra tekint vissza. Az egyes konkrét kastélykertekhez kapcsolódó kutatásokon túl az első átfogó listák, felsorolások a hetvenes években készültek, és elsősorban Őrsi Károly és munkatársai nevéhez fűződtek. Az egykori Országos Műemléki Felügyelőség keretein belül 1962-től kezdődtek a kutatások, és ekkortól beszélhetünk a történeti kertek kutatásáról, védelméről, megőrzéséről és a kertörökség szisztematikus számbavételéről. Szisztematikus adatbázis-fejlesztésről, -rendszerezésről, adatgyűjtésről ekkor még nem beszélhetünk; a kertlisták a kertek nevén, a települések megnevezésén túl csak az értékességre vonatkozóan tartalmaztak adatokat. A műemlékvédelem keretein túlnyúló átfogó kertarchívum kialakítása csak az 1990-es években kezdődött meg az akkori Kertészeti Egyetemen a Magyar Kerttörténeti Archívum kezdeményezésével, amelynek már kitűzött célja volt, hogy egységesítse a kertekről rendelkezésre álló adatokat, és adatbázisba rendezze azokat. Ekkor készült el a historicgarden.hu adatbázis is, amely az első átfogó közösségi részvételen alapuló adatgyűjtésre alapult. A későbbi évek során aktív oktatói és hallgatói részvétellel készült kutatás és kutatási módszertan a történeti értékű kastélykertek felmérésére és rendszerezésére. A cikk a kutatás aktuális eredményeit, a kastélykertek szerepét a hazai kertörökségben és a magyar történeti kert adatbázis jelenlegi helyzetét foglalja össze.

This article investigates the symbolic language of the shield by tracing its transformation from an apotropaic and martial object in ancient civilizations to a semiotic instrument of power in the heraldic and ecclesiastical traditions of Europe. In addition to a comparative study of Iranian, Egyptian, Greco-Roman, Mesopotamian, and medieval European examples, the article introduces an original visual-symbolic reading: the structural parallels between the anatomical form of the human pelvic basin and the morphological design of the shield. Drawing on esoteric, alchemical, and yogic concepts-particularly the protective and transformative functions associated with the pelvic energy centers (sacral and root chakras)-the article argues that the shield's historical protective role is rooted in a more profound archetypal logic tied to the body. The study proposes that ecclesiastical heraldry, while seemingly detached from its ancient apotropaic origins, retains fragments of this embodied protective language. Thus, the heraldic shield is reconsidered not merely as a decorative emblem of lineage but as a vessel carrying ancient traditions of protection, legitimacy, and spiritual containment.

In the chivalric romance Sir Eglamour of Artois, the poet represents both Eglamour and his son, Degrebell, with enigmatic armorial devices. These shields seem to defy the blazon's traditional symbolic and visual vocabulary, requiring a deeper reading of the heraldic narrative on display by a woman who has intimate knowledge of the particular visual symbols her long-lost husband and son deploy. In short, Eglamour and Degrebell are two knights in search of a lineage, and it is the mother, Christabell's interpretive skill rather than the many professional heralds in the story that provides it. Although medieval women did not act as heralds themselves or have the social status to describe it formally, they understood the importance of the symbolic system for promoting and advertising their family's political power and strategic alliances. This essay will argue that the act of heraldic description is a powerful performance of social and cultural influence, and that it can be appropriated by those least likely to wield the specialized knowledge.

Between 1925 and 1941 a variety of palmists was active in Amsterdam. This article highlights more than a dozen,, one being Julius Spier, who is the most well-known one through the diaries of Etty Hillesum. The article shows that palmists tried to legitimize their art, and used various ways to do so.

This article contributes to the literature of Jewish country house studies. It presents the results of a pilot study of Jewish country houses in Sweden, 1760s-1960s, and it has a quantitative approach.
In 1850, Jews owned comparatively more country houses than the bourgeoisie in general. This study
indicates that a plurality of Jewish identities was represented among the owners, and that social and economic assets possibly had a greater impact on Jewish country house acquisitions than did the regulations which were installed to prevent them.

This article presents the results of the first systematic and quantitative historical study of Jewish country houses in Sweden. In this pilot study about 100 country houses owned by Jewish families have been identified. Moreover in 1850, Jews owned comparatively more country houses than did the Swedish bourgeoisie in general. Social and economic assets seem to have had a greater impact on Jewish country houses acquisitions than did the regulations which were installed to prevent them.

En el seno del patrimonio rural del cabildo catedralicio compostelano, las casas de campo de las tenencias y de los arcedianatos estaban destinadas a la gestión económica de este patrimonio, pero también para el disfrute y recreo de los miembros del cabildo. La presente investigación tiene como objetivo el estudio de la gestión, localización y evolución de estas casas durante el Antiguo Régimen. Para ello nos valdremos de la rica documentación conservada en el archivo de la catedral de Santiago, el catastro del Marqués de la Ensenada, los protocolos notariales y las fuentes generadas durante las desamortizaciones de Espartero y Madoz.

The plan documentation for the seventh issue of DASH presents a series of exemplary ecological houses. The majority of them are detached or situated in rural areas or suburbs; two are townhouses, one of which is even an example of stacked individual dwellings. Together they demonstrate how architectural design can contribute to solving the problem of sustainability. Although sustainability is a relatively new issue within architecture, one can find various historical examples that reveal an especial awareness about climate solutions in regard to creating a comfortable living environment, like the Jacobs House 2 by Frank Lloyd Wright, or the entire oeuvre of a pioneer like Ralph Erskine. When environmental awareness began to penetrate to politics and the general public in the late 1960s and early 1970s, we also see the first answers appearing in architecture – for instance, the well-known domes in North America, of which the Zome House by Steve Baer is a special exponent. Later examp...

1. The scope of the DANS Data Stations Policy ("the Policy") is limited to datasets for which DANS performs ingestion, curation, archiving, long-term preservation, and dissemination. 2. Such datasets are stored and managed in a DANS Data Station and the accompanying long-term preservation service. We refer to these software and services as "the Data Station". 3. The Policy does not consider archiving and preservation of other materials, such as DANS's web pages, internal and external documents, and digital objects in any other services that DANS provides. 4. The Policy governs the obligations, responsibilities, and expectations of the role players. Roles 5. DANS as Curator of the Data: In this role, DANS performs curation and archivist functions and acts as a gatekeeper of and quality assurance provider for submissions by depositors. 6. DANS as a Service Provider: DANS also acts as a provider of the software and services that constitute the Data Station. 7. End User: an individual or entity who has an Account in a Data Station. A Depositor is a User who makes use of a Data Station for purposes of archiving, disseminating, and preserving research datasets. 9. End Users: An End User is a User who makes use of a Data Station to discover, understand, and access datasets. Such access is optionally subject to provisions determined by the Depositor via licence and access conditions. 10. Designated Community: Each Data Station is aimed at a Designated Community, and their preferences, conventions, and practices inform the operation of each Data Station. Most End Users will be associated with such a community. 11. Third Party Service Providers: DANS makes use of external service providers in respect of authentication and physical infrastructure, and the Policy also addresses their responsibilities and obligations, as applicable.

The newly restored St. Vincent de Paul Church and the Sisters of Charity Convent in Frankopanska Street, Zagreb, represents a comprehensive approach to the preservation of cultural heritage while integrating contemporary solutions for sustainable use. This historical complex, which has continuously evolved since its construction in 1845, is comprised of the church, the northern and southern convent wings, a dining hall building, and various auxiliary structures. Severely damaged by earthquakes and flooding in 2020, the complex underwent extensive restoration, and it was financed by the European Union Solidarity Fund with substantial contributions from the Congregation of the Sisters of Charity. The architectural project, carried out by architects Prof. Nenad Fabijanić and Leila Nanuk, emphasizes a balanced approach to conserving important historical elements, while introducing contemporary technical, functional, and design solutions.
Key interventions, supervised by conservation specialists, included seismic retrofitting, new solutions for installations, as well as the restoration of original architectural elements and intricately crafted altarpieces. The architectural project also introduced contemporary design solutions that conceptually unified the spaces both in the church and in the convent buildings. The project, based on extensive preservation and conservation research, serves as an exemplary case of sustainable heritage management. It highlights the potential for historical religious sites to be adapted for longterm, environmentally conscious use, while preserving their original architectural, cultural and spiritual integrity.