Camera da un hotel nel Cours d'Albret, Bordeaux ca. 1785, con aggiunte successive Carving attribuito a Barthélemy Cabirol Bordeaux, un importante porto marittimo sulla Garonna nel sud-ovest della Francia, ha sperimentato una crescita economica e demografica senza precedenti durante la seconda metà del XVIII secolo. A quel tempo la città medievale fu abbellita e modernizzata con nuove case e strade. Il viaggiatore britannico Arthur Young (1741–1820) ha sottolineato questo alla fine del 1780s: “tanto come avevo letto e sentito parlare del commercio, della ricchezza e della magnificenza di questa città, hanno superato notevolmente le mie aspettative.

• Collaboratore: MET/BOT / Alamy Foto Stock
• ID dell’immagine: 2HJ0ERB
• Dimensioni dei file: 32,3 MB (1,2 MB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 2914 x 3880 px | 24,7 x 32,9 cm | 9,7 x 12,9 inches | 300dpi
• Data acquisizione: 22 gennaio 2022

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Room from a hotel in the Cours d'Albret, Bordeaux ca. 1785, with later additions Carving attributed to Barthélemy Cabirol Bordeaux, an important seaport on the Garonne River in southwest France, experienced unprecedented economic and demographic growth during the second half of the eighteenth century. At that time the medieval city was beautified and modernized with new houses and streets. The British traveler Arthur Young (1741–1820) remarked on this in the late 1780s: “Much as I had read and heard of the commerce, wealth, and magnificence of this city, they greatly surpassed my expectations.. The new houses that are building in all quarters of the town, mark, too clearly to be misunderstood, the prosperity of the place.”[1]The Museum’s delightful small and intimate room is believed to have come from the Hôtel de Saint-Marc on the cours d’Albret, one of the recently laid out avenues. This residence was built between 1782 and 1784 by an unknown architect for the king’s minister Joseph Dufour. It was named, however, after Jean-Paul-André des Rasins (also Razins), the marquis de Saint-Marc (1728–1818 ), who became its second owner in 1787, having purchased not only the building but also the mirrors, tapestries, and other interior decoration. Formerly an officer in the Régiment des Gardes Françaises, the marquis de Saint-Marc retired in 1762 and then devoted himself to writing scripts for opera and ballet, poetry, and educational pieces for children. The presence of a circular room to the left of the entrance facing the courtyard of his mansion makes it plausible that the Museum’s paneling was originally installed there. A dumbwaiter in the kitchen directly below suggests that the room may have been the setting for private dinner or supper parties. The walls are rhythmically divided by eight long and narrow panels flanking the double doors, wall niches, windows, and mirrors. Displaying arabesques consisting of trophies symbolic of various arts and f