Buzási Enikő szerk.: In Europe' Princely Courts, Ádám Mányoki, Actors and venues of a portraitist's career (A Magyar Nemzeti Galéria kiadványai 2003/1)
János Kalmár: POWER AND THE PRINCELY COURT IN EARLY 18th-CENTURY EUROPE
in his work in 1715, that symmetry was one of the principle rules governing the arrangement of furniture, which should be placed in a way appropriate to their size, shape and colour. He adds that this principle can be studied through observing the construction of the human body. 103 The human body, with the head centred on top and the characteristic symmetrical construction downward, is the organising principle. A similar observation of the human body had its impact on the style of the formal courtyards (cour d'honneur) of Baroque/Classical palaces: two symmetrical wings of the building wrap around the courtyard - similar to human arms - while to the back the middle projection of the main part of the building (corps de logis) extends out toward the garden like a head. 104 A variation of all this could be observed beyond the court too, enlarged several times over in the ground plans of some residences or towns built at that time, such as Versailles or Rastatt. Here avenues radiating from the palace, as collecting point, determine the structure of the entire settlement, directing attention to ruler's residence. The symmetrical hierarchy set up to serve protocol manifested itself in the setting of the table for formal banquets held at court, to which the arrangement of platters and plates according to size and course bear witness. It was not by chance that the court's need for show played a decisive role in the establishment of porcelain manufacturers in Europe in the first half of the 18 th century. 105 Sets produced with identical patterns in sizes appropriate for their wide variety of functions signalled the refinement of court society's eating rituals, for now - unlike in the 17 th century - a separate plate and cutlery were used for every food and course. 106 Art Patronage The early modern royal court was a very important commissioner of both consumer goods and works of art. Starting from the 17 th century, before porcelain was manufactured in Europe, some rulers hoped to reduce costs by establishing silk manufactories in their places of primary residence (Vienna, Munich, and Dresden) instead of buying expensive Chinese, Venetian, and later Lyonese products. 107 With this and their commissions for other, mainly luxury hand-crafted goods, they ensured work and a livelihood for people living in the areas of the city outside the court. This further contributed to the development of the infrastructure chiefly through the expansion and improvement in quality of the road-network. 108 The ruling centre also continuously employed numerous artists of all kinds, rendering it a stylistic centre as well. 109 Every aspect of court life was aesthetically
