Carmontelle's landmark publication, Garden at Monceau, beautifully reproduced to show the Parisian garden's artistic and cultural importance before the French Revolution. Originally published in 1779, Garden at Monceau is a richly illustrated presentation of the garden Louis Carrogis, known as Carmontelle, designed on the eve of the French Revolution for Louis-Philippe-Joseph d'Orleans, duc de Chartres. With its array of architectural follies intended to surprise and amaze the visitor, the garden was a setting for ancien regime social life. Carmontelle's portrayal of his work in Garden at Monceau therefore serves as an expression of a key moment in the history of European landscape design, garden architecture, and social history. This facsimile edition, with its English-language text and reproductions of the original engravings, is accompanied by essays that interpret the landscape design and examine Carmontelle's larger career as a painter and theater producer.

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 author of "The Abortionist's Daughter, " a gripping new novel about a rafting trip through the Grand Canyon that changes the lives of everyone on board.
Meet Peter, twenty-seven, single, and looking for a quick hookup; Evelyn, a fifty-year-old Harvard professor; and Ruth and Lloyd, river veterans in their seventies. There's Mitchell, an overeager history buff with no qualms about upstaging the guides with his knowledge. There's Jill from Salt Lake City, wanting desperately to spark some sense of adventure in her staid Mormon family; and seventeen-year-old Amy, so woefully overweight that she can barely fit into a pup tent, let alone into a life jacket.
Guiding them all is JT Maroney, who loves the river with all his heart and who, having made 124 previous trips down the Colorado, thinks he has seen everything. But on their first night, a stray dog wanders into their campsite, upsetting the tentative equilibrium of this makeshift family. Over the next thirteen days, as various decisions are second-guessed and sometimes regretted, both passengers and guides find that sometimes the most daunting adventures on a Colorado River trip have nothing to do with white-water rapids, and everything to do with reconfiguring the rocky canyons of the heart.

"From the Hardcover edition."

'A remarkably lucid and authoritative novelist' John Irving AS RECOMMENDED BY ELLA WOODWARD 'Accomplished, assured . . . A richly rewarding read' The Sunday Times 'A first-rate storyteller, funny and compassionate' Woman & Home ****** Murray Blair had some serious matters to discuss this weekend, and he wanted things to run smoothly. But harmony, that Artful Dodger in so many families, had its way of eluding his family as well. . . Though the adult Blair siblings have agreed to keep things calm and amiable on a trip to stay with their elderly father, each arrives, in true Blair style, with a secret agenda. But plans are derailed when Lizzie, the youngest, turns up late with a burnt hand, impending criminal charges, and a damp family cookbook: Fannie Farmer's Boston Cooking School. The now ruined cookbook is the last vestige of a more idyllic time, when there were four siblings, not three, a public family reputation to uphold, and a mother whose handwritten notes in the margins of the recipes are their last link to her after the accident years ago. But secrets will always out, especially amongst family: and this weekend, the Blair siblings will learn that there is more to their mother's story than they could have anticipated... Told in three parts, roving between then and now, Go Ask Fannie Farmer tells of the life and death of Lillian Blair, the over-bearing, bickering, but loving children who look for ways to connect with one another in her absence, and the inner lives we hide from our families. 'Irresistible' Prima 'Hyde's latest novel will delight readers' Booklist 'Hyde creates a family we can all relate to . . . and does so with great humour' Woman

The history of the garden in the Renaissance, traced from the late fourteenth century in Italy to the death of Andre Le Notre in 1700 in France, is a story both of dynamism and codification. The period saw the emergence of what would become archetypal elements of the formal garden and the fixing of theory and language of the garden arts. At the same time, newly important sciences, developments in engineering, as well as globalization, historicity, and theories of aesthetics were embraced in the construction of such gardens. The result was the notion of the landscape as something to be labored on, created, and delighted in, that ultimately would become a stage upon which Renaissance cultural politics played out. A Cultural History of Gardens in the Renaissance presents an overview of the period with essays on issues of design, types of gardens, planting, use and reception, issues of meaning, verbal and visual representation of gardens, and the relationship of gardens to the larger landscape.

The history of the garden in the Renaissance, traced from the late fourteenth century in Italy to the death of Andre Le Notre in 1700 in France, is a story both of dynamism and codification. The period saw the emergence of what would become archetypal elements of the formal garden and the fixing of theory and language of the garden arts. At the same time, newly important sciences, developments in engineering, as well as globalization, historicity, and theories of aesthetics were embraced in the construction of such gardens. The result was the notion of the landscape as something to be labored on, created, and delighted in, that ultimately would become a stage upon which Renaissance cultural politics played out.

Cultivated Power explores the collection, cultivation, and display of flowers in early modern France at the historical moment when flowering plants, many of which were becoming known in Europe for the first time, piqued the curiosity of European gardeners and botanists, merchants and ministers, dukes and kings. Elizabeth Hyde reveals how flowers became uniquely capable of revealing the curiosity, reason, and taste of those elite men who engaged in their cultivation. The cultural and increasingly political value of such qualities was not lost on royal panegyrists, who seized on the new meanings of flowers in celebrating the glory of Louis XIV. Using previously unexplored archival sources, Hyde recovers the extent of floral plantations in the gardens of Versailles and the sophisticated system of nurseries created to fulfill the demands of the king's gardeners. She further examines how the successful cultivation of those flowers made it possible for Louis XIV to demonstrate that his reign was a golden era surpassing even that of antiquity. Cultivated Power expands our knowledge of flowers in European history beyond the Dutch tulip mania and restores our understanding of the importance of flowers in the French classical garden. The book also develops a fuller perspective on the roles of gender, rank, and material goods in the age of the baroque. Using flowers to analyze the movement of culture in early modern society, Cultivated Power ultimately highlights the influence of curious florists on the taste of the king and the extension of the cultural into the realm of the political.

In the absence of any modern history of French garden art, this volume offers twelve chapters that review some of the most interesting and innovative moments of French garden history. This series of studies traces a progression from what is taken as the golden age of French garden art, in the late seventeenth century, up to the present, when a renaissance of French design theory and practice is clearly visible.By exploring the contributions of such important designers as Jean-Marie Morel and Claude-Henri Watelet, these essays argue for a tradition that includes, but is by no means exclusively influenced by, Andre Le Notre, long considered the dominant figure in French garden history. Even a glance at the wealth of garden theory and practice during the late eighteenth and early nineteenth centuries must call into question the conventional neglect of post-Le Notrean work. Each author reads a significant moment of garden art in relation to a whole cluster of cultural concerns, which change with the time and place of the garden discussed; overall, this has meant invoking town planning, engineering, optics, scientific and philosophic movements, bourgeois ethics, foreign imports, vernacular workings of the land, the rise of professional landscape practice, even the modernist refusal to recognize the garden itself as the prime site of intervention in the landscape.