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In the architecture of Banat zone two Secession trends have emerged. Secession architecture of Timişoara can be followed through the history of its urban development in the late19th century until the1930s.Its Secession architecture concerns industrial, commercial or public objectives as well as residential palaces or cultural, educational and religious buildings. In this essay, through representative extracts of her epistolary narrative, I will try to show how Lady Montagu systematically debunked the stereotyped image of the Orient that her male predecessors had instrumentally propagated in early modern England.Ībstract The city of Timişoara is located to the Southwest of Romania, in the Banat region. For this reason, in the well-known 'Embassy Letters' she posted to relatives and friends during her Turkish sojourn, she discredited the authors of those travel accounts, who failed to tell the truth but conveyed what was partial and erroneous, and continually emphasised the authenticity of her experience. Living for almost two years in the Ottoman Empire offered the English gentlewoman the possibility not only to appreciate the customs and mores of the local people, but also to realize how false and groundless were many of the ideas she had heard about the Turks. Here, the Whig politician Edward had been appointed ambassador extraordinary of George I to Sultan Ahmet III and representative of the Levant Company to the Sublime Porte. In the summer of 1716, Lady Mary Wortley Montagu undertook a long journey across Europe and the Eastern Mediterranean to accompany her husband to Constantinople. Their main goal, however, is not to gain profit from their activity: they consider financial issues a technical problem, which has to be solved in order to promote their art in as many languages and places as possible. Baal and Béhar point out that in these letters the artists are not secretive about the financial problems, which they had to struggle with.

In their work the authors published 19 letters written by the Hungarian avant-garde artists to Tzara during the 1920s and the 1930s. The current essay is based on a study written by Georges Baal and Henri Béhar in 1990. The first one offers a retrospective survey of the flourishing period of the historical avantgarde and provides an insight into the ways of publishing avant-garde art pieces in the early 1920s, while the other three letters report about French and Hungarian cultural life in the 1950s. The essay deals with four unpublished letters between the Dadaist Tristan Tzara (1896-1963) and the Hungarian avant-garde artist Lajos Kassák (1887-1967). 2013: Quarant’anni d’avanguardia: quattro lettere inedite di Tristan Tzara e Lajos Kassák in Ioana Bot, Angela Tarantino (ed.), Storia, identità e canoni letterari, Firenze University Press, Florence, pp.

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