Latona's Fountain Brought Back to Life

Total Page:16

File Type:pdf, Size:1020Kb

Latona's Fountain Brought Back to Life Latona's Fountain brought back to life restoration of the Fountain and Parterre, Thanks to sponsorship by Fondation Philanthropia June 2012 - May 2015 Press contacts Hélène Dalifard Aurélie Gevrey Elsa Martin Violaine Solari + 33(0)1 30 83 75 21 presse@ch ateauversailles.fr You must then go st raight up to Latona's Fountain and pause to consider Latona himself, the lizards, ramps, st atues, the Royal Way, Apollo's Fountain and the canal, then turn around to see the parterre and the palace. Louis XIV in Manière de montrer les jardins de Versailles 5 Contents press release 6 the work : a few figures and a few people 8 challenges inherent to the work 13 essential restoration work 14 restoration choices 15 challenges inherent to the work, step by step 17 a synergy of professions of excellence 31 the gardeners 32 fountain engineers 34 metal restorers 35 metal gilders 36 masons compagnons 37 marble restorers 38 roofer compagnons 39 an experience shared with as many people as possible 41 un chantier à cœur ouvert 42 #latone : le chantier en direct sur internet 44 fondation philanthropia 47 the historiy of a masterpiece 51 appendices 59 Versailles, 18 th May 2015 Press release Latona's Fountain brought back to life Latona's Fountain and Parterre restored thanks to a gift by Fondation Philanthropia Thanks to a gift by the Fondation Philanthropia, Latona's Fountain and Parterre, two masterpieces of the gardens of Versailles, are getting a new lease of life. This exceptional restoration project has taken more than two years and has called upon a remarkable synergy of knowledge. Created by Jules Hardouin-Mansart, Latona's Fountain is without doubt the most famous work in the gardens of Versailles with its tiered polych rome marble centrepiece, rich sculptures in lead and marble and cleverly designed water jets. Situated in the centre of Le Nôtre's Grand Persp ect ive, it is also the key st ruct ure in the hydraulic syst em of Versailles. More than three centuries after its creation, deterioration had aff ect ed the fountain and its components. Work on the infrast ruct ures, hydrant syst em and sculptures was needed urgently. Modifi cations had aff ect ed the st ruct ure's overall st ability with impact s on the general watertightness of the pool. Launch ed in 2013, the work is now complete. The restoration Latona's Fountain is one of the major works of public interest for which philanthropy has proven its importance and utility. Private funding complemented State fi nancing and resp onsibility, and Fondation Philanthropia's support to the est ate of Versailles for Latona's Fountain is a fi ne example of this. Th e foundation, created for clients of Lombard Odier bank, aims to facilitate their philanthropic engagement. Press contacts «Fondation Philanthropia is committed to supporting the rest oration of Latona's Fountain because Palace of Versailles Hélène Dalifard transmitting heritage is one of its major concerns. In the case of the fountain, this universal piece of Aurélie Gevrey heritage is not only an arch itect ural gem and its rest oration a tech nical ch allenge, but it also reveals Elsa Martin Violaine Solari the immense wealth of artist ic professions involved in its renovation. » +33 (0)1 30 83 75 21 Thierry Lombard, President of Fondation Philanthropia presse@ch ateauversailles.fr Fondation This exceptional ‘open air’ restoration project has been followed st ep-by-st ep by the Philanthropia millions of visitors to the gardens of Versailles. With the object ive of re-creating the composition's Luc Giraud-Guigues +41 (0) 22 709 1908 original appearance, rest oration was planned for the overall st ruct ure including plant life, the l.giraud-guigues @fondationphilanthropia.org hydrant syst em, materials and sculptures. François Mutter T +41 (0) 22 709 9364 [email protected] 7 Th is required employing the best tech niques and materials of the past and present, as well as a number of craft s, notably some rare and highly sp ecialised artist ic professions. Multiple craft smen, art mast ers and engineers have worked on the project under the leadership of Pierre-André Lablaude, Head Arch itect for Hist oric Monuments, and the Heritage and Gardens Direct orate of the Palace of Versailles. In a manifest desire by the Palace of Versailles to preserve heritage and transmit knowledge, and with the support of Fondation Philanthropia, a sp ecial focus was placed on preserving the knowledge and tech niques of those who have worked on this major operation. Th is approach has taken on concrete form with the training of apprentices by sp ecialist companies; lead sculptors, marble workers, gilders, fountain engineers, st onemasons, metal rest orers and gardeners have all contributed to rest oring Latona's Fountain to its original sp lendour. «The rest oration of Latona's fountain has allowed a 'bond of excellence' to be est ablished between the past and the present through the timeless work of artist ic professions. It has off ered the public the oppor- tunity to see the transmission of knowledge but has also, more concretely, allowed the employment of ten or so apprentices. We have decided to syst ematise this training across all our heritage project s from now on. This invisible yet exemplary ch ain that connect s the craft smen and artist s of today to those of the past is what gives the Mast erpiece of the gardens of Versailles its sp arkle.» Catherine Pégard, President of the Public Institution of the Palace, Museum and National Estate of Versailles. About Fondation Philanthropia A philanthropic public-benefi t foundation connect ed to Lombard Odier bank, Fondation Philanthro- pia facilitates the implementation of its donors' philanthropic initiatives in all areas of citizen engage- ment, including art and culture, social act ion, education, the environment and medical research . www.fondationphilanthropia.org Latona's Fountain A masterpiece of the garderns brought back to life With its parterre, gilded lead fi gures of countrymen and animals, water jets and beautiful sculpted group in marble topping it all off , Latona's Fountain is the real gem of the gardens of Versailles. Created by Le Nôtre in 1665 and embellished by Hardouin-Mansart, it has now been rest ored to its former glory thanks to an exemplary renovation project . Th is book covers the hist ory of this mast er piece and the adventure of its rest oration, made possible thanks to the use of exceptional knowledge of gardeners, fountain engineers, masons, carvers and marble rest orers, moulders, metal rest orers, plumbers, roofers and gilders. 24 x 22 cm, paperback, inside cover, 84 pages, 65 Illustrations, € 17 Bilingual French / English. Jointly edited by Artlys/ Château de Versailles 8 The work: a few figures Fountain key dates The FOUNTAIN The parterre 12th March 2013: 760m2 removal of of surface area 1.35 ha total surface area the Latona group of fi gures 110m3 of dressed-st one in the four-level 20,000 box trees May 2013: removal of the tiered centrepiece 90 yew trees sculpted lead fi gures 3 varieties of marble: 2 June – August 2013: removal of 4,200m of lawn - Carrara marble: 78 metres of the marble facing from the tiered 1,600 tonnes of gravel coping, 81 metres of footings centrepiece 150 tonnes of sand October 2013 - February 2014: - Red Languedoc marble: 49 3 km of metal edging disassembly of the dressed-st one metres of vertical slabs 6 months of work tiered centrepiece - Campan Grand Melange marble: th th 27 and 28 January 2014: 28 mètres of vertical slabs removal of the lead rings of the 74 sculpted lead decorative fi gures: Craftspeople sp ider - 6 countrymen being transformed, February - May 2014: st rengthening - 38 9 of the foundations of the centre- frogs, fountain engineers piece - 15 lizards 17 gardeners 29th September 2014: the lead - 15 tortoises. 7 gilders 9 rings of the sp ider put back 27 tonnes of lead for the ch anelling masons September - December 2014: reas- and fountain works 9 boilermakers, metal sculpture sembly of the masonry of the tiered 74 water features and 74 nozzles rest orers centrepiece 449 m3 4 roofers sp ecialised in lead November 2014 - April 2015 of water : the roofi ng marble facing put back 0.70 m water height 10 apprentices December 2014 - April 2015: improved watertightness using lead sheets October 2014 - April 2015: rest o- The restoration of Latona's fountain in figures ring the fountain's water supply March 2014 - March 2015: rest o- 26 months of work ring the lead sculpted fi gures and 14 tonnes of lead for the bottom of the 3 oval pools in the tiered gilding centrepiece for watertightness; lead sheets used 21st and 22nd April 2015: the 35,000 gold leaves for gilding the 74 lead sculptures gilded lead fi gures put back 200 'louche' weldings for the rest oration of the lead pipes 4th May 2015: placing the group 700 m2 110 metres of sculpted fi gures, fi rst water of paving and of white marble coping for the connect ion rest oration of the fountain 18th May 2015: inauguration 9 and a few people Contracting Public Institution of the Palace, Museum and National Estate of Versailles, Heritage and authority Gardens Direct orate, Works Department Daniel Sancho, Heritage and Gardens Direct or Véronique Ciampini, Operations Leader Project management Pierre-André Lablaude, Head Arch itect for Hist oric Monuments Laurent Choffé, project manager, agricultural engineer BMI – Engineering and structures design office : Assist ance to the contract ing authority, diagnosis for the hist orical foundations of the apron.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]