On June 6, 1913, George Groslier, a twenty-six year old French explorer, set out with a small group of native porters on a six-month trek in the Cambodian wilderness. A millennium earlier, the Khmer empire had ruled the entire region. In the 15th century, however, the kingdom mysteriously collapsed, with dense jungle quickly covering its fabulous temples. The French government charged Groslier with documenting the most remote edifices of the Khmer legacy - among them Preah Vihear, Wat Phu, Beng Melea and Banteay Chhmar - sites that remain isolated even a century later. This modern edition - enhanced with 75 period illustrations and detailed appendices - offers readers the first English translation of the dangers, discoveries and people encountered on his solitary adventure. Groslier's impressions and insights still fascinate those who, even today, seek answers in the ancient shrines of Cambodia. What we find in the shadow of Angkor is not merely an extraordinary example of a dead civilization...but a dead civilization whose torches have been kept alight and shine on. George Groslier - Tonle Repou, July 12, 1913 The re-publication of Groslier's book is a cause for celebration. While much interest stems from descriptions of these temples as he saw them in 1913 - when they were indeed virtually unknown to more than a few western scholars - there is much more to be found in this book of lyrical, and at times poetic, writing. Milton Osborne - Foreword

In this unique collection of notebooks, letters, treatises, and contracts dealing with the art of the Middle Ages and Renaissance, the reader is given an extraordinary insight into the personalities and conditions of the times.

2013 Reprint of 1945 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. Camillo Sitte (1843-1903) was a noted Austrian architect, painter and theoretician who exercised great influence on the development of urban planning in Europe and the United States. The publication at Vienna in May 1889 of "Der Stadtebau nach seinen kunstlerischen Grundsatzen" ("The Art of Building Cities") began a new era in Germanic city planning. Sitte strongly criticized the current emphasis on broad, straight boulevards, public squares arranged primarily for the convenience of traffic, and efforts to strip major public or religious landmarks of adjoining smaller structures regarded as encumbering such monuments of the past. Sitte proposed instead to follow what he believed to be the design objectives of those whose streets and buildings shaped medieval cities. He advocated curving or irregular street alignments to provide ever-changing vistas. He called for T-intersections to reduce the number of possible conflicts among streams of moving traffic. He pointed out the advantages of what came to be know as "turbine squares"--civic spaces served by streets entering in such a way as to resemble a pin-wheel in plan. His teachings became widely accepted in Austria, Germany, and Scandinavia, and in less than a decade his style of urban design came to be accepted as the norm in those countries.

A riveting exploration of how the Fatimid dynasty carefully orchestrated an architectural program that proclaimed their legitimacy This groundbreaking study investigates the early architecture of the Fatimids, an Ismaili Shi'i Muslim dynasty that dominated the Mediterranean world from the 10th to the 12th century. This period, considered a golden age of multicultural and interfaith tolerance, witnessed the construction of iconic structures, including Cairo's al-Azhar and al-Hakim mosques and crucial renovations to Jerusalem's Dome of the Rock and Aqsa Mosque. However, it also featured large-scale destruction of churches under the notorious reign of al-Hakim bi-Amr Allah, most notably the Church of the Holy Sepulcher in Jerusalem. Jennifer A. Pruitt offers a new interpretation of these and other key moments in the history of Islamic architecture, using newly available medieval primary sources by Ismaili writers and rarely considered Arabic Christian sources. Building the Caliphate contextualizes early Fatimid architecture within the wider Mediterranean and Islamic world and demonstrates how rulers manipulated architectural form and urban topographies to express political legitimacy on a global stage.

Art historian, Cecily Hennessy, explores medieval Byzantine wall paintings in churches cut out of the beautiful landscape of central Turkey. Many of these were decorated by local artists, sometimes monks, or by the finest artists brought from other centres, such as Constantinople. This book is designed for both intrigued visitors and for those looking for art-historical information and understanding. It serves as a travel guide to the most important painted churches with numerous colour illustrations, plans and maps. It also encourages close examination of the painting, its meaning and its style and execution and provides background knowledge of Byzantine artistic and cultural practice.

The Church or group of Churches which is the subject of the following pages, was in its original form erected by the Emperor Constantine for the pious purpose of protecting and venerating that Sepulchral cavern which was believed to have been the very Tomb in which the Body of our Lord was laid. The buildings received, in accordance with the custom of that period, the name of the Martyrium of the Resurrection. They have long since disappeared, and others have been in turn erected and destroyed on the same site, until at length they have been brought to the state in which they now are. But during all ages of, Christianity, and under all their vicissitudes, these structures have remained the great centre of pilgrimage; to obtain this site, the best blood and wealth of Europe was poured forth in the Crusades, and before and after that hopeless struggle to retain Christian possession of it, no difficulties, dangers, or insults, were powerful enough to deter the crowds of pilgrims who annually went forth to visit the scenes of their Saviour's sufferings and triumphant Resurrection. Whether or no these sacred events took place upon the spots that were 80 confidently assigned as their true localities, has been of late years very warmly contested. But this is not essential to the question. Those who erected the buildings, and those who visited them, were alike convinced of the genuineness of the traditions; and therefore the influence of these buildings upon Ecclesiastical Architecture is wholly irrespective of the enquiry into the true localities. And it is as a branch of the history of Ecclesiastical Architecture alone that I purpose to treat the subject at present. Rev. Robert Willis M.A. 1849

1885. Illustrated with 92 plates. The book's purpose is to collect and arrange, in chronological order, the principal forms that have been used symbolically in the different periods of Art. Its chief aim is to lead to a better understanding of the many treasures of Art and Antiquity that are to be found wherever our wanderings may lead us, by assisting persons to read their meaning and to look through the Symbol to the thing signified by it.

1928. This volume grew out of Lowell lectures delivered at Boston, Massachusetts. Contents: Monastic Artists (1); Monastic Artists (2); Monastic Artists (3); The Lay Artist; Four Self-Characterizations; The Freemasons; The Mason's Mark; The Hand-Grip; Eton and King's College; From Prentice to Master; Wander Years; Symbolism; The People's Mind; The Poor Man's Bible; Art and Religion; Architectural Finance; The Puritan Revolt; Reformation or Renaissance?; Protestantism and Art; The Roots of the Renaissance; Renaissance and Destruction; Renaissance and Construction (1); and Renaissance and Construction (2).

A mixed ancestry kid, at his desk Richard 'imitates' Yerka or 'paints' Bolero (see the insider). By his very nature, he likes to like and hates to hate. Richard stopped painting at his 8 years. With this collection of 10 paintings and 11 poems, he fundraises for the museums, with an initial goal to cover the entrance tickets for 1-10 kids who are seriously in love with the visual arts.

The history of Naples is dotted with priests enchanted by the Mystery of Christmas, such as saints like Cajetan of Thiene, Joseph Calasanzio, and Alphonse Maria De' Liguori. This book is about Fr Edgar Vella Neapolitan crib which knows its success mainly to three factors: light, form, and colour, that, fused together, reveal the infinite love of God towards humanity to the point of taking the form of man and being born poor among the poor, to redeem all in the same manner: the rich, the powerful, the underprivileged, the marginated, the afflicted, the suffering, the downtrodden. This form of craftsmanship of the highest artistic value has always attracted the most varied personalities: from princes to sovereigns, from bankers to merchants, from prelates to humble priests, from devotees to unbelievers, but, above all, it has created a dazzling and fable-like atmosphere that leaves both adults and children enchanted, and makes them live in paradise for the moment. In the early 1990s Fr Edgar acquired his first crib figures at antique markets in London, among which a Madonna by Lorenzo Mosca, a St Joseph by Nicola Somma, and a rustic figure by Genzano, truly lucky acquisitions. By time other acquisitions followed and, through meticulous observation, analysis, and research, other important names of crib sculptures from the Settecento came forth: Francesco Viva, Giuseppe De Luca, other pieces by Lorenzo Mosca, Giuseppe Gori, Francesco and Camillo Celebrano, Salvatore Franco, Nicola and Aniello Ingaldi, Francesco Cappiello. Many crib figures are to be dated to the setting of the various workshops that emerged in eighteenthcentury Naples, some of which of extreme importance, such as that of Giuseppe Sanmartino, the caposcuola of Neapolitan sculpture. Fr Edgar's collection has grown throughout these years until it has reached a substantial number of figures. This fact gave rise to the need of exhibiting the collection to the general public and to communicate the joy of owning such works of art.

This volume examines works of art in a variety of media produced in Florence during the period from 1300 to 1600. Chronologically organized, each chapter examines works of art and architecture within the context of the major political, social, economic, and cultural events of the period. Patterns of patronage, both secular and religious, that accompanied changes in political authority as power shifted from Republican regimes to rule by the Medici family and back are also assessed. The volume follows the movements and trends that were initiated by Florentine artists beginning with Giotto in the fourteenth century; then followed a century later by Masaccio, Donatello, Brunelleschi, and Michelangelo; and finally the achievements of sixteenth-century artists such as Cellini, Bronzino, and Vasari. The book is lavishly illustrated in both black and white and color.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

From the Middle Ages onwards, writers, artists and composers became self-consciously aware of the vast potential for external references to enrich their works. By evoking canonical texts and their producers from the distant or more recent past, authors demonstrated their respect for tradition while showcasing their own merits. In so doing they also manipulated the memory of their readers. This volume represents a multidisciplinary approach to the themes of citation and intertextual play. It is also an exploration of the role of memory in the cultural production of the late Middle Ages and early Renaissance. The essays investigate work by renowned authors, composers and artists, as well as less familiar sources, from France, England and Italy.

Two leading American experts on the subject offer the first comprehensive English-language review of Naples' architecture and urban development from late antiquity to the high and late Middle Ages. William Tronzo treats the early Middle Ages, from the end of the western Roman Empire to the end of the Duchy, or from about 400 to 1139. He covers a range of topics, including the development of the city's urban fabric and chief monuments, including the catacombs, Sta. Restituta, the baptistery of San Giovanni in Fonte, the forum area including San Paolo Maggiore and the early history of San Lorenzo Maggiore and the Pietrasanta. Caroline Bruzelius then picks up the narrative and analysis from the twelfth century to the end of the Angevin period. She brings up to date and nuances many of the findings and themes of her The Stones of Naples. She revisits some of the same material on the early medieval city from a different perspective, that of religious foundations and urban topography. She proceeds to patronage - religious, mercantile, noble and royal - and then moves on to the role of Tuscan artists in Naples, concluding with the Angevin reconfiguration of the city in the late Middle Ages. Clearly and concisely written, this book is an ideal introductory survey for the scholar, student and general reader to medieval Naples, its chief monuments and to the scholarly discussions and interpretations of the material, visual and documentary evidence. 160 pages. Preface, select bibliography; appendices, including the Tavola Strozzi with key, Map of Medieval Naples with thumbnail key; index. 83 black & white figures, plus 60 thumbnail images. List of links to online resources from A Documentary History of Naples, including primary-source readings; image galleries containing over 450 additional images in full color; and links to full bibliographies with ongoing supplements.

"Medieval Renaissance Baroque" celebrates Marilyn Aronberg Lavin's breakthrough achievements in both the print and digital realms of art and cultural history. Fifteen friends and colleagues present tributes and essays that reflect every facet of Lavin's brilliant career. Tribute presenters include Ellen Burstyn, Langdon Hammer, Phyllis Lambert, and James Marrow. Contributors include Kirk Alexander, Horst Bredekamp, Nicola Courtright, David Freedberg, Jack Freiberg, Marc Fumaroli, David A. Levine, Daniel T. Michaels, Elizabeth Pilliod, Debra Pincus, and Gary Schwartz. 230 pages, 79 illustrations, bibliography of Marilyn Lavin's works, preface, index.

A unique coloring book of Knight images drawn by Christopher Finn.

1928. This volume grew out of Lowell lectures delivered at Boston, Massachusetts. Contents: Monastic Artists (1); Monastic Artists (2); Monastic Artists (3); The Lay Artist; Four Self-Characterizations; The Freemasons; The Mason's Mark; The Hand-Grip; Eton and King's College; From Prentice to Master; Wander Years; Symbolism; The People's Mind; The Poor Man's Bible; Art and Religion; Architectural Finance; The Puritan Revolt; Reformation or Renaissance?; Protestantism and Art; The Roots of the Renaissance; Renaissance and Destruction; Renaissance and Construction (1); and Renaissance and Construction (2).

In the Middle Ages, liturgies, books, song, architecture and poetry were performed as collaborative activities in which performers and audience together realized their work anew. In this book, essays by leading scholars analyse how the medieval arts invited and delighted in collaborative performances designed to persuade. The essays cast fresh light on subjects ranging from pilgrim processions within Chartres Cathedral, to polyphonic song, and the 'rhetoric of silence' perfected by the Cistercians. Rhetoric is defined broadly in this book to encompass its relationship to its sister arts of music, architecture, and painting, all of which use materials and media in addition to words, sometimes altogether without words. Contributors have concentrated on those aspects of formal rhetoric that are performative in nature, the sound, gesture and facial expressions of persuasive speech in action. Delivery (performance) is shown to be at the heart of rhetoric, that aspect of it which is indeed beyond words.

Anna Comnena is described as the first female historian, the author of her father's celebratory biography. She was an educated princess in eleventh-century Constantinople, the daughter of the Emperor Alexius. She was expected to succeed him, and raised as heir, but her hopes were dashed by the birth of a younger brother. In what is over-modestly described as a biography, Naomi Mitchison combines her story with that of her father, and the whole civilisation of the Eastern Empire, indeed the whole known world of the time. The Eastern Empire is seen as a necessary bulwark between a young and promising Europe and the perils of Islam and wild tribes in Asia. Mitchison also warns her readership of the perils of a dead civilisation, and writing in 1928 she poses a challenge to the direction of Europe in these perilous postwar years. Thwarted ambition at last drove Anna to attempt to kill her brother, who, says Mitchison, went on to be one of the best of Emperors. Isobel Murray is Emeritus Professor of Modern Scottish Literature at the University of Aberdeen.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

Both an introduction to the great civilization of Byzantium and a 50th anniversary celebration of the founding of the Byzantine Centre at Dumbarton Oaks in Washington, DC, this collection of essays demonstrates the place of Byzantine civilization in world history and shows the role of Dumbarton Oaks in interpreting that civilization for what its founders called "an everchanging present".;The first essay, written by Milton Anastos - a scholar who first came to Dumbarton Oaks in 1941, one year after Robert Woods Bliss and Mildred Bliss founded the Byzantine Cente - is devoted to the institution itself and to the role that it has played in Byzantine studies over the past 50 years. The following chapters, by Speros Vyronis, Dimitri Obolensky, Irfan Shahid, and Angeliki Laiou, discuss the relationship between Byzantium and its neighbouring civilizations of Islam, the Slavic countries, and Western Europe, and display the great legacy that Byzantium left to those cultures. Two final essays, by Gary Vikan and Henry Maguire, present Byzantine art, today the most prominent aspect of Byzantine achievements, and discuss its reception by modern critics and historians.