D\u00e8s 1540, la France pr\u00e9pare sa seconde Renaissance. Cette derni\u00e8re est intrins\u00e8quement li\u00e9e \u00e0 la red\u00e9couverte du monde antique. Le d\u00e9veloppement de l\u2019imprimerie ainsi que les graveurs permettent la circulation des ouvrages et des mod\u00e8les de villes en villes et de pays en pays.<\/p>\n
L\u2019influence italienne<\/b> est alors palpable dans tous les domaines artistiques. Tandis que le roi de France confie de grands chantiers aux artistes italiens les plus talentueux (Le Rosso et Primatice d\u00e8s 1530 et 1532 \u00e0 Fontainebleau), le s\u00e9jour italien apparait indispensable \u00e0 la formation des artistes fran\u00e7ais qui souhaitent d\u00e9couvrir ce style nouveau. <\/span><\/span>En Italie, ils se familiarisent avec les travaux de Leon Battista Alberti qui le premier th\u00e9orisa la perspective (De pictura<\/u><\/i>, 1435-1436) et l\u2019architecture (De re \u00e6dificatoria<\/u><\/i>, 1541).<\/b> Ces deux ouvrages eurent une grande <\/span>r\u00e9sonance et r\u00e9volutionn\u00e8rent les arts.<\/span><\/span><\/p>\n Le mobilier fut ainsi marqu\u00e9 par les travaux des principaux architectes italiens de cette \u00e9poque, et les architectes fran\u00e7ais ne furent pas en reste. Ainsi, rivalisant avec Alberti, Philibert de l\u2019Orme se consacra \u00e0 la fin de sa vie, \u00e0 la r\u00e9daction de plusieurs ouvrages, notamment un trait\u00e9 th\u00e9orique sur l\u2019Architecture (1567) dont il ne put r\u00e9diger le second tome. Il y d\u00e9montre son grand int\u00e9r\u00eat pour les normes math\u00e9matiques appliqu\u00e9es \u00e0 l\u2019architecture et copi\u00e9es de l\u2019antique. Ses voyages en Italie lui permirent d\u2019accumuler les r\u00e9f\u00e9rences artistiques les plus sophistiqu\u00e9es.<\/p>\n Jean Bullant autre architecte de grand talent f\u00fbt lui aussi th\u00e9oricien de son art. Il \u00e9dicta les r\u00e8gles caract\u00e9risant l\u2019art gr\u00e9co-romain, en gardant une grande fid\u00e9lit\u00e9 aux travaux de Vitruve.<\/p>\n Suivant cette inspiration nouvelle, la structure et l\u2019ornementation du mobilier \u00e9voluent. D\u00e9sormais, le mobilier se pare de colonnes, chapiteaux, corniches, frises et architraves. L\u2019ornementation trouve elle aussi son inspiration dans l\u2019architecture antique : oves, palmettes et rosace viennent ainsi garnir les plus belles r\u00e9alisations.<\/p>\n A Lyon<\/b>, carrefour g\u00e9ographique o\u00f9 se c\u00f4toient les marchands du monde entier, ces recherches nouvelles sont particuli\u00e8rement bien assimil\u00e9es. La florissante imprimerie lyonnaise favorise la diffusion des mod\u00e8les et des ouvrages de r\u00e9f\u00e9rence devenus indispensables au travail des artistes. Ainsi, la premi\u00e8re \u00e9dition en France du De architectura <\/u><\/i>de Vitruve sera r\u00e9alis\u00e9e \u00e0 Lyon en 1523.<\/b><\/p>\n <\/b>C\u2019est donc tr\u00e8s t\u00f4t que les artistes lyonnais red\u00e9couvrent ce savoir antique et se familiarisent avec l\u2019art de la Renaissance italienne<\/b>. Ainsi, ils s\u2019approprient ces id\u00e9es nouvelles et les mettent au service de leurs propres r\u00e9alisations.<\/p>\n Les huchiers lyonnais r\u00e9interpr\u00e8tent alors l\u2019architecture antique et des palais italiens de la Renaissance pour conf\u00e9rer \u00e0 leur r\u00e9alisation une structure architecturale tr\u00e8s pure et harmonieuse.<\/p>\n Les pilastres cannel\u00e9s sont mis \u00e0 l\u2019honneur. Ils sont surmont\u00e9s des chapiteaux d\u2019ordre divers respectant toujours le bon ordonnancement de ces derniers (les ordres les plus simples et les plus d\u00e9pouill\u00e9s pour les \u00e9tages inf\u00e9rieurs, les plus orn\u00e9s pour les \u00e9tages sup\u00e9rieurs).<\/p>\n Concernant l\u2019ornementation, l\u2019une des grandes originalit\u00e9s de ce que l\u2019on pourrait presque qualifier de style lyonnais reste les trompe-l\u2019\u0153il \u00e0 perspectives d\u2019architecture, illustrant l\u2019influence toscane.<\/b><\/p>\n <\/b>V\u00e9ritable chef-d\u2019\u0153uvre de la Seconde Renaissance fran\u00e7aise, cet important meuble illustre parfaitement ce go\u00fbt des ateliers lyonnais pour la belle ordonnance de l\u2019architecture italienne inspir\u00e9e de l\u2019antiquit\u00e9. Une perspective architecturale d\u2019une extr\u00eame qualit\u00e9 formant une composition en miroir se d\u00e9ploie sur chacun des panneaux.<\/p>\n Ce cabinet \u00e0 deux corps sans retrait repose sur quatre pieds de section rectangulaire. Il s\u2019\u00e9l\u00e8ve sur une base compos\u00e9e d\u2019une moulure, d\u2019une frise de palmette, bord\u00e9e d\u2019une tresse.<\/p>\n Le corps inf\u00e9rieur est scand\u00e9 par trois pilastres cannel\u00e9s \u00e0 chapiteaux toscans encadrant deux vantaux. Les deux panneaux sont ceints d\u2019un cadre \u00e0 moulure et palmettes. Ils sont admirablement sculpt\u00e9s d\u2019un d\u00e9cor d\u2019architecture fantasm\u00e9e figurant des fa\u00e7ades de palais de la Renaissance italienne, construit sym\u00e9triquement de part et d\u2019autre d\u2019un pilastre cannel\u00e9. Au rez-de-chauss\u00e9e, une porte s\u2019ouvre sous un arc surhauss\u00e9 tandis que les \u00e9tages sont perc\u00e9s de fen\u00eatres \u00e0 meneaux, de lucarnes et d\u2019oculi. Deux imposants piliers au parement \u00e0 bossage piquet\u00e9 portent un entablement, orn\u00e9 d\u2019une frise de palmette, sur lequel repose un arc en plein cintre \u00e0 l\u2019intrados \u00e0 caisson \u00e0 rosace central. Derri\u00e8re cette arcade, une pyramide se dessine devant une autre fa\u00e7ade dont la fen\u00eatre \u00e0 fronton curviligne bris\u00e9 est abrit\u00e9e sous un cul-de-four garni d\u2019une coquille.<\/p>\n Le dallage en damier qui construit les lignes de fuite donne beaucoup de profondeur \u00e0 ces reliefs, structure les panneaux et dirige l\u2019\u0153il du spectateur.<\/p>\n Un fin tore laur\u00e9 souligne la ceinture o\u00f9 se d\u00e9voile deux tiroirs aux fa\u00e7ades d\u00e9cor\u00e9es de palmettes circonscrites dans un arceau.<\/p>\n Le corps sup\u00e9rieur est bord\u00e9 de palmettes. Il reprend la m\u00eame division tripartite que le pr\u00e9c\u00e9dent. Toutefois, les pilastres sont couronn\u00e9s de chapiteaux d\u2019ordre ionique \u00e0 volute et oves. Les vantaux sont quant \u00e0 eux enserr\u00e9 dans des cadres orn\u00e9s de fleurettes.<\/p>\n Sur les panneaux, l\u2019artiste a \u00e9labor\u00e9 un autre d\u00e9cor d\u2019architecture. Au premier plan s\u2019ouvre deux arcs reposant sur des pilastres cannel\u00e9s dont les chapiteaux rectangulaires d\u00e9cor\u00e9s de palmettes soutiennent deux arcades d\u00e9cor\u00e9es d\u2019une tresse et dont l\u2019intrados \u00e0 caisson est sculpt\u00e9 de roses. Les \u00e9coin\u00e7ons sont garnis de fleurs. Au second plan, une autre arcature abrite une colonne cannel\u00e9e au f\u00fbt galb\u00e9 portant un chapiteau \u00e0 double corbeille de feuilles d\u2019acanthes, caract\u00e9ristique de l\u2019ordre corinthien. Un fronton triangulaire interrompu par un chou bourguignon surmonte l\u2019arc.<\/p>\n Une imposante corniche surmonte le meuble. Reposant sur les pilastres, elle forme ainsi un entablement, compos\u00e9 d\u2019une frise de palmette et d\u2019une corniche sculpt\u00e9e d\u2019oves, de triglyphes et de palmettes.<\/p>\n Les c\u00f4t\u00e9s du meuble ont \u00e9galement b\u00e9n\u00e9fici\u00e9s d\u2019une grande attention. Les panneaux du corps inf\u00e9rieur sont orn\u00e9s d\u2019une arcade en plein-cintre sous laquelle un portique \u00e0 fronton interrompu abrite une colonne torse. Des fleurs garnissent les \u00e9coin\u00e7ons. Une fa\u00e7ade d\u2019architecture compl\u00e8te le d\u00e9cor. Les panneaux du corps sup\u00e9rieur comportent deux arcades vo\u00fbt\u00e9es en plein cintre, soutenue de part et d\u2019autre par une fa\u00e7ade perc\u00e9e d\u2019une porte de lucarne et de fen\u00eatres et d\u00e9cor\u00e9e de cartouches (dont l\u2019un porte la date de r\u00e9alisation de ce meuble de 1580) <\/b>qui semblent nous mener \u00e0 l\u2019int\u00e9rieur d\u2019un palais italien, ainsi que le sugg\u00e8re le lustre. Notre regard est guid\u00e9 gr\u00e2ce au dallage vers une seconde arcade en plein cintre au fronton curviligne interrompu par un vase, ouvrant la perspective sur une fa\u00e7ade semblant border le chemin.<\/p>\n A l\u2019int\u00e9rieur du meuble, sur les vantaux inf\u00e9rieurs, se d\u00e9voilent deux gravures. Sur la porte de droite, est repr\u00e9sent\u00e9e une Crucifixion. Sainte Marie et saint Jean se trouvent de part et d\u2019autre du Christ sur la croix. Dans la partie inf\u00e9rieure de la gravure la l\u00e9gende indique : \u00ab Dure uiator abis nihil haec spectacula curas \/ Pendenti cum sis unica cura Deo. \/ Tota suo moriente dolet natura Magistro. \/ Nil qui solus eras caussa dolenda doles. \u00ab\u00a0<\/i><\/p>\n La signature [Christoff Swartz Monachiensis pinx[it] \/ Ioa[nnes] Sadeler sculp[it]] nous indique que la gravure f\u00fbt r\u00e9alis\u00e9e par Johann Sadeler I (1550\u20131600\/160) d\u2019apr\u00e8s Christoph Schwarz (1548\u20131592).<\/p>\n Cette gravure fait partir de la s\u00e9rie de \u00ab La Passion du Christ <\/i>\u00bb que Johann Sadeler r\u00e9alisa en 1589 d\u2019apr\u00e8s un retable peint par Christoph Schwarz pour la chapelle priv\u00e9e de Ren\u00e9e de Lorraine, \u00e9pouse du duc Guillaume V de Bavi\u00e8re. Ce retable compos\u00e9 de neuf panneaux en cuivre fut d\u00e9truit au XIXe si\u00e8cle. Le panneau de la Crucufixion, qui a seul surv\u00e9cu, se trouvait au centre du retable. Il est aujourd\u2019hui conserv\u00e9 \u00e0 la Alte Pinakothek de M\u00fcnich.<\/p>\n Sur la porte de gauche la gravure repr\u00e9sente Saint Fran\u00e7ois recevant les stigmates.\u00a0<\/p>\n La l\u00e9gende indique : \u00ab\u00a0Signastidomine Servum Tuum. Franciscum. Signis Redemptionis Nostrae<\/i> \u00ab\u00a0<\/p>\n Ce Cabinet de la Renaissance lyonnaise dont l\u2019architecture s\u2019affirme aussi bien dans sa structure fid\u00e8le aux normes antiques que dans l\u2019ornementation de ses panneaux, r\u00e9v\u00e8le la grande maitrise des ateliers lyonnais qui sont \u00e0 l\u2019origine de sa r\u00e9alisation.<\/p>\n Sculpteurs et huchiers travaillent ici en symbiose pour exprimer et traduire avec un m\u00eame talent les perspectives architecturales ultramontaines.<\/p>\n La r\u00e9alisation des panneaux allie \u00e0 la fois d\u00e9licatesse et soucis du d\u00e9tail qui va m\u00eame jusqu\u2019\u00e0 figurer les volets des fen\u00eatres ou encore le bossage particulier des parements. Ainsi, rien n\u2019est laiss\u00e9 au hasard mais au contraire traduit la parfaite connaissance du sculpteur des recherches tant en mati\u00e8re de perspective que d\u2019architecture, faisant ainsi preuve de toute sa maestria.<\/p>\n La qualit\u00e9 d\u2019ex\u00e9cution, le sens des proportions et des volumes donn\u00e9s \u00e0 la structure et le raffinement du travail de sculpture font de ce cabinet un v\u00e9ritable chef-d\u2019\u0153uvre de la seconde Renaissance fran\u00e7aise.<\/p>\n La pr\u00e9sence de la date \u00e0 laquelle il fut ex\u00e9cut\u00e9 concourt \u00e0 sa raret\u00e9 tout en nous fournissant des indications pr\u00e9cieuses sur l\u2019\u00e9volution du mobilier \u00e0 cette \u00e9poque.<\/p>\n Le commanditaire de ce meuble \u00e9tait sans nul doute un v\u00e9ritable esth\u00e8te d\u00e9sireux de poss\u00e9der un meuble de grande qualit\u00e9 qui traduirait les recherches stylistiques les plus innovantes de son temps.<\/p>\n Bibliographie<\/b><\/p>\n <\/b>Ludmila Virassamyna\u00efken (dir), Art et Humanisme Lyon Renaissance<\/i>, Somogy, Paris, 2015<\/p>\n Evelyne Thomas, Vocabulaire illustr\u00e9 de l\u2019ornement<\/i>, Eyroles, Paris, 2e<\/sup> \u00e9dition, 2016<\/p>\n Jacqueline Boccador, Le mobilier fran\u00e7ais du Moyen \u00c2ge \u00e0 la Renaissance<\/i>, Edition d\u2019Art Monelle Hayot, 1988<\/p>\n As soon as 1540 France’s second Renaissance is in the making, intimately linked to the rediscovery of the Antique world. The development of the printing and engraving industry allows the spread of artworks and models in many cities and countries. The Italian influence can be perceived in every artistic field. While the French king entrust the most talented Italian artists with major projects such as Il Rosso or Primaticcio in Fontainebleau, French artists also travel to Italy to form themselves to this new style. In Italy they get acquainted with the work of Leo Battista Alberti the first to theorize perspective (De Pictura, 1435-36) and architecture (De re oedificatoria, 1541)<\/b>. Those two publications would have a revolutionary impact on arts.<\/span><\/em><\/p>\n Furniture is marked by the work of the most famous Italian architects of the time as well as French architects. Indeed Philibert de l’Orme competes with Alberti and by the end of his life publishes several treaties including one devoted to a theory of architecture (1567). Unfortunately he would not live to complete the second volume. In this treaty he expresses his interest for mathematical norms applied to architecture, copied from the Antique. His journeys in Italy allowed him to accumulate the most sophisticated references. Jean Bullant, another architect of great talent also theorizes his practice. He establishes rules characterizing Greco-Roman art staying faithful to Vitruvius.<\/span><\/em><\/p>\n Following this new inspiration the structure of furniture evolves. From then on appear columns, capitals, cornices, friezes and architraves. The ornamentation uses this inspiration as well with egg-and-dart, palm leaf and rose adorning the most beautiful pieces.<\/span><\/em><\/p>\n In Lyon<\/span><\/b>, crossroad where meet merchants from everywhere those new experiments are welcomed. Lyon florishing printing industry allows the spreading of models and treaties essential to the artist’s work. Thus the first publication of Vitruvius’ De Architectura in France would be printed in Lyon in 1532.<\/b><\/span><\/em><\/p>\n Artists from Lyon rediscover and familiarize themselves with the Antique knowledge very early.<\/span><\/b> They adopt those new ideas and use them in their own creations. Lyon cabinet-makers re interpret Antique architecture and Italian Renaissance palaces to give their pieces a pure and harmonious architectural structure. Grooved pilasters are particularly favored. They are topped by capitals of diverse orders always respecting the sequencing with simpler ones for the lower levels and the richest ones on the higher levels. As for the ornamentation, one of the great distinctiveness of Lyon workshops remains the architectural perspective illusions, drawing inspiration from Tuscany.<\/b><\/span><\/em><\/p>\n True masterpiece of the Second French Renaissance this important cabinet illustrates Lyon workshops’ taste for fine Italian architecture inspired by Antiquity. An architectural perspective of great quality is treated in symmetry on each panel.<\/span><\/em><\/p>\n This two-bodied cabinet without recess stands on four rectangular feet. The base comprises a molding, a palm leaf frieze and is bordered by a braid.<\/span>\u00a0<\/span><\/em><\/p>\n The lower body is divided by three grooved pilasters with Tuscan capitals framing two door-leaves. The two panels are encircled by a moudled frame with palm leaves. They are finely carved with a decor of fantasized architecture depicting an Italian Renaissance palace erected symmetrically on each side of a grooved pilaster. On the ground floor a door opens through a stilted arch while the stories are opened with mullioned windows, dormers and occuli. Two large pegged-boss cladded pillars support the entablature enriched by a palm leaf frieze upon which stands an arch whose coffered intrados is centred by a rose. Behind this arch a pyramid appears, standing in front of a second facade with a window topped by a broken curvilinear pediment under a cul-de-four with a shell.<\/span><\/em><\/p>\n The checker flooring gives depth to the low-reliefs creating vanishing points structuring the panels and guiding the eye of the observer.<\/span><\/em><\/p>\n A thin laurel braid highlights the belt of the cabinet where are located two drawers. Their facades are adorned by palm leaves in hoops.<\/span><\/em><\/p>\n The upper body is encircled with palm leaves. The same ternary division as in the lower body appears. However, the pilasters are topped by Ionic capitals with volutes and egg-and-dart. The door-leaves are framed with flowers. On the panels the artist has designed another architectural decor. On the foreground open two arches on top of grooved pilasters with rectangular capitals adorned with palm leaves. The arches are enriched with braids and the coffered intrados bears a decor of roses. The spandrels also bear a flower decor. In the background another arcature hosts a fluted grooved column topped with double basket acanthus capital, characteristic of Corinthian order. The triangular pediment is interrupted by a choux bourguignon.<\/span><\/em><\/p>\n A large cornice crowns the cabinet. It stands on pilasters and forms an entablature comprising a palm leaf frieze and an egg-and-dart, triglyph and palm leaf cornice.<\/span><\/em><\/p>\n The cabinet’s sides have also been carefully considered. The lower body’s panels are enriched with an arch rising above a broken pediment portico hosting a twisted column. Flowers garnish the spandrels. An architectural facade completes the decor. The upper body’s panels present two arches supported by a facade opened with dormers and mullioned windows as well as cartouches (one bears the inscription 1580 dating the cabinet<\/b>) suggesting the interior of an Italian Renaissance palace, confirmed by the chandeliers. The flooring leads our gaze to a second arch with a broken curvilinear pediment where stands a flower vase. This arch opens onto a perspective of another facade along a road.<\/span><\/em><\/p>\n Inside the cabinet, on the lower body door-leaves appear two designs. On the right door is depicted a Crucifixion. Saint Mary and Saint John flank the Christ on the cross. In the bottom part is inscribed \u00ab\u00a0Dure uiator abis nihil haec spectacula curas \/ Pendenti cum sis unica cura Deo. \/ Tota suo moriente dolet natura Magistro. \/ Nil qui solus eras caussa dolenda doles.\u00a0\u00bb. The signature [Christoff Swartz Monachiensis pinx[it] \/ Ioa[nnes] Sadeler sculp[it]] tells us it was made by Johan Sadeler I (1550-1600) after Christoph Schwartz (1548-1592). This engraving belongs to an ensemble depicting the Passion of Christ Johan Sadeler executed in 1589 after an altar piece painted by Christoph Schwartz for the private chapel of Ren\u00e9e of Loraine, wife of Duke William V of Bavaria. This altar piece made of nine copper panels has been destroyed during the 19th<\/sup> century. The Crucifixion panel once in the centre of the altar piece is the only one that survived and is today kept in Munich’s Alte Pinakothek.<\/span><\/em><\/p>\n On the left door appears Saint Francis receiving the stigmata. The inscription says\u00a0 : \u00ab Signastidomine Servum Tuum. Franciscum. Signis Redemptionis Nostrae \u00bb.<\/span><\/em><\/p>\n This Renaissance cabinet with an architectural decor appearing as much in the structure faithful to Antique rules as in the ornaments of its panels demonstrate the artistry of the Lyon workshops from where it originates. Sculptors and cabinet-makers worked hand in hand to express and translate with a unique talent Ital ian architectural perspectives.<\/span><\/em><\/p>\n The making of the panels conjures both delicacy and attention to details going as far as depicting the shutters of the windows or the specific wall’s boss. Nothing is left to chance and it translates the excellent knowledge of the master sculptors regarding perspective and architecture.<\/span><\/em><\/p>\n Because of its quality of execution, the sense of proportions, the volumes of the structure and the refinement of the sculptures this cabinet is an absolute masterpiece of the French Second Renaissance. The inscription of the date of execution gives its rarity to the cabinet and is a precious element to study the evolution of furniture making at the time.<\/span><\/em><\/p>\n The patron who commissioned the cabinet was undoubtedly a true art lover wanting to possess a piece of furniture of exquisite quality expressing the most modern stylistic experiments of his time.<\/span><\/em><\/p>\n Bibliography<\/span><\/b><\/em><\/p>\n <\/b>Ludmila Virassamyna\u00efken (dir), Art et Humanisme Lyon Renaissance, Somogy, Paris, 2015<\/span><\/em><\/p>\n Evelyne Thomas, Vocabulaire illustr\u00e9 de l\u2019ornement, Eyroles, Paris, 2e<\/sup> \u00e9dition, 2016<\/span><\/em><\/p>\n Jacqueline Boccador, Le mobilier fran\u00e7ais du Moyen \u00c2ge \u00e0 la Renaissance, Edition d\u2019Art Monelle Hayot, 1988<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" IMPORTANT CABINET \u00c0 PERSPECTIVES DE LA RENAISSANCE LYONNAISE<\/strong> IMPORTANT RENAISSANCE CABINET FROM LYON WITH A DECOR OF PERSPECTIVES<\/i><\/b>
\n
ORIGINE : FRANCE, LYON<\/strong>
P\u00c9RIODE : XVIe SI\u00c8CLE, 1580<\/strong>
Hauteur : 222 cm
Largeur : 190 cm
Profondeur : 69 cm
Bois de noyer
Bon \u00e9tat de conservation<\/p>\n<\/h3>\n
ORIGIN : FRANCE, LYON<\/em><\/strong>
PERIOD : 16th CENTURY, 1580<\/em><\/strong>
Height : 222 cm<\/em>
Length : 190 cm<\/em>
Depth : 69 cm<\/em>
Walnut<\/em>
Very fine condition<\/em><\/p>\n","protected":false},"featured_media":13903,"template":"","meta":[],"product_brand":[],"product_cat":[224],"product_tag":[],"class_list":{"0":"post-13881","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-laroche","7":"description-off","9":"first","10":"instock","11":"shipping-taxable","12":"product-type-simple"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product\/13881","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media\/13903"}],"wp:attachment":[{"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/media?parent=13881"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_brand?post=13881"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_cat?post=13881"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.carrerivegauche.com\/fr\/wp-json\/wp\/v2\/product_tag?post=13881"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}