Latona's Fountain Brought Back to Life
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Water Gardening27.Pdf
Visit us on the Web: www.gardeninghelp.org Water Gardening A water garden in the landscape brings an immediate sense of tranquility and intrigue. Like no other feature in the garden, a small pond of water lilies, cattails and Japanese Koi can transform and ordinary outdoor living space into an oasis. Ancient Egyptians and Far Eastern cultures were of the first to develop water gardens in the landscape. It was common to find lotus plants, papyrus, water lilies and other aquatic plants used to accent and focus on man’s relationship with nature. Since that time, Europeans have traditionally incorporated water gardens into the landscape and used Roman and Greek statuary to create formal pools and spectacular fountains such as those found at Tivoli Gardens in Rome and Versailles in France. Still a common practice in European countries, water gardens are finding a place in American gardens today. Fast becoming a favorite hobby for experienced and beginning gardeners, a water garden can be quite sophisticated with a series of waterfalls and pond levels, as interesting as a single 3 to 4 foot pool in the corner of the yard, or as simple as a half wooden barrel filled with floating plants and small water lilies. Installation of a Water Garden The most popular type of water garden installed today uses a synthetic liner to form the sides and bottom. There is very little time involved in installing this type water garden because these materials are lightweight, portable and adaptable to a variety of shapes and sizes. However, for one which will give years of enjoyment you will need to begin by making some careful plans. -
How to Install a Hidden Water Fountain
How To Install A Hidden Water Fountain Detailed techniques and tips for installing a water feature in your yard. By: Robert Robillard © AConcordCarpenter.com All Rights Reserved How To Install A Hidden Water Fountain Introduction: Disappearing fountains, statues, vases and rock fountains are becoming popular backyard focal points. Just go to any garden shop and you’ll see dozens of options of for Koi ponds, waterfalls and basin fountains. Installing a disappearing or hidden basin water fountain does not take up as much space as a waterfall or Koi pond but still gives you that bubbling water sound and great looking landscape focal point. With a disappearing fountain, water is pumped from a hidden reservoir buried in the ground through and out a fountain standpipe, the water then overflows the basin rim seemingly disappearing into the ground. Installing a hidden or disappearing water fountain is a great DIY project and a way to add that incredibly relaxing sound of moving water to a patio, pool or flower garden area. How To Install A Hidden Water Fountain Safety Information It's very likely that you'll choose to use power tools and a propane torch for this project. Power tools can cause serious injury or death so be VERY careful. Before you use any power tool it's very important that you carefully read all of the manufacturers operating instructions and safety guidelines. If you don't feel comfortable using power tools it's imperative that you stop and find that confidence through practice. This eGuide does not offer advice on how to safely use the tools featured in it. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Casting Rodin’s Thinker Sand mould casting, the case of the Laren Thinker and conservation treatment innovation Beentjes, T.P.C. Publication date 2019 Document Version Other version License Other Link to publication Citation for published version (APA): Beentjes, T. P. C. (2019). Casting Rodin’s Thinker: Sand mould casting, the case of the Laren Thinker and conservation treatment innovation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Chapter 2 The casting of sculpture in the nineteenth century 2.1 Introduction The previous chapter has covered the major technical developments in sand mould casting up till the end of the eighteenth century. These innovations made it possible to mould and cast increasingly complex models in sand moulds with undercut parts, thus paving the way for the founding of intricately shaped sculpture in metal. -
Designing Parterres on the Main City Squares
https://doi.org/10.24867/GRID-2020-p66 Professional paper DESIGNING PARTERRES ON THE MAIN CITY SQUARES Milena Lakićević , Ivona Simić , Radenka Kolarov University of Novi Sad, Faculty of Agriculture, Horticulture and Landscape Architecture, Novi Sad, Serbia Abstract: A “parterre” is a word originating from the French, with the meaning interpreted as “on the ground”. Nowadays, this term is widely used in landscape architecture terminology and depicts a ground- level space covered by ornamental plant material. The designing parterres are generally limited to the central city zones and entrances to the valuable architectonic objects, such as government buildings, courts, museums, castles, villas, etc. There are several main types of parterres set up in France, during the period of baroque, and the most famous one is the parterre type “broderie” with the most advanced styling pattern. Nowadays, French baroque parterres are adapted and communicate with contemporary landscape design styles, but some traits and characteristics of originals are still easily recognizable. In this paper, apart from presenting a short overview of designing parterres in general, the main focus is based on designing a new parterre on the main city square in the city of Bijeljina in the Republic of Srpska. The design concept relies on principles known in the history of landscape art but is, at the same time, adjusted to local conditions and space purposes. The paper presents the current design of the selected zone – parterre on the main city square in Bijeljina and proposes a new design strongly influenced by the “broderie” type of parterre. For creating a new design proposal we have used the following software AutoCad (for 2D drawings) and Realtime Landscaping Architect (for more advanced presentations and 3D previews). -
Abbot Suger's Consecrations of the Abbey Church of St. Denis
DE CONSECRATIONIBUS: ABBOT SUGER’S CONSECRATIONS OF THE ABBEY CHURCH OF ST. DENIS by Elizabeth R. Drennon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Boise State University August 2016 © 2016 Elizabeth R. Drennon ALL RIGHTS RESERVED BOISE STATE UNIVERSITY GRADUATE COLLEGE DEFENSE COMMITTEE AND FINAL READING APPROVALS of the thesis submitted by Elizabeth R. Drennon Thesis Title: De Consecrationibus: Abbot Suger’s Consecrations of the Abbey Church of St. Denis Date of Final Oral Examination: 15 June 2016 The following individuals read and discussed the thesis submitted by student Elizabeth R. Drennon, and they evaluated her presentation and response to questions during the final oral examination. They found that the student passed the final oral examination. Lisa McClain, Ph.D. Chair, Supervisory Committee Erik J. Hadley, Ph.D. Member, Supervisory Committee Katherine V. Huntley, Ph.D. Member, Supervisory Committee The final reading approval of the thesis was granted by Lisa McClain, Ph.D., Chair of the Supervisory Committee. The thesis was approved for the Graduate College by Jodi Chilson, M.F.A., Coordinator of Theses and Dissertations. DEDICATION I dedicate this to my family, who believed I could do this and who tolerated my child-like enthusiasm, strange mumblings in Latin, and sudden outbursts of enlightenment throughout this process. Your faith in me and your support, both financially and emotionally, made this possible. iv ACKNOWLEDGEMENTS I would like to thank Dr. Lisa McClain for her support, patience, editing advice, and guidance throughout this process. I simply could not have found a better mentor. -
Ornamental Grasses for Kentucky Landscapes Lenore J
HO-79 Ornamental Grasses for Kentucky Landscapes Lenore J. Nash, Mary L. Witt, Linda Tapp, and A. J. Powell Jr. any ornamental grasses are available for use in resi- Grasses can be purchased in containers or bare-root Mdential and commercial landscapes and gardens. This (without soil). If you purchase plants from a mail-order publication will help you select grasses that fit different nursery, they will be shipped bare-root. Some plants may landscape needs and grasses that are hardy in Kentucky not bloom until the second season, so buying a larger plant (USDA Zone 6). Grasses are selected for their attractive foli- with an established root system is a good idea if you want age, distinctive form, and/or showy flowers and seedheads. landscape value the first year. If you order from a mail- All but one of the grasses mentioned in this publication are order nursery, plants will be shipped in spring with limited perennial types (see Glossary). shipping in summer and fall. Grasses can be used as ground covers, specimen plants, in or near water, perennial borders, rock gardens, or natu- Planting ralized areas. Annual grasses and many perennial grasses When: The best time to plant grasses is spring, so they have attractive flowers and seedheads and are suitable for will be established by the time hot summer months arrive. fresh and dried arrangements. Container-grown grasses can be planted during the sum- mer as long as adequate moisture is supplied. Cool-season Selecting and Buying grasses can be planted in early fall, but plenty of mulch Select a grass that is right for your climate. -
The History and Development of Groves in English Formal Gardens
This is a repository copy of The history and development of groves in English formal gardens. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/120902/ Version: Accepted Version Book Section: Woudstra, J. orcid.org/0000-0001-9625-2998 (2017) The history and development of groves in English formal gardens. In: Woudstra, J. and Roth, C., (eds.) A History of Groves. Routledge , Abingdon, Oxon , pp. 67-85. ISBN 978-1-138-67480-6 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ The history and development of groves in English formal gardens (1600- 1750) Jan Woudstra It is possible to identify national trends in the development of groves in gardens in England from their inception in the sixteenth century as so-called wildernesses. By looking through the lens of an early eighteenth century French garden design treatise, we can trace their rise to popularity during the second half of the seventeenth and early eighteenth century to their gradual decline as a garden feature during the second half of the eighteenth century. -
French & Italian Gardens
Discover glorious spring peonies French & Italian Gardens PARC MONCEAu – PARIS A pyramid is one of the many architectural set pieces and fragments that lie strewn around the Parc Monceau in Paris. They were designed to bring together the landscape and transform it into an illusory landscape by designer Louis Carmontelle who was a dramatist, illustrator and garden designer. Tombs, broken columns, an obelisk, an antique colonnade and ancient arches were all erected in 1769 for Duc de’Orleans. PARC DE BAGAtelle – PARIS The Parc de Bagatelle is a full scale picturesque landscape complete with lakes, waterfalls, Palladian or Chinese bridges and countless follies. It’s one of Paris’ best loved parks, though it’s most famous for its rose garden, created in 1905 by JCN Forestier. The very first incarnation of Bagatelle in 1777 was the result of a famous bet between Marie-Antoinette and her brother-in-law, the comte d’Artois, whom she challenged to create a garden in just two months. The Count employed 900 workmen day and night to win the wager. The architect Francois-Joseph Belanger rose to the challenge, but once the bet was won, Thomas Blaikie, a young Scotsman, was brought on board to deliver a large English-style landscape. A very successful designer, Blaikie worked in France for most of his life and collaborated on large projects such as the Parc Monceau. JARDIN DU LUXEMBOURG – PARIS Please note this garden is not included in sightseeing but can be visited in free time. The garden was made for the Italian Queen Marie (de Medici), widow of Henry IV of France and regent for her son Louis XIII. -
Stein's Garden & Home Purple Fountain Grass
Appleton Bellevue Big Bend Brookfield 4860 W Wisconsin Ave 2727 Eaton Road I-43 & Hwy 164 14845 W Capitol Drive (920) 735-7777 (920) 884-2255 (262) 662-5800 (262) 783-2323 Germantown Green Bay Greenfield Kenosha Visit any of our W184 N9676 Appleton Ave 980 Waube Lane 3725 S. 108th Street 6300 Green Bay Road (262) 253-1147 (920) 339-2200 (414) 328-5600 (262) 605-0280 store locations to Mequon Milwaukee Oconomowoc Oshkosh discuss your plant 10850 N Port Washington Rd 5400 S. 27th Street 1570 Unity Drive 300 S. Koeller Street selections with (262) 241-2121 (414) 761-5400 (262) 560-4191 (920) 426-6300 Racine Waukesha Wauwatosa West Bend one of our lawn & 6626 Washington Ave 2220 E Moreland Blvd 12217 Watertown Plank 601 Wildwood Road garden experts! (262) 886-7900 (262) 797-7070 (414) 763-6599 (262) 338-5252 Purple Fountain Grass Pennisetum setaceum 'Rubrum' Height: 4 feet Spread: 3 feet Sunlight: Hardiness Zone: (annual) Description: An extremely showy variety of fountain grass used as a focal point in the garden or containers; an upright clump of deep burgundy-purple bearing bottlebrush flowers that change from red to tan; may be treated as an annual; favored as a municipal planting Purple Fountain Grass flowers Ornamental Features Photo courtesy of NetPS Plant Finder Purple Fountain Grass has masses of beautiful plumes of red flowers with tan overtones rising above the foliage from late summer to mid fall, which are most effective when planted in groupings. Its grassy leaves are plum purple in color. As an added bonus, the foliage turns a gorgeous dark red in the fall. -
French Art, Classic and Contemporary, Painting and Sculpture
NYPL RESEARCH LIBRARIES 3 3433 08191162 4 Virt-*'.', FRENCH ART THE HEW YORK PDBLIC LIB4^ARY ASTOK, LENOX Tli-DEN FOUNDATIONS / / "W Y( J SCRIB] 1 90J NG THE DAWN / FRENCH ART CLASSIC AND CONTEMPORARY PAINTING AND SCULPTURE BY W. C. BROWNELL NEW AND ENLARGED EDITION WITH FORTY-EIGHT ILLUSTRATIONS NEW YORK CHARLES SCRIBNER'S SONS 1901 COPYRIGHT, 1892, 1901, BY CHARLES SCRIBNEr's SONS PUBLISHED OCTOBER, 1901 THE NEW r, yc>^Y "y BUG LIBRARY ' ' i "» —f A S< » , TILBSN Pi»-JNBATIO«« D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTON TO AUGUSTE RODIN Advantage has been taken of the present ilkistrated edition of this book to add a chapter on "Rodin and the Institute," in which the progress of what ten years ago was altogether a "new movement in sculpture," is further considered. Except in sculpture, and in the sculpture of Rodin and that more or less directly in- fluenced by him, thei-e has been no new phase of French art developed within the decade — at least none important enough to impose other additions to the text of a work so general in character. CONTENTS I. CLASSIC PAINTING 1 I. CHARACTER AND ORIGIN II. CLAUDE AND POUSSIN III. LEBRUN AND LESUEUR IV. LOUIS QUINZE V. GREUZE AND CHARDIN VI. DAVID, INGRES, AND PRUDHON II. ROMANTIC PAINTING 39 I. ROMANTICISM II. GERICAULT AND DELACROIX III. THE FONTAINEBLEAU GROUP IV. THE ACADEMIC PAINTERS V. COUTURE, PUVIS DE CHAVANNES, AND REGNAULT III. REALISTIC PAINTING 75 I. REALISM II. COURBET AND BASTIEN-LEPAGE III. THE LANDSCAPE PAINTERS ; FROMENTIN AND GUILLAUMET IV. HISTORICAL AND PORTRAIT PAINTERS V. -
The Year of the Animal in France
1668 The Year of the Animal in France Peter Sahlins ZONE BOOKS • NEW YORK 2017 © 2017 Peter Sahlins zone books 633 Vanderbilt Street Brooklyn, NY 11218 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying, microfilming, recording, or otherwise (except for that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the Publisher. Printed in Canada. Distributed by The MIT Press, Cambridge, Massachusetts, and London, England Permissions from the publishers to incorporate from the following previously published works is greatly appreciated: “The Royal Menageries of Louis XIV and the Civilizing Process Revisited,” was originally published in French Historical Studies 35.2, pp. 226–46. © 2012 Society of French Historical Studies. All rights reserved. Republished by permission of the copyright holder, and the present publisher, Duke University Press. www.dukeupress.edu; “A Tale of Three Chameleons: The Animal between Literature and Science in the Age of Louis XIV,” was originally published in French Thinking About Animals, eds. Louisa MacKenzie and Stephanie Posthumus, pp. 15–30. © 2014 Michigan State University Press; “Where the Sun Don’t Shine: The Royal Labyrinth at Versailles, 1668– 1674,” was originally published in Animals and Early Modern Identity, ed. Pia Cuneo, pp. 67–88. © 2014 Ashgate: Surrey, England and Burlington, VT, 2014. Reprinted by permission from Taylor & Francis; “The Beast Within: Animals and the First Xenotransfusion Experiments in France, 1667–68,” was originally published in Representations 129, pp. -
James Pradier (1790–1852) Et La Sculpture Française De La Génération Romantique: Catalogue Raisonné by Claude Lapaire
Marc Fehlmann book review of James Pradier (1790–1852) et la sculpture française de la génération romantique: Catalogue Raisonné by Claude Lapaire Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Marc Fehlmann, book review of “James Pradier (1790–1852) et la sculpture française de la génération romantique: Catalogue Raisonné by Claude Lapaire,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc-artworldwide.org/autumn10/james- pradier-1790n1852-et-la-sculpture-francaise-de-la-generation-romantique. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Fehlmann: James Pradier (1790–1852) et la sculpture française de la génération romantique Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) James Pradier (1790-1852) et la sculpture française de la génération romantique. Catalogue raisonné. Claude Lapaire Zürich/Lausanne: Swiss Institute for Art Research; Milan: 5 Continents Edition, 2010. 512 pp; 838 duotone illustrations Cost: CHF 140. (ca. $120.) ISBN: 978-88-7439-531-6 Charles Baudelaire blamed him for the "pitiable state of sculpture today" and alleged that "his talent is cold and academic,"[1] while Gustave Flaubert felt that he was "a true Greek, the most antique of all the moderns; a man who is distracted by nothing, neither by politics, nor socialism, Fourier or the Jesuits […], and who, like a true workman, sleeves rolled up, is there to do his task morning till night with the will to do well and the love of his art."[2] Both are discussing the same man, one of the leading artists of late Romanticism and the "king of the sculptors" during the July Monarchy: Jean-Jacques Pradier (23 May 1790 – 4 June 1852), better known as James.[3] Born in Geneva to a hotelkeeper, Pradier left for Paris at the tender age of 17 to follow his elder brother, Charles-Simon Pradier, the engraver.