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Meticulously woven by hand with wool, silk, and gilt-metal thread, the tapestry collection of the Sun King, Louis XIV of France, represents the highest achievements of the art form. Intended to enhance the king’s reputation by visualizing his manifest glory and to promote the kingdom’s nascent mercantile economy, the royal collection of tapestries included antique and contemporary sets that followed the designs of the greatest artists of the Renaissance and Baroque periods, including Raphael, Giulio Romano, Rubens, Vouet, and Le Brun. Ranging in date from about 1540 to 1715 and coming from weaving workshops across northern Europe, these remarkable works portray scenes from the bible, history, and mythology. As treasured textiles, the works were traditionally displayed in the royal palaces when the court was in residence and in public on special occasions and feast days. They are still little known, even in France, as they are mostly reserved for the decoration of elite state residences and ministerial offices. This catalogue accompanies an exhibition of fourteen marvelous examples of the former royal collection that will be displayed exclusively at the J. Paul Getty Museum at the Getty Center from December 15, 2015, to May 1, 2016. Lavishly illustrated, the volume presents for the first time in English the latest scholarship of the foremost authorities working in the field.
The study of medieval clothing and textiles reveals much about the history of our material culture, as well as social, economic and cultural history as a whole. This book makes use of archaeological finds and text references in order to examine this history, providing on overview of historic fashions.
Reproduction of the original: Needlework as Art by Lady M. Alford
"An inventory of the private possessions of Lorenzo il Magnifico de' Medici, head of the ruling Medici family during the apogee of the Florentine Renaissance"--Provided by publisher.
This compelling novel takes the reader into the tumultuous period of the Renaissance and the origins of Leonardo da Vinci, the bastard child of a notary. Of da Vinci, the eminent art historian Kenneth Clark wrote, “no more complex and mysterious character ever existed than this Hamlet of art history.” Clark noted that one had to be “familiar with all of Leonardo’s writings in their chronological order (and) the state of learning in the Renaissance to judge Leonardo’s progress in relation to that of his contemporaries.”This compelling novel takes the reader into the tumultuous period of the Renaissance and the origins of Leonardo da Vinci, the bastard child of a notary. Of da Vinci, the eminent art historian Kenneth Clark wrote, “no more complex and mysterious character ever existed than this Hamlet of art history.” Clark noted that one had to be “familiar with all of Leonardo’s writings in their chronological order (and) the state of learning in the Renaissance to judge Leonardo’s progress in relation to that of his contemporaries.”
The Archaeology of Martin's Hundred explores the history and artifacts of a 20,000-acre tract of land in Tidewater, Virginia, one of the most extensive English enterprises in the New World. Settled in 1618, all signs of its early occupation soon disappeared, leaving no trace above ground. More than three centuries later, archaeological explorations uncovered tantalizing evidence of the people who had lived, worked, and died there in the seventeenth century. Part I: Interpretive Studies addresses four critical questions, each with complex and sometimes unsatisfactory answers: Who was Martin? What was a hundred? When did it begin and end? Where was it located? We then see how scientific detective work resulted in a reconstruction of what daily life must have been like in the strange and dangerous new land of colonial Virginia. The authors use first-person accounts, documents of all sorts, and the treasure trove of artifacts carefully unearthed from the soil of Martin's Hundred. Part II: Artifact Catalog illustrates and describes the principal artifacts in 110 figures. The objects, divided by category and by site, range from ceramics, which were the most readily and reliably datable, to glass, of which there was little, to metalwork, in all its varied aspects from arms and armor to rail splitters' wedges, and, finally, to tobacco pipes. The Archaeology of Martin's Hundred is a fascinating account of the ways archaeological fieldwork, laboratory examination, and analysis based on lifelong study of documentary and artifact research came together to increase our knowledge of early colonial history. Copublished with the Colonial Williamsburg Foundation.