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megabif · 1 month

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Richard Serra

Tilted Arc

Nel 1979 il General Service Administration (GSA), un’agenzia indipendente del governo degli Stati Uniti, in accordo con il National Endowment for the Arts (NEA), decide di commissionare una scultura all’artista Richard Serra. È destinata alla Federal Plaza di New York. Dieci anni dopo, la scultura, chiamata Tilted Arc, viene smantellata, segata a pezzi, i suoi resti immagazzinati a Brooklyn. Nel mezzo accade di tutto. L’affaire Serra ridefinirà il concetto di site specificity di una scultura inserita nel tessuto urbano. In effetti, c’è qualcosa di radicale in questo artista che fin dagli inizi della sua carriera aveva deciso di utilizzare acciaio e piombo come materia espressiva. Nelle Lettere a Miranda Quatremère de Quincy si poneva domande riguardo allo spostamento delle opere d’arte italiane. All’epoca, la Rivoluzione francese aveva appena fatto il suo corso. Due secoli dopo la questione resta: distratta dal suo contesto l’opera perde il suo valore? “Rimuovere l’opera significa distruggere l’opera” afferma Richard Serra. La Street Art pone problemi simili.

Nel 1979, quando viene scelto dal GSA, Serra è già conosciuto, apprezzato. Nel 1970 aveva piazzato una struttura circolare in acciaio nel manto stradale di una via del Bronx (To Encircle Base Plate Hexagram Right Angles Inverted). L’anno successivo, piazza il St. John’s Rotary Arc nei pressi della rotatoria dell’Holland Tunnel. Certo, finché si tratta di una strada del Bronx, o di una rotatoria, nessuno fiata. Ma quando ti trovi di fronte il Federal Bureau of Investigation o una sede della corte di giustizia, è difficile farla franca.

Tilted Arc viene inaugurato nel 1981. Una linea di acciaio color ruggine di quaranta metri, alta quattro, leggermente curva e inclinata, taglia in due la piazza. Apriti cielo. La struttura “teatrale” del sito viene alterata, ciò di cui Serra era ben conscio. I cittadini si ritrovano proiettati dentro un nuovo contesto ambientale, ridefinito dalla scultura. È come se lo stesso concetto di “temporalità” subisse una torsione. Chi cammina sulla piazza è costretto a costeggiare l’opera. In un sito percorso usualmente di fretta, per motivi di lavoro, Serra costringe i passanti a rallentare, a lambire e “sentire” l’opera. Grazie a questo taglio in acciaio lo spazio viene ora sovvertito. Questa linea funge da contrappunto ambientale. È l’opera che ora definisce, impone il proprio territorio.

Ne succedono di tutti i colori. Un giudice protesta. Pone problemi di sicurezza. Finisce come in una lite condominiale, ma su larga scala. C’è chi pone questioni di decoro. La gente vi urina sopra (intervistato dal New York Times, che gli domanda quale sia il suo luogo favorito in città, Matthew Barney risponde: “Urinare riverentemente su Tilted Arc”). C’è chi vi aggiunge graffiti. Alcuni tirano in ballo il Muro di Berlino. Si tengono pubbliche udienze. Autorevoli critici d’arte difendono il lavoro di Serra. Nel 1985 la sede di Washington della GSA chiede che all’opera venga trovato un altro spazio. Serra avvia una causa per difendersi. La causa viene rigettata. Nel 1987 la NEA dichiara Tilted Arc “site specific”, e per questo inamovibile. Serra intanto va in appello. Nel 1989, dopo che Ronald Reagan ha firmato la Berne Convention, legge in difesa dei beni letterari e artistici, Tilted Arcviene smantellato. Per qualche tempo, una specie di cicatrice sulla pavimentazione funziona da indice dell’opera. Ora, restano solo fotografie, più la documentazione, gli atti di questa battaglia espressiva.

Via

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michelangelob · 4 months

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La Scultura del giorno: Dirce di Canova

La scultura del giorno che vi propongo oggi è Dirce scolpita da Antonio Canova e oggi custodita presso la Royal collection trust di Bukingham Palace. Il 25 novembre del 1819 scriveva Canova all’amico Quatremère de Quincy: “Ora ho terminato un terzo di una ninfa da me intitolata Dirce, nutrice di Bacco, che siede sopra una pelle di lince e appoggiase col destro braccio sopra una cista simile a…

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#antonietta bandelloni #art #artblogger #arte #artinfluencer #english #La scultura del giorno #madeinitaly #masdterpiece #rinascimento #sculpture #scultura

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londranotizie24 · 2 years

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Maddalena ritrovata di Canova, tutto pronto per l'asta da 8 milioni di sterline

Maddalena ritrovata di Canova, tutto pronto per l'asta da 8 milioni di sterline Di Camilla Alcini A Londra è tutto pronto per l'asta che vedrà protagonista la Maddalena ritrovata di Antonio Canova, stimata a circa 8 milioni di sterline. A Londra è tutto pronto per l’edizione estiva della Classic Week, la celebre asta di Christie’s che questa settimana e la prossima vedrà protagonista la Maddalena ritrovata di Antonio Canova. La più prestigiosa casa d’aste al mondo si prepara a battere l’opera un tempo perduta dell’artista neoclassico per circa 8 milioni di sterline (quasi 10 milioni di euro). “Ho esposto un altro modello di una seconda Maddalena giacente per terra, che quasi sviene per l’eccessivo dolore della sua penitenza, un soggetto che mi piace molto e che mi ha fatto guadagnare molta indulgenza, ed elogi molto lusinghieri”, scrisse Antonio Canova in una lettera all’amico Quatremère de Quincy nel 1819. Quest’opera ha un enorme valore per la scultura occidentale, essendo uno degli ultimi due lavori del maestro del marmo europeo. Tutto pronto per l'asta da 8 milioni di sterline a Londra Dopo essere stata mostrata per la prima volta il 19 e il 20 marzo a Londra, nel quartier generale di Christie’s, la Maddalena è arrivata prima a New York ad aprile e poi ad Hong Kong a maggio, per fare infine ritorno nella capitale inglese. È qui che il pubblico ha potuto ammirare l’opera del Canova in una mostra esclusiva di tre settimane, prima della grande asta in programma il 7 luglio. La mostra pre-vendita è invece prevista per i giorni immediatamente prima, dal 2 al 7 luglio. Questa asta, che potrebbe una volta per tutte donare una casa alla Maddalena, cade nell’anno del bicentenario della morte dell’artista italiano, rendendola cosi una celebrazione del genio creativo del Canova. “È un miracolo che sia stato ritrovato l’eccezionale capolavoro di Antonio Canova, da tempo perduto, la ‘Maddalena distesa’, 200 anni dopo il suo completamento”, ha dichiarato Mario Guderzo, studioso canoviano e direttore del Museo Gypsotheca Antonio Canova (che custodisce il modello in gesso dell’opera) e del Museo Biblioteca Archivio di Bassano del Grappa. “Quest’opera è ricercata dagli studiosi da decenni, quindi la scoperta è di fondamentale importanza per la storia del collezionismo. Testimonia l’intenso processo di pensiero dell’opera dello scultore italiano che fu testimone fondamentale del suo tempo: fedele a Papa Pio VII, ricercato da Napoleone, amato dal sovrano inglese Giorgio IV, stimato nel mondo del collezionismo europeo e di fondamentale importanza per la restituzione delle opere d’arte sequestrate sotto Napoleone”. La storia della Maddalena ritrovata, nell'oblio per oltre 100 anni La storia della Maddalena Giacente è travagliata e degna di un romanzo. Questa “bella addormentata” dell’arte mondiale è rimasta nell’oblio per oltre 100 anni, per poi essere ritrovata nel giardino di una coppia inglese. Come spiega anche Guderzo, “La riscoperta della ‘Maddalena distesa’ porta a conclusione una storia molto particolare degna di un romanzo, di un marmo di notevole valore storico e di grande bellezza estetica prodotto dal Canova negli ultimi anni della sua attività artistica”. La scultura di Maria Maddalena in estasi fu inizialmente commissionata da Lord Liverpool, primo ministro inglese dal 1812 al 1827. Dopo la sua morte passò insieme al titolo e alle proprietà al fratello Charles, e nel 1852 venne venduta proprio a Christie’s. In un’asta tenutasi a Londra, l’opera fu descritta come “Acclamata statua di Maddalena del Canova”, tra i lavori “più belli e altamente rifiniti” dell’artista. La Maddalena finì cosi nelle mani del collezionista Lord Ward e poi del produttore di tappeti che acquistò la sua proprietà, Sir Herbert Smith. È da questo momento che la storia dell’opera e l’attribuzione a Canova iniziano ad oscurarsi. Descritta solo come “figura classica”, la statua passa nelle mani di Violet van Der Elst, eccentrica imprenditrice e attivista, a seguito di un fuoco che distrusse la grande casa di Smith. La Maddalena rimase con Violet fino alla fine dei suoi giorni, custodita preziosamente nel giardino della sua casa in Addison Road, a Kensington. È proprio al destino della proprietà che si lega anche quello della statua: venduta con essa nel 1959 e di nuovo a fine anni 60, la Maddalena è ormai un’opera in incognito. Nel 2002, l’attuale proprietario, in cerca di oggetti per il proprio giardino, la acquista alla vendita dedicata Garden Statuary and Architectural Items. ... @ItalyinLDN Continua a leggere su Read the full article

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animar64 · 2 years

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I Still Wonder

RDP Monday: COLOSSAL From the Colossus of Rhodes to the statue of Zeus at Olympia, of the 7 Wonders of the Ancient world only one remains… The Colossus Solis Artist: Philip Galle Date: 16th–17th century Olympian Zeus in the sculptured antique art of Quatremère de Quincy (1815). The Great Pyramid of Giza is all that is left of the Ancient Wonders. Great Pyramid of Giza -The Last Remaining Wonder…

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#RagtagDailyPrompt #RDP #Writing Challenge #Writing Prompts

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aic-european · 3 years

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Bust of Paris, Antonio Canova, 1809, Art Institute of Chicago: European Painting and Sculpture

The enormously popular Neoclassical sculptor Antonio Canova frequently made replicas or variants of his major works to satisfy the demand for his art. While executing a commission from Empress Josephine of France for a full-length statue of Paris (State Hermitage Museum, Saint Petersburg), Canova carved this bust for his friend Antoine Quatremère de Quincy, a French Neoclassical theorist and critic who greatly inﬂuenced the sculptor’s artistic ideals. It depicts the moment in Greek mythology when the shepherd Paris, called upon by Zeus to judge who was the most beautiful among Hera, Athena, and Aphrodite, turns to gaze at the three goddesses. Canova exploited the subject to create an ideal head, balancing the geometry of pure forms with the sensuousness of Paris’s expression. Upon receipt of the gift, Quatremère stated: “There is in [the bust] a mixture of the heroic and the voluptuous, the noble and the amorous. I do not believe that in any other work you have ever combined such life, softness, and chaste purity.” Documents indicate that Canova made four full-length marble statues and at least seven busts of Paris, a clear indication of the sculpture’s popularity. Harold Stuart Endowment; restricted gift of Mrs. Harold T. Martin Size: H. 66 cm (26 in.) Medium: Marble

https://www.artic.edu/artworks/102591/

#antoniocanova #europeanart #museumarchive #artinstituteofchicago

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greekromangods · 4 years

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Le Jupiter Olympien

1814

Quatremère de Quincy (1755–1849)

Etching, watercolor

** Visit my Links page for my other blogs & Facebook Pages

#jupiter #jupiterdeity #print

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typostypologies · 4 years

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What is typology and why does it matter?

Typology is the study of types or the systematic classification of the types of something according to their common characteristics.

Rafael Moneo - On Typology

‘It can most simply be defined as a concept which describes a group of objects characterized by the same formal structure. [...] It might even be said that type means the act of thinking in groups. [...] as one becomes increasingly precise, one introduces other levels of grouping, thus describing new ranks of types. One finishes with the name of a specific building.’

‘The concept of type is in itself open to change insofar as it means a consciousness of actual facts, including, certainly, a recognition of the possibility of change. [...] The type can thu be thought of as the frame within which change operates, a necessary term to the continuing dialectic required by history. From this point of view, the type, rather than being a “frozen mechanism” to produce architecture, becomes away of denying the past, as well as a way of looking at the future.”

‘For Quatremère the concept of type enabled architecture to reconstruct its links with the past, forming a kind of metaphorical connection with the moment when man, for the first time, confronted the problem of architecture and identified it in a form. In other words, the type explained the reason behind architecture, which remained constant throughout history, [...]. The type was thus intimately related with “needs and nature”.’

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lepeintre-louis-david · 4 years

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In fact, a few weeks later, he gave proof of his disinterestedness (note: in money).

After having decreed the Exhibition of 1791, the Constituent Assembly decided, upon the proposal of M. de Beauharnais, that a sum of one hundred thousand francs would be used in encouragement of the artists and to distribute works between the exhibitors designated by the members of the Académie, to which would be added two members of the Academy of Sciences, two of the Academy of Fine Letters and twenty non-Academic artists chosen from among the exhibitors.

The judgment which was to be pronounced during the Exhibition was delayed first by the complaints of artists who feared that the Académie, by the sheer number of its members, would exercise too great an influence; then by the refusal of the Academicians to take part in the judgment, so that the Legislative Assembly, in their session of the December 3, 1791, decided on Romme's proposal, seconded by Quatremère, to issue the following decree, which thus settled the question:

The National Assembly, after having made this emergency decree, and wishing to put an end to the difficulties which arose upon the execution of the decree of September 17, decrees the following:

Article l - All the artists who exhibited their works this year at the Salon, and who have registered for the Exhibition, both Academicians and Agréés, then non-Academicians, will meet within the fortnight, in the place indicated to them by the municipality, to appoint together and among the exhibitors, by list ballot and to the relative plurality, forty commissioners, twenty of whom will be chosen from among the Academicians and twenty from among the non-Academicians.

Art. II. - To these commissioners will be joined two members of the Academy of Sciences and two of that of the Inscriptions, under the terms of Article III of the law of September 17, in order to proceed together to the distribution of the work of encouragement as follows:

Art. III. - Among the painters of history, statuaries and exhibiting architects, the assembly of curators will appoint sixteen artists who, in their judgment, have shown themselves to be the most worthy of encouragement.

Art. IV. - The sum of 70,000 livres, devoted to providing encouragement for this class of artists by article I of the law of September 17, will be divided into sixteen graded portions between them, according to the scale of merit of the works exhibited by the sixteen artists, whom the assembly of curators will have distinguished, so that none of these partial sums can be more than 10,000 livres, nor less than 3,000 livres.

Art. V. - The assembly of commissioners will also appoint ten artists from the so-called genre painters and exhibiting engravers, who, in their judgment, will have shown themselves to be the most worthy of encouragement.

Art. VI. - The sum of 20,000 livres which, under the law of September 17, Article I, is intended for providing encouragement for this class of artists, and will be divided into ten portions, the graduation of which will follow the scale merit of the works of the ten artists distinguished in the exhibition, so that the maximum will be 3,000 livres and the minimum of 1,000 livres, etc.

Despite this decree, not all the difficulties were resolved. The Académie still refused to take part in the judgment of the Salon, and had drawn up a draft reply to the Legislative Assembly.

Gentlemen, prior to your decree of the 3rd of this month, we had the honor to appear before you, in order to beg you to exempt us from voting for the distribution of the encouragement works. We have developed our plans for you, assuring you, moreover, that each of us would be honored to be chosen for the execution of these same works, and that finally we consent to be judges, but not to judge.

The same motives still subsisting, our resolution therefore could not change, but as our perseverance may surprise you, we will in two words draw you the portrait of any real artist:

More greedy for glory than for fortune, free as air and thought, the only laws he knows for his art are those which he imposes himself. Demonstrate your genius and produce art, that's the most delicious enjoyment: the noblest reward for your efforts is the esteem for your contemporaries. Friend of peace, he flees to the shadow of debates. Modest as true merit almost always is, he is afraid to pronounce on the work of others, he leaves that to the public.

This is our plan of conduct. Our constancy in our actions cannot be viewed as resistance to constituted powers.

It is not a question here of these laws on which the salvation of the empire depends, and which chain all individual wills to the general will. It is a simple, charitable measure on the part of the legislature to encourage the arts. This measure only interests a very small part of citizens. Legislators, to enlighten themselves in the distribution of benefits, call experts. In this case, every artist is an expert by the fact of his employ, and the capital provides a large number of such men.

When a court appoints an arbitrator ex officio, the person appointed is free to accept or refuse this good position. His unjustified refusal does not offend the court. This refusal should offend him even less when he is leaning on the fear of being judge and interested party (i.e. to judge while themselves being an artist, and thus having a vested interest).

Your decree of the 3rd of this month, having invested twenty Academicians with the right to be elected arbitrators for the ballot, we claim the freedom to recuse ourselves; and, if necessary, we will claim it under the Rights of Man, enshrined and guaranteed by the French Constitution.

By opening this Gospel of the law, we read on the first pages that the Constitution guarantees to every man the freedom to go, to stay, to depart and consequently to think, to act and to do anything that does not harm others , or prevent him from enjoying the same rights.

Covered by this aegis, we dare, Gentlemen, with the deepest respect, but with the courage of free men, to declare to you individually (and therefore without any limitation to the rights of those of us who have not signed this address) that we renounce, if the choice falls on us, the functions of distributors of works, by attesting to you again that we will accept with gratitude the benefits of the nation, if by the votes of the artists we are declared worthy

#jacques-louis david #révolution française #ch3_lpld #art history

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soliloquyinthedark · 4 years

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Bust of Paris (1809) by Antonio Canova (Venetian, 1757-1822)

The enormously popular Neoclassical sculptor Antonio Canova frequently made replicas or variants of his major works to satisfy the demand for his art. While executing a commission from Empress Josephine of France for a full-length statue of Paris, Canova carved this bust for his friend Antoine Quatremère de Quincy, a French Neoclassical theorist and critic who greatly influenced the sculptor’s artistic ideals. It depicts the moment in Greek mythology when the shepherd Paris, called upon by Zeus to judge who was the most beautiful among Hera, Athena, and Aphrodite, turns to gaze at the three goddesses. Canova exploited the subject to create an ideal head, balancing the geometry of pure forms with the sensuousness of Paris’s expression. Upon receipt of the gift, Quatremère stated: “There is in [the bust] a mixture of the heroic and the voluptuous, the noble and the amorous. I do not believe that in any other work you have ever combined such life, softness, and chaste purity.” Documents indicate that Canova made four full-length marble statues and at least seven busts of Paris, a clear indication of the sculpture’s popularity.

#Antonio Canova #Italy #Venetia #Ancient Greece #Greek #Hellenic #Paris (mythology)#religion #art

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talonabraxas · 3 years

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Quatremère de Quincy, Statue of Zeus at Olympia, 1815

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thejackmeister-mongolhistory · 5 years

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Primary sources related to the Mongol period

Primary sources are the most important part of any historical study, for they are one of the ways that information from the past is transferred to us. In my own videos I increasingly try to make greater use of them, and to aid in the efforts and interests of others, below I will link the english (and two french) translations I have found freely accessible online. Obviously, working with primary sources in the original language is best, but very difficult for the Mongol period considering the Feel free to add any which I have not included (if anyone has found an online copy of D.S. Richard's part 3 translation of Ibn al-Athir, that would be much obliged! Likewise, for the full text of Rashid al-Din)

If any links don't work, please let me know and I'l see if I can do anything about them. I tried to keep them roughly categorized, but the Bretscheinder/Henri Yule/Hakluyt Society works at the end didn't quite fit neatly into that. If you have a question about a particular source or who it was that wrote it, also feel free to ask. I do apologize for wonky formatting (due to the transition from Google Docs to websites!) or ramshackle citation (rather spur of the moment to share it).

Hopefully this helps people interested in the period!

SECRET HISTORY OF THE MONGOLS, and MONGOL-YUAN PERIOD

Cleaves, Francis Woodman. The Secret History of the Mongols: For the First Time Done into English and out of the Original Tongue and Provided with an Exegetical Commentary. Translated by Francis Woodman Cleaves. London: Harvard University Press, 1982. http://altaica.ru/SECRET/cleaves_shI.pdf

de Rachewiltz, Igor. The Secret History of the Mongols: A Mongolian Epic Chronicle of the Thirteenth Century. Translated by Igor de Rachewiltz. Edited by John C. Street. University of Wisconsin: Madison, 2015. http://cedar.wwu.edu/cgi/viewcontent.cgi?article=1003&context=cedarbooks (without his extensive annotations, unfortunately)

Kahn, Paul. The Secret History of the Mongols: The Origin of Chingis Khan (Expanded Edition) An adaption of the Yüan Ch’ao Pi Shih, Based Primarily on the English Translation by Francis Woodman Cleaves. Translated by Francis Woodman Cleaves. Cheng and Tsui Company: Boston, 1984. https://books.google.ca/books?id=GKCtl8BLaEsC&pg=PA191&dq=alan+guard+mongols&hl=en&sa=X&redir_esc=y#v=onepage&q=alan%20guard%20mongols&f=false

Onon, Urgunge. The Secret History of the Mongols: The Life and Times of Chinggis Khan. Translated by Urgunge Onon. RoutledgeCurzon Press: Abingdon, 2001. https://jigjids.files.wordpress.com/2011/05/the_secret_history_of_the_mongols_the_life_and_times_of_chinggis_khan1.pdf.

Kenneth W. Chase, “Mongol intentions towards Japan in 1266: Evidence from a Mongol letter to the Sung.” http://chinajapan.org/articles/09.2/09.2chase13-23.pdf

The Monks of Kublai Khan, Emperor of China or The History of the Life and Travels of Rabban Sawma, Envoy and Plenipotentiary of the Mongol Khans to the Kings of Europe, and Markos Who as Mar Yahbh-Allaha III Became Patriarch of the Church of the East in Asia. Translated by E.A Wallis Budge. London: Religious Tract Society: 1928. http://www.aina.org/books/mokk/mokk.htm

RUS

The Chronicle of Novgorod 1016-1471. Translated by Robert Michell and Nevill Forbes. Camden Third Series: London, 1914. http://faculty.washington.edu/dwaugh/rus/texts/MF1914.pdf

ARABIC

al-Maqrizi. Histoire des sultans Mamlouks de l’Égypte. Translated by Étienne Marc Quatremère. Paris: Oriental Translation fund of Great Britain and Ireland, 1845. https://archive.org/details/histoiredessulta01maqr

al-Nasawi, History of the Sulan Jelal al-Din Mingburnu, translated by O. Houdas http://remacle.org/bloodwolf/arabe/nesawi/sultan.htm (In french, but google translate did the site to a reasonable degree for me)

Juzjani. Ṭabaḳāt-i-Nāṣirï: A General History of the Muhammadan Dynasties of Asia. Vol. I. Translated by H.G Raverty. London: Gilbert & Rivington, 1881. https://archive.org/stream/in.ernet.dli.2015.23988?ui=embed#page/n5/mode/2up

Juzjani. Ṭabaḳāt-i-Nāṣirï: A General History of the Muhammadan Dynasties of Asia. Vol. II. Translated by H.G Raverty. London: Gilbert & Rivington, 1881. https://archive.org/stream/in.ernet.dli.2015.211407?ui=embed#page/n5/mode/2up

ARMENIAN

Kirakos Gandzakets'i's, History of the Armenians. Translated by Robert Bedrosian. 1996. https://archive.org/details/KirakosGanjaketsisHistoryOfTheArmenians

http://rbedrosian.com/kgtoc.html

Vardan Arewelt’si, Compilation of History. Translated by Robert Bedrosian.

https://archive.org/details/VardanAreweltsisCompilationOfHistory

http://rbedrosian.com/vaint.htm

Grigor Aknerts’i, History of the Nation of Archers. Translated by Robert Bedrosian. https://archive.org/details/GrigorAknertsisHistoryOfTheNationOfArchersmongols

Het’um of Corycus History of the Tartars/ The Flower of the Histories of the East. Translated by Robert Bedrosian. http://www.attalus.org/armenian/hetumtoc.html

King Hetum II’s Chronicle. Translated by Robert Bedrosian. https://archive.org/details/KingHetumIisChronicle

“The Journey of Het’um I, King of Little Armenia, to the Court of the Great Khan Mongke.” Translated by John Andrew Boyle.https://archive.org/details/KingHetumIisChronicle

https://archive.org/stream/Boyle1964Hetum/Boyle_1964_Hetum#mode/2up

Smbat Sparapet. Chronicle of the Kingdom of Little Armenia. Translated by Robert Bedrosian.

http://rbedrosian.com/cssint.htm

Smbat Sparapet. “Letter of Smbat Constable to Henry I of Cyprus, ca.1248.” Cathay and the Way Thither. Edited by Sir Henry Yule. London: Hakluyt Society, 1915. 262-263.

http://rbedrosian.com/lsmbat.htm

Step’annos Orbelean. History of the State of Sisakan. Translated by Robert Bedrosian.

http://rbedrosian.com/SO/sotoc.html

SYRIAC

Bar Hebraeus http://www.syriacstudies.com/AFSS/Syriac_Books_in_English/Entries/2009/9/30_Bar_Hebraeus_Chronography.html

PERSIAN/ILKHANATE

Hamadani, Rashid-al-din. The Successors of Genghis Khan. Translated by John Andrew Boyle. New York: Columbia University Press, 1971. https://archive.org/details/Boyle1971RashidAlDin. (not the full text of Rashid al-Din)

‘Ala-ad-Din ‘Ata-Malik Juvaini, The History of the World-Conqueror. Vol. I. Translated by John Andrew Boyle. Harvard: Harvard University Press, 1958. https://archive.org/details/historyoftheworl011691mbp/page/n8

‘Ala-ad-Din ‘Ata-Malik Juvaini, The History of the World-Conqueror. Vol. II. Translated by John Andrew Boyle. Harvard: Harvard University Press, 1958. https://archive.org/stream/historyoftheworl011648mbp?ui=embed#page/n8/mode/2up

CHAGATAI TURKIC

Mirza Muhammad Haidar Duglught Beg, Tarikh-i-Rashidi. (1500-1551) Chagatai Turko-Mongol general, ruler of Kashmir, first cousin of Babur. Wrote history of Timur’s conquests, Moghulistan.https://archive.org/details/TheTarikh-i-rashidi

EUROPEAN

Matthew Paris’s English History From the Year 1235-1273: Vol I. Translated by John A. Giles. London: Bohn’s Antiquarian Library, 1852. https://archive.org/stream/matthewparisseng01pari#page/n7/mode/2up

Matthew Paris vol II. https://archive.org/stream/matthewparisseng02pari#page/n5/mode/2up

Matthew Paris Vol III. https://archive.org/stream/matthewparisseng03pari#page/n3/mode/2up

(Paris mentions the Mongol invasions of Hungary in one of these volumes, but I couldn't remember which)

de Joinville, Jean. The Memoirs of the Lord of Joinville: A New English Version. Translated by Ethel Wedgewood. E.P Dutton and Co.: New York, 1906.

http://web.archive.org/web/20081011222823/http://etext.lib.virginia.edu/toc/modeng/public/WedLord.html

The Text and Versions of John de Plano Carpini and William de Rubruquis as printed for the first time by Hakluyt in 1598 together with some shorter pieces. Edited by C. Raymond Beazley. London: Hakluyt Society, 1903.

https://archive.org/stream/textsversionsofj00hakluoft#page/38/mode/2up

Polo, Marco. The Book of Ser Marco Polo, The Venetian: Concerning the Kingdoms and Marvels of the East. Translated by Henry Yule. London: John Murray, Albemarle Street, 1871. Vol 1. https://archive.org/details/bookofsermarcopo01polo.

Vol 2. https://archive.org/details/bookofsermarcopo02polo.

COLLECTIONS, VARIOUS.

Bretschneider, Medieval Research on Eastern Asiatic Sources, vol. I

https://archive.org/details/in.gov.ignca.10001/page/n7 (Extract from Yelu Chucai; Wu-ku-sun (1221-1224) Jin envoy to Mongols; Chang-chun; Si shi Ki (Ch’ang te); Ye-lu Hu Liang)

Bretschneider, vol. II

https://archive.org/details/in.gov.ignca.10013/page/n7

Bretschneider, Notes on Chinese Medieval Travellers to the West, 1875

https://play.google.com/books/reader?id=QwXwHwwtnYYC&hl=en&pg=GBS.PP9

(Si yu ki, Ch’ang-ch’un, 1221-1224; Si shi ki, Record of an embassy to the regions in the west, 1259-60; Pei shi ki, Wu-ku-sun account, 1220-1221; Extract from Si yu lu, Yelu Chucai 1219-1224)

Cathay and the Way Thither: Being a Collection of Medieval Notices of China. Translated by Henry Yule. Edited by Henri Cordier. Vol. 2. London: The Hakluyt Society, 1913. (Odoric of Pordenone.)

https://archive.org/stream/cathaywaythither02yule#page/n9/mode/2up.

Cathay and the Way Thither: Being a Collection of Medieval Notices of China. Translated by Henry Yule. Edited by Henri Cordier. Vol. 3. London: The Hakluyt Society, 1914. Missionary Friars (John of Montecorvino, Andrew Bishop of Zayton, Jordanus, Pasca of Vittoria)-(Rashid al-Din, when he discusses China)-Pegolotti -Marignolli https://archive.org/details/cathaywaythither03yule.

Cathay and the Way Thither: Being a Collection of Medieval Notices of China. Translated by Henry Yule. Edited by Henri Cordier. Vol. 4. London: The Hakluyt Society, 1916. Ibn Battuta (section of his works pertaining to China)- Benedict Goёs (1600s) https://archive.org/details/cathaywaythither04yule.

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