Academic literature on the topic 'Style Louis XVI'

Abstract Today there is a consensus on the definition of the term ‘rococo’: it designates a style both particular and homogeneous, artistically related to the reigns of Louis XV and Louis XVI. But we must not forget that in its primitive formulations, the rococo has no objective existence. As a witty, sneering, and impertinent word, it can adapt itself to the most varied discourses and needs, far beyond references to the eighteenth century. Its malleability guarantees its sparkling success in different languages, but also its highly contradictory uses. By tracing the genealogy of the word ‘rococo’, this article will show that the association of the term with the century of Louis XV is a form of historical discrimination that still prevails widely in the history of the art of the Enlightenment.

ABSTRACTHistorians generally discount the advent of the First French Empire as the result of Napoleon's personal ambition. Napoleon, however, could not have brought about the transition from republic to empire without wide support, not only among the political and military elite, but also among the French people. This article re-examines the reasons why, a little more than ten years after the execution of Louis XVI, moderate-conservative elements in the political elite opted for a monarchical-style political system, and why it was so widely accepted by ordinary people across France. It does so by examining the arguments in favour of empire in three ‘sites of ideas’: the neo-monarchists in Napoleon's entourage; the political elite, preoccupied with many of the same concerns that had plagued France since 1789; and the wider political nation, which expressed a manifest adhesion to Napoleon as emperor that was marked by an affective bond. The push to empire, it is argued, was an expression of a dominant set of political beliefs and values. Napoleon, on the other hand, only reluctantly came to accept the notion of heredity.

"The reign of Louis XIV marks an important milestone in the development of dance and art. Convinced that visual arts and music would significantly contribute to a monarch’s authority, image, and glory, the “Sun King” coordinated artistic activities through establishing a significant number of royal academies. Through the Académie Royale de Danse the art of dancing was given a proper language and notation system for the first time in history. On the other hand, the Académie Royale de Musique was tied to the birth of a national operatic style. Opera was the perfect tool for an idealistic and majestic projection of a nation’s monarch. Keywords: baroque dance, Louis XIV, dance notation systems, ballet de cour, royal academies, Jean-Baptiste Lully, music, opera. "

The grand houses and gardens of William of Orange (1650–1702) and his courtiers in Britain and the Netherlands are strongly influenced by the French style, itself associated with Louis XIV, who was actually William’s arch-rival. This paper explores that paradox by probing ideas of power and friendship in 17th-century court culture.

The Palace of Versailles was constructed in the enchanting city of Paris, while the majestic Yuanmingyuan was erected in the imperial capital of Beijing. Built during the same era, they serve as splendid exemplars of Western and Eastern royal gardens and architectural marvels respectively. The purpose of this paper is to compare the Palace of Versailles and the Imperial Garden Yuanmingyuan, two historic royal palaces, and discuss the differences in their construction background, planning layout, architectural style and garden features. Because of the disparity in the personalities of the two emperors, the palace possesses its own distinctive attributes. The Palace of Versailles is famous for its magnificent architecture and French gardens, which demonstrated the power and luxury of Louis XIV; the Yuanmingyuan, on the other hand, is famous for its unique Chinese garden style and exquisite architectural complex, which reflects Emperor Kangxis love and pursuit of traditional Chinese culture. By comparing the two palaces, we can better understand the differences in architecture and garden design across diverse cultural backgrounds, as well as their profound impact on architecture styles, landscaping techniques and cultural heritage.

This research article is aimed at showing the importance of the creative heritage of Jacques Champion de Chambonnières (1601/02-1672) who was a harpsichordist, composer, teacher and founder of the French harpsichord school. In the article the brief biography of Chambonnières is given and the musical creative activity of his pupils and followers Louis Couperin and Jean-Henri d’Anglebert is introduced. It is important to mention that Chambonnières’ harpsichord heritage by exception of preludes is penetrated with dance character. The scientific novelty lies in the definition of the peculiarities of monolithic harpsichord style of Chambonnières. As the result, it is proved that Louis Couperin (about 1626-1661) continued to develop the dance forms that made the basis of his teacher’s work. But Couperin’s musical work is characterized by a more complicated musical language, more detail study of texture and imitation material, rhythmic sophistication. The musical heritage of Jean-Henri d’Anglebert (1629-1691) became a unique model for harpsichordists in and outside France, especially for I. S. Bach.

This article provides a transcription, from a nineteenth-century fair copy, of one of the chapters on Thomas More in Claude Joly’s Ms Histoire de la renaissance des lettres. That large and amorphous work included a full-scale biography of Erasmus, a translation of whose Institutio principis christiani Joly has published in epitome. The introduction suggests that Joly’s interest in Utopia can be related to his own career in politics, although his analysis of More’s work does not go very deep. That is perhaps understandable in the light of the historical circumstances, the absolutism of Louis XIV and the conservative style of opposition to it.

Abstract After Louis XTVs banishment of the Comédie-Italienne in 1697, its costumes and masks became increasingly fashionable among a public disenchanted with absolutist politics. This article reveals the manner in which the plots, characters, and subversive satire of the Comédie-Italienne inform two ballets of André Campra, Le Carnaval de Venise (1699) and Les Fêêtes vénitiennes (1710). Following the satiric strategies used by the Comédie-Italienne, Campra and his librettists employ an exotic Venetian setting as a mask for the libertine entertainments of a French public sphere. Reversing the ideology of Louis XIVs courtly fêêtes, they deconstruct his official image in three ways: through a literary web of allusion, satire, and parody; through an Italianate musical style that serves to undermine the French language of absolutism; and through the thematic celebration of a new public audience as the subversive heir to the royal prerogative of pleasure.

Contemporary artist Takashi Murakami from Japan works in painting, sculpture, and commercial media including fashion, merchandise and animation with the superflat theory. The creative process combines traditional culture with contemporary culture, this study aims to understand Murakami's background in managing the dynamics of traditional culture with critical and genius visual discourse. The superflat theory was finally able to lead Murakami to become a well-known artist, due to the meeting of the dynamics of traditional and capitalist culture in the global market. The use of kawaii elements which mean cute and sweet, both as a style and a way of life can be found in Murakami's art. Symbolism plays an important role in attracting people's attention and working to elevate otaku culture's status as a representation of Japan. Murakami's mythical sensibility presents traditional Japanese, Chinese, and Buddhist myths giving mythopoeic achievements. This study uses library research with a semi-systematic approach that originates from journals, dissertations, theses, and internet media, based on the results of data and information processing, the works of artist Murakami are influenced by Japanese cultural structures such as Soga Shohaku, kawaii, and otaku. Murakami's awareness in understanding art discourse by incorporating a kawaii style, so that it is easily accepted in the global art market. Understanding how Murakami's formula manages traditional culture to become today's art, can be analyzed in a work entitled “Dragon in Clouds – Indigo Blue”. The conclusion of Murakami's work is the symbolism influenced by his personal experience.Keywords: soga shohaku, kawaii, otaku, superflat. AbstrakSeniman kontemporer Takashi Murakami dari Jepang mengerjakan karya lukisan, patung, dan media komersial termasuk fashion, barang dagang, dan animasi dengan teori superflat. Proses kreatif memadukan budaya tradisional dengan budaya kontemporer. Penelitian ini bertujuan memahami latar belakang Murakami mengelola dinamika budaya tradisional dengan wacana visual yang kritis dan jenius. Teori superflat akhirnya mampu mengantarkan Murakami menjadi seniman ternama, karena pertemuan dinamika budaya tradisional dan kapitalis di pasar global. Penggunaan unsur kawaii yang berarti imut dan manis, baik sebagai gaya maupun gaya hidup dapat ditemukan dalam karya seni Murakami. Simbolisme memainkan peran penting untuk menarik perhatian orang, dan berupaya mengangkat status budaya otaku sebagai representasi Jepang. Kepekaan mitis Murakami menghadirkan mitos tradisional Jepang, Cina, dan Buddha memberikan pencapaian mythopoeic. Penelitian ini menggunakan penelitian kepustakaan dengan pendekatan semi-sistematik yang bersumber dari jurnal, disertasi, tesis, dan media internet. Berdasarkan hasil pengolahan data dan informasi, karya seniman Murakami dipengaruhi oleh struktur budaya Jepang seperti soga shohaku, kawaii, dan otaku. Kesadaran Murakami dalam memahami wacana seni dengan memasukkan gaya kawaii, sehingga mudah diterima di pasar seni global. Memahami bagaimana formula Murakami mengelola budaya tradisional menjadi seni masa kini, dapat dianalisis dalam karya berjudul “Dragon in Clouds – Indigo Blue”. Kesimpulan dari karya Murakami adalah simbolisme yang dipengaruhi pengalaman pribadinya.Kata Kunci: soga shohaku, kawaii, otaku, superflat. Author:Dwi Yunizal : Institut Seni Indonesia Yogyakarta References:Birlea, O. M. (2021). “Cute Studies”. Kawaii (“Cuteness”) – A New Research Field. Philobiblon, 26(1), 83–100. https://doi.org/10.26424/philobib.2021.26.1.05.Borggreen, G. (2011). Cute and Cool in Contemporary Japanese Visual Arts. The Copenhagen Journal of Asian Studies, 29(01), 39–60. https://doi.org/10.22439/cjas.v29i1.4020.Hashimoto, M. (2007). Visual Kei Otaku Identity - An Intercultural Analysis. Intercultural Communication Studies, XVI(1), 87–99. https://www.researchgate.net/publication/239576790_Visual_Kei_Otaku_Identity-An_Intercultural_Analysis.Hu, X. (2021). Is Takashi Murakami’s Art an Exploration of Symbolism ?. Proceedings of the 2021 6th International Conference on Modern Management and Education Technology, 582, 560–564. https://doi.org/10.2991/assehr.k.211011.101.Khairi, I. A ., & Hafiz, H. (2022). Kajian Estetika Lukisan Realis Kontemporer Drs. Irwan, M.Sn. yang Berjudul di Ujung Tanduk. Gorga: Jurnal Seni Rupa, 11(01), 138-146. https://doi.org/10.24114/gr.v11i1.34129. Mamat, R., Rashid, R. A., Paee, R., & Ahmad, N. (2022). VTubers and anime culture: A case study of Japanese learners in two public universities in Malaysia. International Journal of Health Sciences, 6(S2), 11958–11974. https://doi.org/10.53730/ijhs.v6nS2.8231.Pellitteri, M. (2018). Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods. Arts, 7(3), 24. https://doi.org/10.3390/arts7030024.Raman, K., Othman, A. N., Idris, M. Z., & Muniady, V. (2021). Kawaii-Style Pedagogical Agents Designs in Virtual Learning Environment: A Research Conceptual Framework. International Journal of Academic Research in Progressive Education and Development, 10(01), 154-170. https://doi.org/10.6007/IJARPED/v10-i1/8489.Raubenheimer, L. (2006). Blandness and the digital sublime in Takashi Murakami’s designs for Louis Vuitton. South African Journal of Art History, 21(2), 74–88. http://hdl.handle.net/2263/10629.Rupadha, I. K. (2016). Memahami Metode Analisis Pasangan Bibliografi (Bibliographic Coupling) dan Ko-Sitasi (Co-Citation) Serta Manfaatnya untuk Penelitian Kepustakaan. Lentera Pustaka, 2(1), 58–69. https://doi.org/10.14710/lenpust.v2i1.12358. Sanjaya, B. & Citra, P. A. C. (2022). Fenomena Aku Setelah Pandemi Covid-19 sebagai Ide Penciptaan Karya Seni Lukis. Gorga: Jurnal Seni Rupa, 11(01), 107-113. https://doi.org/10.24114/gr.v11i1.33867.Sari, M. (2020). Penelitian Kepustakaan (Library Research) dalam Penelitian Pendidikan IPA. NATURAL SCIENCE: Jurnal Penelitian Bidang IPA dan Pendidikan IPA. 6(1). 41-53. https://ejournal.uinib.ac.id/jurnal/index.php/naturalscience/article/view/1555.Sharp, K. (2007). Superflatlands : The global cultures of Takashi Murakami and superflat art. ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies, 26(1), 32–42. https://search.informit.org/doi/10.3316/informit.665904534038717. Uzelac. G. (2022). Harnessing The Myths of Now :Restoring Social Harmony Through Mythic Art. The University of Sydney, 1-69. https://hdl.handle.net/2123/27724.Yazovskaya, O., (2018). Artistic Language of Mass Culture As Illustrated By Takashi Murakami (On Materials From “Under The Radiation Falls” Exhibit, 2017-2018, Moscow). IJASOS-International E-Journal of Advances in Social Sciences, IV(11), 516-520. https://doi.org/10.18769/ijasos.455682.

Quality or speed: that is the question. The big problem for professional translators nowadays is that our clients want both. We are required, on a daily basis, to try to do the impossible, to square the circle, to attempt to maintain a satisfactory degree of accuracy and style while meeting deadlines that at times can only be described as sadistic. Levels of translator stress have gradually risen, though sadly they have not been accompanied by a commensurate rise in translation rates. I cannot help but wonder, as I glance nervously at the clock, how we have ended up in this sorry state of calendarial bondage, in which we would hardly be surprised to hear an indignant client remark, in the immortal words of Louis XIV: ‘I almost had to wait!’

This thesis explores the influence of French royal image-making on English monarchies at the turn of the eighteenth century. It investigates the relevance of Louis XIV (r. 1643-1715) to English royal iconography during the reigns of William III (r. 1689-1702) and Queen Anne (r. 1702-1714) across a wide range of source material - from panegyric and portraiture, to medals, sculpture, and architecture. In doing so, it foregrounds the intricate interplay between political communication and different forms of artistic imagination in the early modern period. The thesis conceptualises the relation between post-revolutionary English monarchical image-making and its French counterpart as one of contest with and emancipation from French influence. The specific political circumstances add a particular poignancy to the investigation of this narrative, as the almost continual crises which the English monarchy suffered at the time stand in sharp contrast with the (dynastic) stability of the French monarchy and its highly influential court culture. Despite these elements of rupture and contrast, however, the story of seventeenth-century English monarchical image-making is one of continuity in respect of its gradual disengagement from the French model. In contrast to his immediate predecessors, I contend, William's image-making presents him as Louis's competitor, rather than his imitator. In the course of William's reign, Louis's monarchical model thus turns from model to foil. This development evolves further in Queen Anne's reign, culminating in Louis's mort avant la lettre, as Anne's image-making dispenses with the Ludovican model both as model and as foil. English post-revolutionary image-making, I argue, not only mirrored, but actively contributed to the decline of the Ludovican model, whilst maintaining the figure of the monarch as central to public political discourse. Through the lens of monarchical image-making, therefore, this thesis offers a critical outlook onto late seventeenth-century Anglo-French political and artistic relations.

Ce fut à compter de l'année 1668, à l'instigation de Colbert, que l'Etat porta un réel intérêt à la décoration des vaisseaux. La profusion et le luxe de ces ornements peints et sculptés devaient " faire éclater sur la mer la magnificence " du roi et servir la propagande. Colbert confia à Charles le Brun, la conception des décors des vaisseaux de premier rang, pour qu'il y développe de nouveaux systèmes décoratifs. De cette participation du premier peintre allaient naître trois somptueux décors qui marquèrent l 'évolution de l'ornementation navale en France et qui furent à l'origine de la création des ateliers de peinture et de sculpture dans le arsenaux, dont le rayonnement fut assuré par la nomination d'artistes réputés comme Pierre Puget. En donnant la liberté d'entreprendre à des artistes venus de tous horizons, les arsenaux favorisèrent les échanges et devinrent , au moins jusqu'à la fin de la Régence, des foyers artistiques, où se brassaient les influences.

Nicolas Besnier (1686-1754) est le fils de François Besnier, chef du gobelet du roi, et d’Henriette Delaunay. Son oncle est Nicolas Delaunay et son parrain est Corneille Van Clève. Comme architecte, Nicolas Besnier fait le voyage en Italie de 1709 à 1712 ; étudiant à l’Académie de France à Rome, il obtient le premier prix d'architecture de l’Académie de Saint-Luc en 1711. Maître orfèvre en 1714, associé à Delaunay, logé aux galeries du Louvre à partir de 1718, il est nommé orfèvre du roi par un brevet en 1723. Il travaille pour la cour de France, notamment pour le remplacement de la vaisselle ordinaire du roi et pour les Affaires étrangères, ainsi que pour les comtes de Tarroca, de Pontchartrain, les duchesses de Retz, d'Harcourt, le maréchal de Castries, les ducs de Bouillon, de Levy, Horatio Walpole, Gaspard-César-Charles de Lescalopier, William Bateman, l'église Saint-Louis-en-l'ile, la cour de Wurtemberg, etc… Il devient échevin de la ville de Paris en 1729. A cette époque, il décide de collaborer avec son gendre Jacques Roëttiers de La Tour, à qui il laissera la conduite de son atelier d’orfèvre. De 1734 à 1753, il est directeur de la Manufacture royale de tapisserie de Beauvais. Il supervise la création de nouvelles tentures par Jean-Baptiste Oudry - Métamorphoses d'Ovide, Verdures fines -, par Charles Joseph Natoire - Histoire de don Quichotte - et par François Boucher - les Fêtes italiennes, Histoire de Psyché,Seconde tenture chinoise, les Amours des dieux, la Noble pastorale, les Fragments d'opéra ; cette période est vraiment « l'âge d'or » de la manufacture. Il quitte son logement aux galeries du Louvre en 1739 et il remet son poinçon d'orfèvre en 1744
Nicolas Besnier (1686-1754) is the son of François Besnier, head of the Gobelet du Roi and Henriette Delaunay. His uncle is Nicolas Delaunay and his godfather is Corneille Van Clève. As an architect, Nicolas Besnier traveled to Italy from 1709 to 1712. As student at the Academy of France in Rome, he obtained the first prize of architecture of the Académie de Saint-Luc in 1711. He became master goldsmith in 1714, partner with Delaunay, and was housed in the Galeries du Louvre from 1718. He was appointed goldsmith of the king by a patent in 1723. He worked for the court of France, notably for the replacement of the king's ordinary serveware and for the Foreign Affairs, as well as for the Counts of Tarroca, of Pontchartrain, the Duchess of Retz, of Harcourt, the Marshal de Castries, the Dukes of Bouillon, of Levy, Horatio Walpole, Gaspard-Caesar-Charles de Lescalopier,William Bateman... He became the alderman of the city of Paris in 1729. At that time, he decided to collaborate with his son in law Jacques Roëttiers de La Tour, who led the his workshop of goldsmith. From 1734, and until 1753, he was director of the Royal Manufacture of Tapestry of Beauvais. He supervised the creation of newhangings by Jean-Baptiste Oudry - Metamorphosis of Ovide, Fine verdures, by Charles Joseph Natoire - History of Don Quixote and by François Boucher - Italian festivals, Story of Psiché, the second Chinese hangings, the Loves of the gods, the Noble pastoral, Fragments of opera. This period is truly the « golden age » ofmanufacturing. He left his lodging at the galleries of the Louvre in 1739 and in 1744 gave back his hallmark of goldsmith

Cette thèse s'attache à reconstituer la vie et l'œuvre de Charles Errard (Nantes, v. 1603-Rome, 1689), peintre, architecte et décorateur. La première partie étudie sa première période romaine (v. 1625-1642), qui voit un jeune artiste pensionné par le roi s'affirmer comme un dessinateur prolifique et bien introduit. La deuxième partie analyse la production datant de cette période. La troisième partie étudie les conditions de son succès dans le monde artistique parisien comme entrepreneur de décoration. La quatrième analyse l'art de cette période en tentant de préciser le statut du grand décor ornemental au milieu du siècle. La cinquième s'attache à son rôle d'éditeur d'estampes et à celui d'architecte. La dernière partie détaille les multiples facettes de sa seconde période romaine, à partie de la fondation de l'académie de France à Rome, mais aussi dans son rôle à l'académie romaine de Saint-Luc. Le catalogue ici reconstitué compte 4 à 5 tableaux sûrs, environ une quinzaine de décors, 400 dessins et gravures
This thesis deals with the work and life of Charles Errard (Nantes v. 1603-Rome 1689), painter, architect and decorator. The first part studies his first roman period (c. 1625-1642), in which Errard reveals a prolific draughtsman, and a well established young artist. The second part analyses this production. The third part deals with the conditions of this partisan career, as a decorator. The fourth part tackles the elements of his art in Paris. The fifth part regards his role as a print publisher and his conception of architecture. The last embraces his final years in Rome, as the first director of the French academy in Rome and as the Principe of the San Luca academy. The catalogue, here established, counts 5 paintings, 15 decorations, 400 drawings and 500 prints

L’orfèvre parisien Pierre Germain dit le Romain (Villeneuve-lès-Avignon, 1703-Paris, 1783), connu pour apublication des Éléments d’orfèvrerie, eut une carrière originale, passant sa jeunesse dans les ateliers d'orfèvres du roi,chez Thomas Germain (1726-1729), puis après un séjour à Rome (1729-1733), chez Jacques Roëttiers (1733-1736) avantde devenir apprenti chez Nicolas Besnier en 1736, et maître en 1744. Travaillant pour Roëttiers jusque vers 1755-1756,devenu grand messager juré de l’université, amateur d’estampes, il publie en 1748 le plus vaste recueil d’orfèvrerie dutemps, les Éléments d'orfèvrerie, cent planches de modèles religieux et civils de style rocaille, gravés par Bacquoy etPasquier, repris et copiés jusqu’au XIXe siècle jusqu’à l’étranger. Il publie aussi en 1751 un court Livre d'ornemens.Installé quai des orfèvres, à La Garde Royale, il produit peu, 1410 kg d’argent jusqu’à sa mort, de beaux ou simplesobjets. Quelques acquéreurs sont connus : Joseph Ier de Portugal en sous-traitance pour François Thomas Germain (1755-1756, 1765), les Wal de Baronville (1761-1763), les Wandalin Mnisech (1762-1764), la princesse des Asturies encollaboration avec Philippe Caffieri et Thomas Chancellier (1765), les Rocheblave (1777), le comte d’Artois et laprincesse de Ligne (1782). L’étude s’élargit aux artistes côtoyés : à Paris, ses maîtres Germain, Roëttiers, Besnier, sonconfrère Denys Frankson, ses apprentis Ange Joseph Aubert et Pontaneau ; à Avignon, les Clerc, Mézangeau et ClaudeImbert, ses parents les architectes J.-B. et François Franque et le menuisier facteur d’orgues Charles Boisselin ; àMarseille, les Durand, les Giraud et son neveu Antoine Germain
The Parisian silversmith Pierre Germain the Roman (1703-1783). A career near the silversmiths of the king. The Parisian silversmith Pierre Germain the Roman (Villeneuve-lès-Avignon, 1703-Paris, 1783), known for his book the Éléments d’orfèvrerie, had an original career. During his youth he worked for the silversmiths of the king, Thomas Germain (1726-1729); and after some time in Rome (1729-1733), worked for Jacques Roettiers (1733-1736) and as an apprentice for Nicolas Besnier from 1736. Master in 1744, he kept working for Roettiers until 1755-1756. Great messenger of the University, fond of engravings, he published in 1748 the largest book of models of the time, Élémentsd’orfèvrerie, 100 plates of rococo religious and civil silverware, engraved by Bacquoy and Pasquier, reprinted and copied until the 19th century in France and abroad (London, Turin). He also published in 1751 a short Livre d’ornemens. Installed quai des orfèvres, he had a small production, 1410 kg of silver up to his death, beautiful or simple objects,including orders for Joseph I of Portugal under contract for François Thomas Germain (1755-1756, 1765), for the Wal de Baronville family (1761-1763), the princess of Asturias in collaboration with Philippe Caffieri and Thomas Chancellier (1765), the Wandalin Mnisech (1762-1764), the Rocheblave (1777), the count of Artois and the princess of Ligne (1782). This study also covers artists he knew well: in Paris, his masters Germain, Roettiers, Besnier, his collegue Denys Frankson, his apprentices Ange Joseph Aubert and Pontaneau; in Avignon, the Clerc and Mézangeau families and Claude Imbert, his parents the architects J.-B. and François Franque, the organ builder Charles Boisselin; in Marseille, the Durand and Giraud families and his nephew Antoine Germain

碩士
中國科技大學
室內設計系
104
Abstract From ancient times to the present, Europe has always been the paramount hall of western art, and France the center of fashion trends. Throughout European history, King Louis XIV and XV of France had significant influence on western culture and art, especially in the aspect of furniture style. At that time, France had such enormous financial strength and political power that it not only exercised different levels of influence on the style of furniture but has become the pioneer of the art of furniture of later ages. The research uses the castles near the Loire Valley and the Palace of Versailles as background, and the paper is based on the field study of the researcher’s visit in France and personal interview with a number of Italian professional furniture manufacturers. It aims to provide an in-depth analysis of the differences between the furniture styles of the periods of both Louis XIV and XV. There are two steps in writing this paper: 1. The castles near the Loire Valley and the Palace of Versailles: Study the social backgrounds of the periods of Louis XIV and XV by visiting the Palace of Versailles. Understand its construction, historical value, structural style, interior design, garden features in order to collect necessary information for this paper. 2. The furniture: Read historical data, interview the furniture manufacturers, examine all kinds of furniture in the castles and palaces, and use the graphic analyses to expound the stylistic differences of the furniture of both Louis XIV and XV periods and the evolution of their appearances, materials, curves, coatings, inlays, metal decorations. Based on the on-site investigation and the experts’ explanation of the production process, along with the hypothesis testing, this study hopes to present the issues on the differences between the Louis XIV and XV furniture styles in a more scientific way. The study reveals the furniture in the periods not only emphasizes on the function but takes an awful lot of crafts, arts and luxury. Still now, it remains as a monument. Stuck goad leaf on the wooden material or used fancy silk on the surface of the chair is kind of a gorgeous style that has never been applied to furniture before. Auther hope to provide the objective viewpoints as references for interior designers using the ancient wisdom and creativity to build a brand new style in the 21th century. For those who have enthusiasm for gorgeous style furniture can enjoy it just like Louis XIV and XV. Hope the study can inherit the past and usher in the future in the academics. Key words：Louis XIV, Louis XV, the furniture style, differential analysis.

Our study for a new Anthropocene style is to re-evaluate the domestic space today, to rethink their decorative style to meet the new thermal regulations and to invent the architectural language of the interior in the era of the Anthropocene. The ambition is to offer a new style in the History of Decorative Arts after the Regency Style, Louis XV style, the Empire style or Louis Philippe Style among others, to invent the Anthropocene style of today. Using elegant, innovative, discounting art of interior design and decoration to meet the contemporary challenges in sustainable development, reduction of energy and greenhouse gas emissions. Redrawing the lines, patterns and geometry of walls, ceiling, floors, woodwork, moldings according to the optical behavior of the solar rays to multiply natural sunlight, to reduce conduction of excessive heat accumulated on the ceiling, to increase the coefficient of thermal insulation of walls and impede cold bridges. Rethinking the intelligence of materials to choose the material basing on specific physical behavior such as optical, thermal, acoustic absorption or reflection, porosity or proofing to water vapor, air, their factor of conductivity or diffusivity. Rethinking materials in terms of its colors, textures with physical value, choosing innovative and non-toxic materials as interior materials, to reflect infrared, absorb the other wavelengths, let them go elsewhere, while at the same time they reflect the shorter wavelengths of white light or absorb to enjoy even their heat.

Admired by Stendhal and Marcel Proust, Saint-Simon wrote about his life in Versailles under Louis XIV. His purpose was that of a historian. Yet his style is so striking that it inspired major literary artists. Kinesic intelligence was a vital skill in Versailles, and Saint-Simon was acutely aware of all forms of nonverbal communication. He was also capable of communicating about kinesic interactions—with a sharp sense of humor. This chapter focuses on Saint-Simon’s portraits of the Duke and Duchess of Orléans, and his own intervention in the so-called Intrigue for the marriage of the Duke of Berry. In this episode, dynamic shifts, speed, and haptics (sensations interconnecting touch and kinesthesia) are a focus of attention, as they played a surprising role in Saint-Simon’s vivid experience of this historical moment.

René Rapin, the father of Jesuit georgic poetry, manoeuvred his intellectual life between the ancients and the moderns with an instinct for conciliation and compromise that made him an effective apostle to the world. He is best remembered for his Horti, a classical-style didactic poem in four books that celebrated the victory of the moderns over the ancients in horticultural art. His poem, which is secular in appearance, is motivated by (mildly concealed) religion and Jesuito-political impulses, and cultural and literary impulses, particularly those of Virgil. This chapter discusses some of the developments in the Italian Renaissance georgic poetry to better understand Rapin's contribution to the early modern Latin georgic. It considers the latter Latin poems on horticulture and sericulture, which bear resemblance to the ancient model yet are considerably shorter than Virgil's. These latter georgic poems predicated on a Nature that is mild and marvellous, and centred on the artistic manipulation of Nature. In the Italian Renaissance, the ‘recreational georgics’ were dominated by pastoral ease, which is ironic, given the prominent thematic of labour in the original georgics. While the georgics were poems that celebrated nature and labour in gardens, by the turn of the eighteenth century, French Jesuits had identified the didactic genre of georgics as a flexible medium for exhibiting their modern Latinity and advertising their honnêteté.

Abstract The seventeenth century is known in France as the Great Century, le Grand Siecle, not only because of the splendor brought to it by the Sun King, Louis XIV, whose absolutist rule and dazzling court became a model for all the rest of Europe, but also and especially because of the great poets who thrived under his patronage. Moliere (with whom Lully, before he turned to opera, collaborated on several comedies-ballets), Corneille, Racine, Boileau, La Fontaine scheme of his opera, for which I was unstinting with my advice. We were busy with this miserable task, whose outcome was by no means certain, when all of a sudden a happy incident relieved us of our quandary. The incident was this: M. Quinault having come in tears before the King and having pointed out to him what a humiliation he would suffer if he were no longer to work for His Majesty’s entertainment, the King, touched with compassion, declared frankly to the ladies I mentioned earlier that he could not make up his mind to let him suffer. Sic nos servavit Apollo [thus did Apollo save us]. And so we, Racine and I, returned to our former occupation, and no further mention was made of our opera, whose only remains were a few verses of M. Racine, which were not found among his papers after his death, and which he most likely suppressed from nicety of conscience, since they dealt with love. As for me, since there was not a trace of flirtatiousness in the scene I had composed, not only did I think it improper to suppress it, but I herewith present it to the public, persuaded it will please the readers, who perhaps will not regret seeing how I went about sweetening the gall and vehemence of my satirical poetry in order to take a plunge into the saccharine style. This they will be able to judge from the fragment I present to them here, and I present it to them the more confidently in that, since it is very short, should it not amuse them, it will not allow them enough time to get bored.

The article is devoted to the GIS cartography of the royal and ducal itineraries of Lous XI, Philip the Good and Charles the Bold (1461–1477). The intinerary is not the simple calendar list of visited places but the source characterizing the implementation of the government strategies – 'the style of governing'. The itinerary allows to satisfy step by step the interest in problems of power, the mechanisms of its implementation, the definition of spaces of real power. The article proposes approaches to creating a complex digital model of parallel Franco-Burgundian itineraries.