Yet why, over three hundred years after it began, is the Enlightenment so profoundly misunderstood as controversial, the expression of soulless calculation? The answer may be that, to an extraordinary extent, we have accepted the account of the Enlightenment given by its conservative enemies. Ritchie Robertson goes back into the “long eighteenth century,” from approximately 1680 to 1790, to reveal what this much-debated period was really about.Any account of the Enlightenment must be in large part a history of ideas. But Robertson argues that it is not solely a philosophical movement; the Enlightenment saw the publication of the Encyclopédie, which is not only a historical and philosophical compendium, but also an illustrated guide to all sorts of contemporary machinery, handicrafts, and trades aimed to improve people’s lives in immediate and practical ways. Robertson chronicles the campaigns mounted by some Enlightened figures against specific evils such as capital punishment, judicial torture, serfdom and witchcraft trials, featuring the experiences of major figures like Voltaire and Diderot with ordinary people who lived through this extraordinary moment. Robertson gives due attention to philosophical and theological debates, but also looks to literature, music, and the visual arts as prominent means of conveying enlightenment ideas.In seeking to correct one-sided views of the Enlightenment, Robertson ultimately puts forward his own. He does not reduce this transformative period to a formula, but instead makes the claim that indeed the Enlightenment was an attempt to increase human happiness, and to claim that happiness was possible in this world, without needing any compensatory belief in a better one beyond the grave.

    At the center of a triangle of Anglo Saxons, Vikings, and Normans all jostling for control of England, Emma was a political pawn who became an unscrupulous manipulator. Regarded by her contemporaries as a generous Christian patron, an admired regent, and a Machiavellian mother, Emma was, above all, a survivor: hers was a life marked by dramatic reversals of fortune, all of which she overcame.

    Defines and explains various concepts regarding the painter's intentions in order to provide a basis for understanding of a work of art.

    Created in the 1890s by George Washington Vanderbilt, a member of one of America's wealthiest families, the estate combined a 250-room French Renaissance-style chateau with 125,000 acres of gardens, forests, and working farms. Biltmore House served as Vanderbilt's primary residence for almost 20 years. After Mr. Vanderbilt's death in 1914, life at Biltmore continued for his wife Edith and daughter Cornelia. In 1930, Cornelia Vanderbilt Cecil and her husband, Hon. John Francis Amherst Cecil, opened Biltmore House--the largest private home in the United States--to the public, firmly establishing the Asheville area as a major tourist destination.

    She was painted by Manet and inspired Emile Zola, who immortalised her in his scandalous novel Nana. Her rumoured affairs with Napoleon III and the future Edward VII kept gossip columns full. But her glamourous existence hid a dark secret: she was no Comtesse. She was born into abject poverty, raised on a squalid Paris backstreet; the lowest of the low. Yet she transformed herself into an enchantress who possessed a small fortune, three mansions, fabulous carriages, and art the envy of connoisseurs across Europe. A consummate show-woman, she ensured that her life – and even her death – remained shrouded in just enough mystery to keep her audience hungry for more.Catherine Hewitt’s biography tells, for the first time ever in English, the forgotten story of a remarkable woman who, though her roots were lowly, never stopped aiming high.

    His photographic sketchbook and personal visual diary, comprising photographs from the mid-1880s until the end of his life, constitutes a unique and profound artistic statement. This mosaic of captured moments reveals the intimate and personal basis of both Mucha's own life as an artist and the time period in which he lived. The behind-the-scenes glimpses of his studio provided here prove that Mucha--the creator of the ideal of Art Nouveau beauty--was one of the pioneers of the classic nude in Czech photography. This is the first time such a large selection of Mucha's extensive photographic work has been assembled as a book. Many of the photos in this book, never before published, reveal hitherto unknown aspects of Mucha's work, which will be of interest to the general reader and the photographic connoisseur alike.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    The masterful blending of text and photos sweeps readers into a maelstrom of monsters watching from above--a nightmare in the sky. 24 full-color photos, 100 duotones.

    Focusing on the daily life of the King, the Court and the government during the period of France’s apogee of military power and artistic achievement, this lavishly illustrated book covers the course of Louis XIV’s love affairs, culminating in his secret marriage to Madame de Maintenon, the affair of the poison, the creation of St. Cyr, Lord Portland’s embassy and the marriage of the Duchess of Bourgogne.

    And there has never been a summer quite like that Indian summer between the two world wars, a period of gentle decline in which the sun set slowly on the British Empire and the shadows lengthened on the lawns of a thousand stately homes.Real life in the country house during the 1920s and 1930s was not always so sunny. By turns opulent and ordinary, noble and vicious, its shadows were darker. In The Long Weekend, Adrian Tinniswood uncovers the truth about a world half-forgotten, draped in myth and hidden behind stiff upper lips and film-star smiles. Drawing on hundreds of memoirs, on unpublished letters and diaries, on the eye-witness testimonies of belted earls and unhappy heiresses and bullying butlers, The Long Weekend gives a voice to the people who inhabited this world. In a definitive social history which combines anecdote and narrative with scholarship, it brings the stately homes of England to life, giving readers an insight into the guilt and the gingerbread, and showing how the image of the country house was carefully protected by its occupants above and below stairs, and how the reality was so much more interesting than the dream.

    This is the Paris you never knew. From the Revolution to the present, Graham Robb has distilled a series of astonishing true narratives, all stranger than fiction. A young artillery lieutenant, strolling through the Palais-Royal, observes disapprovingly the courtesans plying their trade. A particular woman catches his eye; nature takes its course. Later that night Napoleon Bonaparte writes a meticulous account of his first sexual encounter. An aristocratic woman, fleeing the Louvre, takes a wrong turn and loses her way in the nameless streets of the Left Bank. For want of a map—there were no reliable ones at the time—Marie-Antoinette will go to the guillotine. Baudelaire, Baron Haussmann, the real-life Mimi of La Bohème, Proust, Charles de Gaulle (who is suspected of having faked an assassination attempt on himself in Notre Dame) —these and many more are Robb’s cast of characters. The result is a resonant, intimate history with the power of a great novel. 16 pages of illustrations.

    The first two - the French Revolution and the Industrial Revolution - have inspired the greatest volume of literature. But the third - the romantic revolution - was perhaps the most fundamental and far-reaching.From Byron, Wordsworth, Coleridge and Burns, to Beethoven, Wagner, Berlioz, Rossini and Liszt, to Goya, Turner, Delacroix and Blake, the romantics brought about nothing less than a revolution when they tore up the artistic rule book of the old regime. This was the period in which art acquired its modern meaning; for the first time the creator, rather than the created, took centre-stage. Artists became the high priests of a new religion, and as the concert hall and gallery came to take the place of the church, the public found a new subject worthy of veneration in paintings, poetry and music. Tim Blanning's wide-ranging survey traces the roots and evolution of a cultural revolution whose reverberations continue to be felt today.

    In this definitive and illuminating history, Colin Jones walks us through the city that was a plague-infested charnel house during the Middle Ages, the bloody epicenter of the French Revolution, the muse of nineteenth-century Impressionist painters, and much more. Jones’s masterful narrative is enhanced by numerous photographs and feature boxes—on the Bastille or Josephine Baker, for instance—that complete a colorful and comprehensive portrait of a place that has endured Vikings, Black Death, and the Nazis to emerge as the heart of a resurgent Europe. This is a thrilling companion for history buffs and backpack, or armchair, travelers alike.

    The great heritage of western civilization - from the Greek and Roman classics to Jewish and Christian works - would have been utterly lost were it not for the holy men and women of unconquered Ireland. In this delightful and illuminating look into a crucial but little-known "hinge" of history, Thomas Cahill takes us to the "island of saints and scholars, " the Ireland of St. Patrick and the Book of Kells. Here, far from the barbarian despoliation of the continent, monks and scribes laboriously, lovingly, even playfully preserved the west's written treasures. With the return of stability in Europe, these Irish scholars were instrumental in spreading learning. Thus the Irish not only were conservators of civilization, but became shapers of the medieval mind, putting their unique stamp on western culture.

    Now Garfield takes on a subject even dearer to our fanatical human hearts: maps.Imagine a world without maps. How would we travel? Could we own land? What would men and women argue about in cars? Scientists have even suggested that mapping—not language—is what elevated our prehistoric ancestors from ape-dom. Follow the history of maps from the early explorers’ maps and the awe-inspiring medieval Mappa Mundi to Google Maps and the satellite renderings on our smartphones, Garfield explores the unique way that maps relate and realign our history—and reflect the best and worst of what makes us human.Featuring a foreword by Dava Sobel and packed with fascinating tales of cartographic intrigue, outsize personalities, and amusing “pocket maps” on an array of subjects from how to fold a map to the strangest maps on the Internet, On the Map is a rich historical tapestry infused with Garfield’s signature narrative flair. Map-obsessives and everyone who loved Just My Type will be lining up to join Garfield on his audacious journey through time and around the globe.