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locked=&#8221;on&#8221;]<br \/>\n[\/et_pb_post_title][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/TABLE-DES-MATIRES-et-CALENDRIER-1.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;50px|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Table des mati\u00e8res et calendrier<\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Philippe-Edel.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Philippe Edel, <em>Les origines alsaciennes de la m\u00e9decine v\u00e9t\u00e9rinaire en Pologne-Lituanie<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Piotr-Daszkiewicz-1.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Piotr Daszkiewicz, <em>Strasbourg : un centre de formation des \u00e9lites scientifiques polonaises aux XVIIIe et XIXe si\u00e8cles<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Marta-Gobek.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Marta Go\u0142\u0105bek, <em>Sur deux portraits de Jean III pr\u00e9serv\u00e9s au Ch\u00e2teau de Versailles. Les chemins de la gloire et de l&#8217;iconographie royale<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Agnieszka-Pawlak.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Agnieszka Pawlak,<em> La lumi\u00e8re r\u00e9v\u00e9latrice. Qu&#8217;avons-nous appris sur les portraits du roi Jean III Sobieski gr\u00e2ce aux analyses utilisant le rayonnement optique ?<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Piotr-Ugniewski.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Piotr Ugniewski, <em>Le d\u00e9but et la fin du r\u00e8gne de Jan III Sobieski dans les relations des diplomates fran\u00e7ais<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Elisabeth-Zapolska-Chapelle.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Elisabeth Zapolska-Chapelle, <em>Introduction<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Jean-Marc-Warszawski.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Jean-Marc Warszawski, <em>Mutations, mouvements, \u00e9volution dans le monde de la musique au temps de Maria Szymanowska<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Irena-Poniatowska.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Irena Poniatowska, <em>Lumi\u00e8res et d\u00e9cadence de la musique de salon au XIXe si\u00e8cle<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Halina-Goldberg.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Halina Goldberg, <em>The Topos of Memory in the Albums of Maria Szymanowska and Helena Szymanowska-Malewska<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Maria-Stolarzewicz.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Maria Stolarzewicz, <em>Goethe\u2019s connections with Maria Szymanowska and her sister Kazimiera Wo\u0142owska. Several comments<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Benjamin-Vogel.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Benjamin Vogel, <em>Piano \u2013 the main attraction of the Polish salon during Maria Szymanowska time<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Maja-Trochimczyk.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Maja Trochimczyk, <em>History in Song: Maria Szymanowska and Julian Ursyn Niemcewicz&#8217;s \u015apiewy historyczne<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Hubert-Kowalski.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Hubert Kowalski, <em>The Legacy of Thorvaldsen in 19th-century Warsaw<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Anna-E.-Kijas.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Anna E. Kijas, <em>Szymanowska Scholarship: Ideas for Access and Discovery through Collaborative Efforts<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Adam-Gakowski.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Adam Ga\u0142kowski, <em>Femmes de talent, femmes d\u2019action au temps de Maria Szymanowska<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Piotr-Daszkiewicz-2.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Piotr Daszkiewicz, <em>L\u2019exp\u00e9dition zoologique polonaise en Alg\u00e9rie : un important \u00e9pisode des sciences naturelles au XIXe si\u00e8cle<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Inga-Walc-Bezombes.pdf&#8221; url_new_window=&#8221;on&#8221; image=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2018\/12\/ikona_pdf.png&#8221; icon_placement=&#8221;left&#8221; image_max_width=&#8221;28px&#8221; content_max_width=&#8221;100%&#8221; _builder_version=&#8221;3.17.6&#8243; header_font=&#8221;Lato|700|||||||&#8221; body_font=&#8221;||||||||&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;|||&#8221; child_filter_opacity=&#8221;67%&#8221; animation=&#8221;off&#8221; hover_transition_duration=&#8221;650ms&#8221; locked=&#8221;off&#8221; body_text_color__hover_enabled=&#8221;on&#8221; body_text_color__hover=&#8221;#00a0e3&#8243; child_filter_opacity__hover_enabled=&#8221;on&#8221; child_filter_opacity__hover=&#8221;100%&#8221;]<\/p>\n<p>Inga Walc-Bezombes, <em>Kourroglou ou l\u2019histoire de l\u2019impossible traduction en fran\u00e7ais de l\u2019\u00e9pop\u00e9e du bandit persan<\/em><\/p>\n<p>[\/et_pb_blurb][et_pb_blurb url=&#8221;https:\/\/paris.pan.pl\/wp-content\/uploads\/2019\/01\/Piotr-Daszkiewicz-3.pdf&#8221; 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Les chemins de la gloire et de l&#8217;iconographie royaleAgnieszka Pawlak, La lumi\u00e8re [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":2512,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"project_category":[],"class_list":["post-2505","project","type-project","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/project\/2505","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/comments?post=2505"}],"version-history":[{"count":0,"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/project\/2505\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/media\/2512"}],"wp:attachment":[{"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/media?parent=2505"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/paris.pan.pl\/en\/wp-json\/wp\/v2\/project_category?post=2505"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}