Genre prestigieux héritier d’une longue tradition, la peinture d'histoire connaît de multiples évolutions tout au long du XIXe siècle. Sous le Second Empire, régime longtemps affecté par sa « légende noire », ce genre restait encore à définir. Il présente des caractéristiques qui l’inscrivent véritablement dans son siècle, tout en lui conférant une originalité : émanation de la peinture d'histoire et de ses mutations dans la première moitié du siècle, précurseur de sa reformulation sous la Troisième République, la peinture d'histoire sous le Second Empire est marquée par la singularité. L’étude des représentations de l’histoire peintes entre 1860 et 1870 en est révélatrice. D’emblée, la corrélation entre les créations et le terme même de « peinture d'histoire » pose question. En effet, tout en se maintenant dans un sujet classique (historique), ces « peintures à sujet historique » se rapprochent tour à tour de la peinture de genre et du genre historique, et sont contaminées par le réalisme et le goût de la couleur locale. Si l’expression académique de « peinture d'histoire » convient encore à la peinture de bataille, cette dernière subit aussi les assauts de la modernité et connaît une mutation sous la forme spécifique de la peinture militaire. La démarche des peintres de sujets historiques présente des récurrences. Un important travail préparatoire, à partir de textes, de sources voire de découvertes archéologiques, est mis au service de reconstitutions positivistes des événements, permettant de susciter l’intérêt du public. Le choix des sujets varie selon les intentions : édifier le spectateur, montrer un passé idéalisé utilisé comme répertoire de sujets émouvants, ou encore exposer une idéologie. Au-delà de la dimension historiciste d’éducation par le passé national, ces œuvres donnent à voir un certain état de la pensée historique, des principaux courants d’idées qui ont influencé les peintres. Plus encore, ces derniers véhiculent et diffusent une conception de l’histoire qui rejaillit sur leur présent par l’intermédiaire de la presse et de l’illustration, et ils contribuent ainsi à construire l’image qui va s’ancrer dans les mémoires. Support traditionnel de propagande et de « fabrication » du pouvoir, la peinture d’histoire conduit à se poser la question des pratiques culturelles du gouvernement du Second Empire. L’instrumentalisation de l’image par l’État est réelle, mais se cantonne aux peintures de bataille et aux figurations du faste impérial. Napoléon III, dans sa politique d’acquisition, s’adapte aux créations plus qu’il ne les génère. En revanche, il exerce une influence indirecte : la mise en scène de sa personne, du couple impérial et de ses goûts historiques, offre une série de thèmes exploités par les peintres. La peinture à sujet historique n’est pas instrumentalisée dans le cadre des envois de l’État. Les élites locales jouent un rôle essentiel dans le développement de ce genre : municipalités et Sociétés savantes, édiles et érudits encouragent les créations sur l’histoire nationale ou locale. La représentation de l’histoire entre 1860 et 1870 donne à voir la place primordiale de l’histoire, dans ses aspects savants et populaires, à échelle nationale et locale, inspirée par le sentiment d’attachement à la « petite patrie » comme à la nation / Prestigious genre, heir to a long tradition, the history painting experiences multiple evolutions throughout the 19th century. Under the Second Empire, for a long time a regime marked by its "black legend", the genre still remained to be defined. Its characteristics fix it deeply in its century, while conferring it an originality : an emanation of the history painting and its transformations in the first half of the century, a precursor of its reformulation under the Third Republic, the history painting under the Second Empire is marked by its singularity. The study of the representations of history painted between 1860 and 1870 is revealing there. Straightaway, the correlation between the creations and the term of "history painting" raises questions. Indeed, while remaining in a classic subject (history), these "paintings on historic subject" get closer alternately to the genre painting and the historic genre, and are contaminated by the realism and the interest in the local colour. If the academic expression of "history painting" still suits for the painting of battle, the latter is also touched by the modernity and transformed into military painting. The approach of the painters of historic subjects presents recurrences. An important preparatory work, on texts, sources, even archaeological discoveries, is put in the service of positivist reconstructions of the events, in order to raise the interest of the public. The choice of the subjects varies according to the intentions: educate the spectator, show an idealised past used as directory of moving scenes, or develop an ideology. Beyond the historicist dimension of education about the national past, these pieces of art show a certain state of the historic thought, the main currents of ideas that influenced the painters. Moreover, the latter convey and spread a conception of history that reaches the contemporary through the press and the illustration, and so they contribute to build the image that will be anchored in the memory. A traditional mean of propaganda and "manufacturing" of the power, the history painting raises the question of the cultural practices of the government of the Second Empire. The instrumentalisation of the image by the State is real, but is restricted to the paintings of battle and of the imperial splendour. Napoleon III, in his acquisition policy, adapts himself to the creations more than he generates them. On the other hand, he exercises an indirect influence: the staging of his person, the imperial couple and its tastes in history, offer a series of themes exploited by the painters. The painting of historic subject is not instrumentalised within the framework of the envois of the State. The local elites play an essential role in the development of this genre: municipalities and Learned societies, town councillors and scholars encourage creations on national or local history. The representation of the history between 1860 and 1870 reveals the essential place of history, in its erudite and popular aspects, on a national and local scale, inspired by the feeling of attachment to the "small homeland" as well as the nation.

Elève à l’école des Beaux-arts de Paris, premier prix de Rome à l’âge de 23 ans, Théodore Ballu (1817-1885) prolonge sa formation à l’Ecole française de Rome, et en Grèce, avant même l’ouverture de l’Ecole française d’Athènes. Sa carrière d’architecte, longue d’une trentaine d’années, est exceptionnelle. Auteur d’un quart des églises parisiennes construites sous le Second Empire, de l’Hôtel de Ville de Paris en collaboration avec Deperthes, et de plusieurs édifices ou monuments civils, il est un représentant majeur de l’éclectisme architectural. Ses édifices religieux auront une influence sur ses contemporains et sur la jeune génération d’architectes. Formé par son père et par Auguste Magne, Albert Ballu (1849-1939) a une carrière multiple et internationale : auteur du palais de justice néo-classique de Charleroi et de celui plus éclectique de Bucarest, il adapte ses autres productions aux techniques architecturales du tournant du XXe siècle. Architecte diocésain et architecte en chef des monuments historiques, il s’investit beaucoup en Algérie, jusqu’aux années 1920, où il fouille les grands sites romains, restaure les édifices religieux et construit des édifices variés. Chef de file de la valorisation de l’Algérie romaine et musulmane, il est l’architecte restaurateur de très nombreux édifices diocésains et monuments historiques, spécialement dans les départements des Charentes, en Bretagne et en Corse. Il se spécialise, aussi, dès 1889, dans la construction de pavillons d’expositions universelles. Résultant d’une étude détaillée de la vie et de l’oeuvre de ces architectes, cette thèse évalue leur importance dans la mise en place de modèles architecturaux et dans l’orientation des restaurations architecturales des années 1850 à 1920. / Théodore Ballu (1817-1885) was a pupil at the Ecole des Beaux-arts in Paris who won the Prix de Rome at the age of 23. He continued his studies at the French Academy in Rome and then in Greece, even before the opening of the French Academy in Athens. His thirty year career as an architect was exceptional. He designed a quarter of the Parisian churches constructed during the Second Empire. He was a major representative of architectural eclecticism, collaborating with Deperthes on the Hotel de Ville in Paris and working on several other public buildings and monuments. His religious constructions would influence his contemporaries and the next generation of architects. Albert Ballu (1849-1939) was trained by his father and by Magne. He had a varied international career, including designing the neo-classical Charleroi courthouse as well as the more eclectic one in Bucharest. He adapted his other productions to the architectural techniques at the turn of the twentieth century. As a diocesan architect and chief architect for historic monuments, he was heavily involved in Algeria until the 1920’s. Here he explored the great Roman archaeological sites, restored religious buildings and constructed various others. A leader in the movement to increase the status of Roman and Muslim Algeria, he was the restoring architect of large numbers of diocesan buildings and historic monuments, especially in the Charentes departments, as well as in Brittany and in Corsica. As early as 1889 he also specialised in the construction of pavilions for great exhibitions. The result of a detailed study of the lives and works of these architects, this thesis evaluates their importance in establishing architectural models and the direction of architectural restorations between 1850 and 1920.

No description available.

Cette thèse n’est pas une histoire de la politique extérieure de Napoléon III, mais du Ministère des Affaires étrangères et de l’action diplomatique. La première partie montre que la continuité des structures, du personnel, des modes de vie révèle l’attachement à un modèle classique. La deuxième partie montre que le rôle du Quai d’Orsay a été plus important qu’on ne l’a cru. Impliqués dans la politique qui conduit au Congrès de Paris (1856), les diplomates font preuve d’initiative. La politique italienne puis la question allemande suscitent un profond clivage au Quai d’Orsay, sans altérer les certitudes quant à la puissance de la France. La troisième partie décrit une diplomatie ouverte à la modernité : le Quai d’Orsay est actif dans l’extension de l’influence française dans le monde et dans l’essor de la diplomatie économique. Mais il souffre des dysfonctionnements politiques des dernières années du règne, tandis que Bismarck remet en cause les fondements de la diplomatie classique. / This doctoral thesis is not a history of Napoleon III’s foreign policy. It concerns the history of the French Foreign Office, including its diplomatic action. The first part shows how continuity in structure, staff and way of life reflect the predominance of the classical model. In the second section, the role undertaken by the Quai d’Orsay is analysed : it was more important than has usually been alleged. The Diplomats implicated in Policy that lead to the Congrès de Paris (1856) demonstrate initiative, drive and vision. The Italian file and then German affairs deeply divide the diplomatic staff, but does not undermine their unfaltering opinion concerning the importance of French power. The third part describes how this classical diplomacy is opened to modernity, through the endeavour to develop French influence around the world and the expansion of economic diplomacy. However in the last years of Napoleon III’s reign, the Quai d’Orsay is suffering from political problems – whereas Bismarck is calling into question the principles of classical diplomacy.

Le Second Empire coïncide avec un moment important de transformation et de mélange des catégories picturales au Salon. La peinture d’histoire se raréfie face à la scène de genre. Entre décadence de l’école française et gloire de la création contemporaine les avis sont alors partagés. Liée au courant réaliste, au goût pour l’anecdote et le pittoresque, la scène de genre se veut une évocation de la vie quotidienne. Ces toiles traditionnellement tenue pour mineure se voient anoblie par les achats de l’Etat en 1848, puis par ceux du couple impérial qui témoignent de l’engouement du public pour ces scènes drôles, émouvantes, parfois édifiantes. Influencé par les sciences sociales, les réformes politiques et la littérature, le peintre de genre propose un nouveau regard sur la vie quotidienne. Pour de nombreux critiques, la scène de genre, reflet des idéaux de leur temps, apparaît comme l’art par excellence du Second Empire, seule capable de transmettre à la postérité l’image de leur époque. En se libérant du carcan de l’histoire et de la religion, la peinture de genre permet aux artistes d’aborder plus librement la technique picturale, voir de la révolutionner comme les peintres impressionnistes qui multiplient les scènes contemporaines. Reflet des goûts d’une époque, la scène de genre du Second Empire témoigne également de la commercialisation de l’art qui connaît un essor sans précédent. Les liens qui existent entre la peinture de genre et le régime sous lequel elle connaît son plus grand succès, explique sans doute la réaction qui suit le conflit de 1870 et qui redonne à la France une grande peinture d’histoire, abandonnant les sujets « faciles » qui dominaient sous le régime précédent. Cette thèse tente ainsi de réhabiliter des peintres et des œuvres tombés dans l’oubli, mais qui apparaissent aujourd’hui importants afin comprendre le goût d’une époque, celui du Second Empire. / The Second Empire coincides with a time of important changes and jumble of pictorial categories at the Salon. History painting becomes scarce in comparison with genre painting. Public opinion is then torn between the decadence of the French school and the glory of contemporary creation. Linked to Reaslism, anecdote and colourful rendering, genre painting is willing to give an evocation of everyday life. These paintings, though generally considered as minor creations, are ennobled by State purchases in 1848, and by those of the Imperial couple after that, thus illustrating the public’s keen interest for funny, moving, sometimes enlightening scenes. Influenced by social sciences, political reforms and literature, the genre painter offers a new vision of every day life. For many critics, genre scenes are a reflection of their ideals, and appear to be the archetypal art of the Second Empire, the only one which will enable their time to go down in history with the correct rendering. By freeing the artists from stranglehold of history and religion, genre painting enables them to consider the pictorial technique more freely and even to revolutionize it, like the impressionists who multiplied contemporary scenes. A reflection of the tastes of an era, the genre scene of the Second Empire illustrates also the unprecedented rise in the marketing of art. The bonds that exist between genre painting and the regime under which it knows its greatest success probably explain the reaction which followed the 1870 war which gives back to France its great History painting, abandoning the “easy” subjects which ruled under the previous regime. This thesis attempts to rehabilitate painters and pieces fallen into oblivion but nowadays appearing to be important for the understanding of a time’s taste, that of the Second Empire.

The creation of the French Penal Code of 1791, which failed to address the legality of prostitution, and the social climate of nineteenth-century France led to the rapid development of sexual commerce. The spread of syphilitic diseases soon became a serious crisis, and the fault of the spread of syphilis and disease was quickly ascribed to purchasable women. Other social crises of the time, such as problems with sewage and the spread of disease and decay also came to be associated with prostitution. My thesis will examine ways in which male artists of the time used literature and painting to suppress the contagious, transgressive sexual female, and the ways in which the representation of this female illustrates deeper anxieties and fears of the French bourgeois society about class and gender. I have constructed my argument in the context of two literary/artistic prostitute figures: the “heart of gold” and the “man-eater.” The “heart of gold” is characterized as a prostitute with qualities of goodness and integrity, who must ultimately die as the only way to reconcile her deviant behavior. The “man-eater,” by contrast, is a woman who destroys the men who seek her, driving them to financial, emotional, and even physical devastation. In order to complete my thesis, I have used a selection of primary sources (the works of Balzac, Dumas fils, Maupassant, Flaubert, and Manet), analyses of nineteenth-century French literature, and several historical sources, as well as the memoirs of Céleste Mogador, a courtesan in nineteenth-century France. The goal of my thesis is to examine the two literary figures mentioned above in the context of gender relations and power, the spread of disease, and decay and degeneration.

Ce mémoire de synthèse fait partie du dossier d'habilitation à diriger des recherches, soutenu le 13 décembre 2002 à l'Université de Paris-Sorbonne Paris IV devant un jury composé des professeurs Youssef Cassis, président, Dominique Barjot, directeur d'habilitation, Eric Bussière, Jean-Pierre Daviet et Michel Hau. Il fait le bilan de travaux consacrés à l'industrialisation alsacienne aux XIXe-XXe siècles, aux entrepreneurs et aux facteurs anthropologiques de la réussite économique. La réflexion aboutit à trois conclusions provisoires : le clivage confessionnel, s'il ne peut être analysé en termes d'aptitudes, n'est pas neutre et se traduit notamment par un sens du collectif des minorités protestante et juive s'opposant à l'individualisme catholique. Le rapport au territoire constitue un deuxième facteur de différenciation culturelle qui fait intervenir les identités locales ou régionales, les migrations, la volonté d'ancrage. Enfin, une troisième variable est celle de l'horizon temporel de l'entrepreneur : sont en jeu les identités culturelles et sociales, les stratégies de formation, les pratiques familiales, les évolutions intergénérationnelles. Il serait intéressant de tester ces observations dans une analyse factorielle portant sur l'ensemble du patronat français du Second Empire. Nicolas Stoskopf est actuellement professeur à l'Université de Haute-Alsace, directeur du Centre de recherche sur les économies, les sociétés, les arts et les techniques (CRESAT, EA 3436).

Le désert n’a pas toujours été un paysage, et ne devient une notion géographique qu’à la fin du XIXe siècle. De l’époque médiévale au XIXe siècle, le désert désigne aussi bien un état moral, la déréliction, ou une pratique spirituelle, que tout espace concret sauvage ou abandonné. Ce travail s’intéresse à l’œuvre de jeunesse du peintre Gustave Guillaumet (1840-1887), qui contribue de façon significative à l’invention du désert ; œuvre dédiée à l’Algérie et au Sahara, où il séjourne à plusieurs reprises. Examinés dans une perspective génétique, cinq tableaux majeurs créés entre 1863 et 1869 sont confrontés à l’itinéraire artistique de Guillaumet, et à ses écrits (1879-1887/ 1888, Tableaux algériens). Cette analyse est éclairée par l’étude de la représentation du désert dans le contexte socio-politique, scientifique, intellectuel et artistique du corpus, depuis les débuts de la conquête et de la colonisation de l’Algérie, jusqu’à la fin du Second Empire, à travers l’investigation de sources croisées (philologie, littérature, travaux scientifiques, archives militaires, presse – peinture, photographie, presse et ouvrages illustrés). Cette enquête s’appuie sur une étude des sources de l’imaginaire du désert, de l’émergence d’une conception paysagère à la fin du XVe siècle, et de l’esthétisation des pays arides et des sociétés qui y vivent, à la fin du XVIIIe siècle - à la cristallisation de ce nouveau paysage, au XIXe siècle. Cette recherche forme l’hypothèse est que l’invention du désert est un palimpseste – la naissance du désert-paysage s’accompagnant, à la fin des années 1860, d’une rémanence de la conception ante-paysagère du désert. À travers l’étude d’une œuvre dans laquelle l’éloge des pays et des cultures traditionnelles de l’Algérie est indissociable de l’expression de la déréliction des populations et des paysages, cette thèse tente d’éclairer les sources des représentations contemporaines du désert. / The desert has not always been equated with as landscape – not until the end of the 19th century was it viewed as a geographic notion. From the Middle Ages down to the 19th century the word “desert” covered a great many acceptations, including a moral state, dereliction, a particular spiritual practice – and any physical space in a state of wilderness or abandonment. This work looks into the early painting of Gustave Guillaumet (1840-1887), an artist instrumental in inventing the desert. Guillaumet’s work centered on Algeria and the Sahara, where he stayed several times. Five major paintings, dating from 1863-9, are analysed from a genetic approach; they are also compared with the painter’s own artistic evolution and with his writings (1879-1887/ Tableaux algériens). This work intersects with the study of the representation of the desert as a by-product of the socio-political, scientific, intellectual and artistic background to the paintings, which spanned the period from the early days of the conquest and of the colonisation of Algeria to the end of the Second French Empire. The many sources that thus came under scrutiny included philology, literature, scientific works, declassified military documents, the press, painting, photography and illustrated books and magazines. This investigative work rests on the study of the sources of the imaginary world of the desert, which encompass the emergence of a formalised conception of landscape at the end of the 15th century, the aesthetic approach to arid lands and to the communities that they sustained at the end of the 18th century, and the cristallisation of this novel landscape in the 19th century. This work hypothesises that the invention of the desert is a palimpsest, as the birth of the landscape-desert in the late 1860s coincided with the persistence of the pre-formalised conception of landscape. Through the study of a corpus that praises the regions and traditional cultures of Algeria while equally voicing the dereliction of communities and landscapes, this works aims at shedding light on the sources of the contemporary representations of the desert.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-06T19:17:01Z No. of bitstreams: 1 paularibeiroferraz.pdf: 1127085 bytes, checksum: 39731ca7c76eec3b899fe4a85b195bd0 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-09T10:52:48Z (GMT) No. of bitstreams: 1 paularibeiroferraz.pdf: 1127085 bytes, checksum: 39731ca7c76eec3b899fe4a85b195bd0 (MD5) / Made available in DSpace on 2016-09-09T10:52:48Z (GMT). No. of bitstreams: 1 paularibeiroferraz.pdf: 1127085 bytes, checksum: 39731ca7c76eec3b899fe4a85b195bd0 (MD5) Previous issue date: 2013-07-31 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho analisa o 12º gabinete do Segundo Reinado, conhecido como Gabinete da Conciliação (1853-1857). O objetivo é compreender a motivação, implementação, recepção e resultados da política da conciliação na década de 1850. Pois, embora a conciliação fosse parte da cultura política do Império, especialmente até 1870, D. Pedro II, Paraná e seu grupo souberam utilizar esta cultura política de modo a efetivar um projeto de governo, que até o momento não havia sido concretizado. O foco desta pesquisa, portanto, é o processo de apropriação desta cultura política e a gestão de um projeto político entre os anos de 1848 e 1857. Assim, buscando afastar das correntes historiográficas que limitam, cada uma a seu modo, a leitura da dinâmica política dos anos de 1850, e a partir de um viés que considera as crises, os conflitos, bem como os destoantes discursos de oposição, a presente pesquisa compreende o Gabinete da Conciliação como o resultado de uma soma de elementos, que tomados separadamente perdem seu valor explicativo. Neste sentido, a Conciliação não foi nem a consequência natural da maturidade política do Império e dos partidos, nem a obra “maquiavélica” de uma parcela dos estadistas, interessados em enganar seus adversários. Além da maturidade política de D. Pedro II, que embora não deva ser supervalorizada, não pode ser negada, a Conciliação foi a política escolhida para solucionar os problemas surgidos a partir de 1848, que colocou fim ao predomínio liberal e marcou a volta dos conservadores. Por outro lado, os projetos de reforma judiciária e eleitoral apresentados pelo gabinete devem ser analisados como episódios significativos dos debates surgidos ainda na década de 1840 e que estão estreitamente ligados à questões mais amplas, como o processo de formação do Estado Imperial e o estabelecimento de um sistema político moderno e eficaz. / This current work analyzes the 12th Ministry of the Second Empire, known as the Ministry of Conciliation (1853-1857). The objective is to comprehend the motivation, implementation, reception and results of the politic of conciliation in the decade of 1850. Because, although the conciliation was a part of the political culture of the Empire, especially until 1870, D. Pedro II, Paraná and their group knew how to use this political culture in a way to actualize a Government‟s project, that up to that moment hadn‟t been achieved. The focus of this research, therefore, is the process of appropriation of this political culture and the management of a political project between the years of 1848 to 1857. This way, finding to get away from the historiographical chains that limit, each one on its own way, the reading of the political dynamic of the years of 1850, and going from a bias that considers the crises, the conflicts, as well as the dissonant opposing speeches, the current research comprehends the Ministry of Conciliation as a result of a sum of the elements, that taken separately lose its explanatory value. In this way, the Conciliation wasn‟t even a natural consequence of the political maturity of the Empire and the parties, neither the “machiavellian” work of a part of the statesmen, interested in deceiving their opponents. Beyond D. Pedro II‟s political maturity, that although is not supposed to be overrated, cannot be denied, the Conciliation was the politic chosen to solve the problems that came from 1848 on, that brought the liberal predominantly to an end and marked the return of the conservatives. In another hand, the projects of judicial reform and electors presented by the Ministry are supposed to be analyzed as significant episodes of debates that emerged still in the decade of 1840 and that are closely connected to bigger matters, such as the process of formation of the Imperial State and the establishment of a modern and efficient political system.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-17T13:03:57Z No. of bitstreams: 1 adalbertoalvesdemattos.pdf: 1619624 bytes, checksum: 3dd923acb6d474c6abe3697b5a2395c7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-17T17:59:45Z (GMT) No. of bitstreams: 1 adalbertoalvesdemattos.pdf: 1619624 bytes, checksum: 3dd923acb6d474c6abe3697b5a2395c7 (MD5) / Made available in DSpace on 2015-12-17T17:59:45Z (GMT). No. of bitstreams: 1 adalbertoalvesdemattos.pdf: 1619624 bytes, checksum: 3dd923acb6d474c6abe3697b5a2395c7 (MD5) Previous issue date: 2015-08-21 / A Escola Agrícola União Indústria criada em 1869 foi o resultado de uma série de políticas e discussões que objetivavam a modernização da agricultura nacional, o contexto de mudanças impulsionou a criação de vários centros especializados em agricultura na segunda metade do século XIX. Mencionamos o conjunto de medidas tomas, que possibilitaram a fundação de diversas empresas e instituições ligadas a agricultura, a principal indústria brasileira da época e principal fonte de receita do estado Imperial. Foram criadas nesse contexto a partir do final dos anos de 1850 e início dos anos de 1860 vários Imperiais Institutos de Agricultura, como o, Imperial Instituto Fluminense, O Imperial Instituto Baiano, O Imperial Instituto Pernambucano, O Imperial Instituto Sergipano e O Imperial Instituto Rio-grandense. Paralelamente aos institutos a fundação de diversas companhias ligadas ao capital privado como a Companhia União Indústria. Essa empresa fundada por Mariano Procópio Ferreira Lage esteve à frente da fundação da Escola Agrícola União Indústria, a primeira escola de estudos clássicos inaugurada no ano de 1869. Radicada na província de Minas Gerais, no municio de Juiz de Fora, esta instituição seria a concretização de um desejo manifestado pelo governo Imperial desde a chegada da família real ao Brasil em 1808 e que só encontrou suas vias de fato após determinação contratual recebida pela Companhia União indústria no ano de 1864. A partir dessa condição Mariano Procópio Ferreira Lage, fundador e presidente da Companhia União Indústria, inicia um série de pesquisas na Europa buscando cumprir a exigência contratual que previa a fundação de uma escola prática em agricultura, as escolhas e estratégias de criação dessa instituição corroboraram para fundação de um instituto que superou as expectativas do governo Imperial, pois a própria determinação contratual previa a fundação de uma escola prática em agricultura, mas o que se observou foi a inauguração de um instituto de estudos clássicos em agricultura, a primeira escola desse gênero no Brasil. Nosso objetivo é estudar a parcela de contribuição da primeira Escola Agrícola de estudos Clássicos do Brasil, revelando suas estratégias de afirmação e políticas de promoção da ciência agrícola, traçando um paralelo entre as políticas e de estado relacionadas à agricultura e as atividades da Companhia União Indústria na segunda metade do século XIX. / The Agricultural School Union Industry created in 1869 was the result of a series of policies and discussions that aimed to modernize the national agriculture, the context changes spurred the creation of several centers specializing in agriculture in the second half of the nineteenth century. We mentioned all the measures doses, which enabled the foundation of various companies and institutions related to agriculture, the main Brazilian industry at the time and main source of the Imperial state revenue. Were created in this context from the late 1850's and early 1860 several Imperial Institutes of Agriculture, as the Imperial Fluminense Institute, The Imperial Baiano Institute, The Imperial Institute of Pernambuco, Sergipe The Imperial Institute and The Imperial River Institute Rio-grandense. In parallel to the institutes the foundation of several companies linked to private capital as the Company Industry Association. This company founded by Mariano Procópio Ferreira Lage headed the foundation's Agricultural Industry Union School, the first school of classical studies inaugurated in 1869. Rooted in the province of Minas Gerais, in Juiz de Fora Municio, this institution would be the realization a wish expressed by the Imperial government since the arrival of the royal family to Brazil in 1808 and only found his blows after contractual settlement received by the Company Union industry in the year 1864. From this condition Mariano Procópio Ferreira Lage, founder and president Industry Union Company, starts a series of surveys in Europe seeking to meet the contractual requirement which provided the foundation of a practical school in agriculture, the choices and creating strategies that institution corroborated for founding an institute that exceeded expectations of the Imperial government, for the very contractual determination provided the foundation for a practical school in agriculture, but what we observe is the opening of an institute of classical studies in agriculture, the first school of its kind in Brazil. Our goal is to study the share of contribution of the first Agricultural School of Classical Studies in Brazil, revealing his assertion strategies and policies to promote agricultural science, drawing a parallel between the political and state related to agriculture and the Company's activities Industry Association in the second half of the nineteenth century.