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This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics. Camus's description of the French hotel argues that architecture should please the senses and the mind.
The authors, Danielle Kisluk-Grosheide and Jeffrey Munger, are curators in the Metropolitan Museum's Department of European Sculpture and Decorative Arts. They oversaw the recent reinstallation of the Wrightsman Galleries --Book Jacket.
Excerpt from The Creation of the Rococo Hotel de Mailly: Ceilings and arabesques designed by Berain. Berain arabesque engraved before 1 693. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This volume explores the various strategies by which appropriate pasts were construed in scholarship, literature, art, and architecture in order to create “national”, regional, or local identities in late medieval and early modern Europe. Because authority was based on lineage, political and territorial claims were underpinned by historical arguments, either true or otherwise. Literature, scholarship, art, and architecture were pivotal media that were used to give evidence of the impressive old lineage of states, regions, or families. These claims were related not only to classical antiquity but also to other periods that were regarded as antiquities, such as the Middle Ages, especially the chivalric age. The authors of this volume analyse these intriguing early modern constructions of “antiquity” and investigate the ways in which they were applied in political, intellectual and artistic contexts in the period of 1400–1700. Contributors include: Barbara Arciszewska, Bianca De Divitiis, Karl Enenkel, Hubertus Günther, Thomas Haye, Harald Hendrix, Stephan Hoppe, Marc Laureys, Frédérique Lemerle, Coen Maas, Anne-Françoise Morel, Kristoffer Neville, Konrad Ottenheym, Yves Pauwels, Christian Peters, Christoph Pieper, David Rijser, Bernd Roling, Nuno Senos, Paul Smith, Pieter Vlaardingerbroek, and Matthew Walker.
“The first comprehensive listing of these ships in English. . . . Profusely illustrated [and] impressively informative.” —Midwest Book Review The origins of a permanent French sailing navy can be traced to the work of Cardinal Richelieu in the 1620s, but this naval force declined rapidly in the 1650s and a virtually new Marine Royale had to be re-created by Colbert from 1661. Thereafter, Louis XIV’s navy grew rapidly to become the largest and most powerful in the world, at the same time establishing a reputation for the quality of its ship design that lasted until the end of sail. The eighteenth century was to see defeat and decline, revival and victory, but by 1786 the French Navy had emerged from its most successful naval war having frequently outfought or outmaneuvred the British Navy in battle, and in the process making a major contribution to American independence. This book provides significant technical and building data as well as highlights of the careers of each ship in every class. For the first time, it is possible to form a clear picture of the overall development of French warships throughout the whole of the sailing era. “A handy and quick reference to a variety of vessels . . . [A] top notch reference book.” —British Tars, 1740-1790
This title was first published in 2003. Germain Boffrand was one of the great French architects of the early eighteenth century. His work encompassed not only the design of town and country houses for the wealthy but also mines, bridges and hospitals. His Livre d’Architecture is one of the most original books on architecture ever written in France. Taking the Art of Poetry by the Latin poet Horace as its starting point, it developed an aesthetic of architecture focused on character, style and the emotional impact of a building that influenced Blondel, Le Camus de Mezieres and Soane, and is still central to contemporary debate about the nature and meaning of architecture. Translated for the first time by David Britt, Boffrand’s text is here accompanied by an extensive introduction and notes by Caroline van Eck who situates Boffrand within the main issues of eighteenth-century architectural aesthetics. Beautifully illustrated, including all the pictures chosen by Boffrand for his original publication, this book is an invaluable tool for teaching the history of architectural theory and an essential work for any architectural library. Germain Boffrand is published with the assistance of the Getty Foundation.
Mario Paz has, in the Romantic Agony, acutely analyzed the effect of the traditions of Byron and De Sade upon poets and painters from 1800 to 1900. It is the analysis of a mood in literature. The mood may ve been transient, but it was widespread, and it was expressed in dreams of "luxurious cruelties," "fatal women," corpse-passions, and the sinful agonies of delight. Professo Praz has described the whole Romantic literature under one of its most characteristic aspects, that of erotic sensibility.