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ARCHITECTURE THROUGH MY EYES is a record of an architectural journey recorded by the autho
Heinrich Schliemann (1822-1890), a shrewd trader and later in life one of the best known archaeologists of the 19th century, made many travels around the world. He recorded his experiences in several diaries. This publication is a transcription and translation of Schliemann's first travel diary: his European journey in the winter of 1846/47. This journey was his first as a commercial trader and through the diary he kept we get to know Heinrich Schliemann more as a tourist and human being than as a trader. From his new residence in Moscow he travelled to London and Paris and via Berlin back to St. Petersburg. He writes with admiration and amazement about buildings and the emerging industrialization, while indirectly he offers us a glimpse of the poverty and filthiness of that time. He describes his visits to amongst others the theatre, the British Museum, the Champs Elysées, and the Louvre. Besides the many pleasant experiences, he also mentions negative aspects such as the theft of his hat and the seasickness that plagued him during every one of his sea voyages. The original diary was written in English and French and for a small part in Italian. "Without having seen the Queen" comprises an introduction to the diary, a transcription of the diary, and a full English translation with annotations. This publication unlocks Schliemann's first travelogue and presents a unique view of his life before rising to fame as the discoverer of Troy.
This book outlines the contribution made by servants to domestic and Continental travel and travel writing between 1750 and 1850. Aiming to re-position British and European travel during this period as a site of work as well as leisure, Katheryn Walchester provides commentary and analysis of texts by servants not addressed in current scholarship. By reading texts contrapuntally, this book draws attention to repeated tropes and common patterns in the ways in which servants are featured in travelogues; and in so doing, offers an account of alternative modes of experiencing and writing about the Home Tour and the Grand Tour.
"Brilliantly conceived....[A] tour de force in historical writing."—Ian Kershaw Majestic and lyrically written, The Conquest of Nature traces the rise of Germany through the development of water and landscape. David Blackbourn begins his morality tale in the mid-1700s, with the epic story of Frederick the Great, who attempted—by importing the great scientific minds of the West and by harnessing the power of his army—to transform the uninhabitable marshlands of his scattered kingdom into a modern state. Chronicling the great engineering projects that reshaped the mighty Rhine, the emergence of an ambitious German navy, and the development of hydroelectric power to fuel Germany's convulsive industrial growth before World War I, Blackbourn goes on to show how Nazi racial policies rested on German ideas of mastery of the natural world. Filled with striking reproductions of paintings, maps, and photographs, this grand work of modern history links culture, politics, and the environment in an exploration of the perils faced by nations that attempt to conquer nature.
In the late eighteenth-century, elite British women had an unprecedented opportunity to travel. Taking travel home uncovers the souvenir culture these women developed around the texts and objects they brought back with them to realise their ambitions in the arenas of connoisseurship, friendship and science. Key characters include forty-three-year-old Hester Piozzi (Thrale), who honeymooned in Italy; thirty-one-year-old Anna Miller, who accompanied her husband on a Grand Tour; Dorothy Richardson, who undertook various tours of England from the ages of twelve to fifty-two; and the sisters Katherine and Martha Wilmot, who travelled to Russia in their late twenties. The supreme tourist of the book, the political salon hostess Lady Elizabeth Holland, travelled to many countries with her husband, including Paris, where she met Napoleon, and Spain during the Peninsular War. Using a methodology informed by literary and design theory, art history, material culture studies and tourism studies, the book examines a wide range of objects, from painted fans “of the ruins of Rome for a sequin apiece” and the Pope’s “bless’d beads”, to lava from Vesuvius and pieces of Stonehenge. It argues that the rise of the souvenir is representative of female agency, as women used their souvenirs to form spaces in which they could create and control their own travel narratives.
"The Metropolitan Museum began acquiring American drawings and watercolors in 1880, just ten years after its founding. Since then it has amassed more than 1,500 works executed by American artists during the eighteenth and nineteenth centuries in watercolor, pastel, chalk, ink, graphite, gouache, and charcoal. This volume documents the draftsmanship of more than 150 known artists before 1835 and that of about 60 unidentified artists of the period. It includes drawings and watercolors by such American masters as John Singleton Copley, John Trumbull, John Vanderlyn, Thomas Cole, Asher Brown Durand, George Inness, and James Abbott McNeill Whistler. Because the 504 works illustrate such a wide range of media, techniques, and styles, this publication is a veritable history of American drawing from the eighteenth through most of the nineteenth century."--Metropolitan Museum of Art website.
An ambitious, perceptive portrayal of a complex man, this bestselling biography breaks new ground in its exploration of Jefferson's inner life. "Brodie has humanized Jefferson without in the least diminishing him".--Wallace Stegner. Photos.