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A detailed analysis of the limitations of the system which relied on intermediaries and private suppliers to finance, build and maintain the French navy. Although Louis XIV's navy did not "win" in any recognisable sense during the wars of the later seventeenth and early eighteenth centuries, it was nevertheless one of the largest military institutions of the entire early modern world at a key moment in the evolution of the modern state and modern warfare. This book examines how Louis XIV's navy was financed, arguing that the way the state spends money, and the relative efficiency and accountability of that spending, is fundamental to understanding the effectiveness of a military system. It outlines how the French crown depended on fiscal intermediaries and private suppliers, explores how its failure to control the spending and activities of its contractors fundamentally limited France's strategic possibilities at sea, and discusses how these structural problems were progressively and disastrously exposed as the state's financial situation deteriorated. The book sets the activities of the French navy in the wider context of the wars of the period, showing that France necessarily had to give precedence to the funding of its army. Overall, the book highlights the limitations of the contractor state, demonstrating that early modern navies were both too complex and investment-heavy to be entirely outsourced.
"The Cambridge Modern History" is a comprehensive modern history of the world, beginning with the 15th century age of Discovery, published by the Cambridge University Press in the United Kingdom and also in the United States.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. This is the first scholarly study of the political and economic relationship between Louis XIV and the parlements of France, the Parlement of Paris and all the provincial tribunals. The author explains how the king managed to impose strict political discipline for which this reign, and only this reign, is known. Hurt shows that the king built upon that discipline to extract large sums of money from the judges in the parlements, thus damaging their economic interests. When the king died in 1715, the regent, Philippe d’Orléans, after a brief attempt to befriend the parlements through compromise, resorted to the authoritarian methods of Louis XIV and perpetuated the Sun King’s political and economic legacy. This study calls into question current revisionist understanding of Louis XIV and insists that absolute government had a harsh reality at its core. Based upon extensive archival research, this remarkable book will be of interest to all students of the history of early modern France and the monarchies of Europe.
This accessible Companion provides a wide-ranging and comprehensive introduction to French music from the early middle ages to the present.
The personal rule of Louis XIV, following on from a long period of royal minority and apprenticeship, lasted 54 years from 1661 to 1715. But the second half of this personal rule has, until recently, received significantly less scholarly attention than the 1660s and 1670s. This has obscured some of the very real changes and developments that occurred between the early 1680s and the mid-1690s, by which time a new generation of younger royals had come to prominence, France was engulfed in international war on a greater scale than ever before, and the king was visibly no longer as vigorous or healthy as he had once been. The essays in this volume take a close look at the way a new set of political, social, cultural and economic dispensations emerged from the mid-1680s to create a different France in the final decades of Louis XIV’s reign, even though the basic ideological, social and economic underpinnings of the country remained very largely the same. The contributions examine such varied matters as the structure and practices of government, naval power, the financial operations of the state, trade and commerce, social pressures, overseas expansion, religious dissent, music, literature and the fine arts.
Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.
This is a study of the domestic application of armed coercion during the reign of Louis XIV. Relying heavily on archival sources, this study demonstrates that the coercive inclination of Louis XIV and the coercive potential of the Sun King's army have been overstated.
Le Mariage de la Grosse Cathos, a short ballet performed at the court of Louis XIV, is of major importance to the study of French Baroque dance. This facsimile reproduction of the entire manuscript is accompanied by a comprehensive study of the work itself and the context in which it was created and performed. Dated 1688, it provides a wealth of new and detailed information on numerous aspects of theatrical dance. It differs from the known choreographic sources in many respects, the two most important being the completeness of all its components--choreography, music, and text--and the use of a previously unknown dance notation system.