Villard S Legacy

Villard's Legacy is in memory of the celebrated iconoclastic historian, Jean Gimpel, and represents a fundamental contribution to the new AVISTA series with Ashgate Publishing. AVISTA was the brainchild of Gimpel, a genius at making the right people meet to advance knowledge through a confluence of ideas drawn equally from the practical and scholarly domains. Sixteen papers and a tribute to Gimpel underscore this confluence of technology, science and art within medieval culture. Appropriately, six papers offer new interpretations on aspects of Villard de Honnecourt's portfolio, which Gimpel rightly recognized and promoted as a unique and precious record of pre-modern technology and culture. This thirteenth-century manuscript is now known to a wider public as the earliest testimony left by a master builder in Gothic Europe. Of particular significance, for the first time in eight centuries, a Compagnon du Devoir, initiated in the same oral tradition as Villard, opens the door to interpreting these remarkable drawings. Three papers address previously ignored aspects in the construction of French and English Gothic churches, from the engineering of aerodynamic spires, to the elastic materials of vault webbing, to the social conventions of formal design. Three other contributors treat essential elements of a broader technological culture, such as the horse harness and the minting of coins, as well as the applicability of medieval technology to the modern world, in particular third world countries, a project pioneered by Gimpel. Four papers conclude the volume by treating the sciences of measure and their cultural expression in medieval Europe, embracing both the concepts of space and time, geometry as a mathematical discipline, and the graphic expression of scientific data. These interdisciplinary studies are comprehensive in chronological and geographic range, extending from the 8th to 15th centuries, from Ireland across Europe.

In 1883, railroad financier Henry Villard brought Portland and the Pacific Northwest their first transcontinental railroad. Earning a reputation for boldness on Wall Street, the war correspondent turned entrepreneur set out to establish Portland as a bourgeoning metropolis. To realize his vision, he hired architects McKim, Mead & White to design a massive passenger station and a first-class hotel. Despite financial panics, lost fortunes and stalled construction, the Portland Hotel opened in 1890 and remained the social heart of the city for sixty years. While the original station was never built, Villard returned as a pivotal benefactor of Union Station, saving its iconic clock tower in the process. Author Alexander Benjamin Craghead tells the story of this Gilded Age patron and the architecture that helped shape the city's identity.

Tracing the activities of nearly 300 abolitionists and their descendants, this title reveals that some played a crucial role in the establishment of schools and colleges for southern blacks, while others formed the vanguard of liberals who founded the NAACP in 1910.

This book charts the past, present, and future of studies on medieval technology, art, and craft practices. Inspired by Villard’s enigmatic portfolio of artistic and engineering drawings, this collection explores the multiple facets of medieval building represented in this manuscript (Paris, Bibliothèque nationale de France, MS Fr 19093). The book’s eighteen essays and two introductions showcase traditional and emergent methods for the study of medieval craft, demonstrating how these diverse approaches collectively amplify our understanding about how medieval people built, engineered, and represented their world. Contributions range from the analysis of words and images in Villard’s portfolio, to the close analysis of masonry, technological marvels, and gothic architecture, pointing the way toward new avenues for future scholarship to explore. Contributors are: Mickey Abel, Carl F. Barnes Jr., Robert Bork, George Brooks, Michael T. Davis, Amy Gillette, Erik Gustafson, Maile S. Hutterer, John James, William Sayers, Ellen Shortell, Alice Isabella Sullivan, Richard Alfred Sundt, Sarah Thompson, Steven A. Walton, Maggie M. Williams, Kathleen Wilson Ruffo, and Nancy Wu.

Escape into this complete epic fantasy romance series by USA Today Bestselling authors M. Lynn and Michelle Bryan. Their world is broken. The nobility hide behind the high walls of their castles while the kingdom sinks further into starvation and strife. Magic once provided for the people of Dreach, but it has been many years since war stole the power from them, years since the Tri-Gard—sorcerers tasked with protecting magic—was last seen. And now, the people wait for war once more. As the only daughter of the king, Rissa Renauld knows what’s expected of her. Don’t practice with a sword, it’s not for the princess. Accept an arranged marriage, it’s for peace, after all. And always remember, you’re entirely ornamental. But what if she wants to do more? To be more? Davion, has always known his place as the king’s ward. Do the right thing, but don’t be seen. Act like a brother to the prince, but don’t forget you’re not one of them. And whatever you do, don’t fall in love with the princess. Two out of three is good enough. When a darkness threatens to destroy the kingdom, roles are forgotten, and that which was taken must be regained. Along with the prince and the daughter of an enemy, Rissa and Davion must risk breaking all the rules in their quest to find the Tri-Gard and prevent the ruin of everything and everyone they love. The Legacy of Light set includes A War for Magic, A War for Truth, and A War for Love as well as the bonus novella, Memory of War. This series features willful women, charming rogues, and a collection of characters who will face the darkness inside themselves to protect each other. Keywords: love, romance, magic, fantasy romance, romantic fantasy, epic fantasy, war, battle, royalty, princess, forbidden romance, friends to lovers, sword and sorcery. The Legacy of Light series: A War for Magic A War for Truth A War for Love

Issued in conjunction with the exhibition at The Metropolitan Museum of Art of over 450 works of art from the legendary Havemeyer collection, formed at the turn of the century by pioneering American patrons of art Henry O. and Louisine Havemeyer, this lavishly illustrated catalogue combines 800 illustration (176 in color) with the collaborative efforts of 27 authors who examine the various aspects of the collection in summarizing essays and in entries on individual works. In addition, one essay is devoted to the Manhattan residence designed for the Havemeyers by Tiffany and Colman. An exhaustive 90-page chronology offers a perspective on the formation of the collection, outlining the roles of friend and advisor Mary Cassatt and a succession of dealers, and focusing on the history of the family and its business interests. 9.25x12.25" Annotation copyright by Book News, Inc., Portland, OR

This new facsimile edition of the Portfolio of the 13th-century Picard artist Villard de Honnecourt is the first ever to be published in color. The thirty-three leaves are reproduced at actual size from high-quality color transparencies to ensure the best possible color reproduction of the drawings. One can now see variations in inks and quill strokes, traces of preliminary drawings, and corrections made by the artist. This study is also the first to give a thorough description of the condition of the leaves, analysis of each drawing in the portfolio individually, and new transcriptions and literal and free translations of the inscriptions. The opening chapter covers the history and physical condition of the portfolio, including reassigning "hands" to text found on the leaves. The author analyses the tools and inks used, Villard's drawing technique and style, and evaluates Villard as an artist-draftsman. Chapter II, the body of the book, is devoted to detailed analyses of the leaves, one by one, and their drawings and inscriptions. These analyses are of interest to those concerned with medieval technology and theology as well as to those interested in medieval art and architecture. Chapter III is a new biography of Villard that challenges the many wild speculations of the last century and a half about Villard, separating obvious fiction from possible fact. Barnes analyzes in detail Villard's drawings of different Gothic buildings and makes a case for Villard having been a lay representative of the cathedral chapter at Cambrai, one of the buildings Villard drew. An extensive bibliography of Villard studies and a glossary of Villard's technical and artistic terms complete this important new study.