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Conferences - Meetings --- Free enterprise --- Associations, institutions, etc. --- Tempels. --- Paleizen. --- Instellingen. --- Ondernemers. --- Altertum --- Tempel --- Unternehmer --- Geschichte --- Kongress --- Palast --- Effect of associations, institutions, etc. on --- Effect of free enterprise on --- Iraq --- Babylonien --- History --- Civilization --- Antiquities --- Altertum. --- Tempel. --- Unternehmer. --- Geschichte. --- Kongress. --- Palast. --- Babylonien.

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Private houses --- History of civilization --- anno 1400-1499 --- Florence --- 72.034 <45> --- 725.17 --- 945 --- Geschiedenis van Italië --- History of Italy --- 945 Geschiedenis van Italië --- 945 History of Italy --- Architectuur van de renaissance; barok; rococo en koloniale stijl--Italië --- Paleizen. Ambtswoningen (van hoge ambtenaren) --- Architecture, Renaissance --- Palaces --- Florence (Italy) --- Civilization --- 72.034 <45> Architectuur van de renaissance; barok; rococo en koloniale stijl--Italië --- 725.17 Paleizen. Ambtswoningen (van hoge ambtenaren) --- Buildings --- Renaissance architecture --- Renaissance revival (Architecture) --- Florent︠s︡ii︠a︡ (Italy) --- Firenze (Italy) --- Florencia (Italy) --- Florença (Italy) --- Florenz (Italy) --- Florentia (Italy) --- Forence (Tuscany) --- Florence (Tuscany)

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L’histoire du palais du Luxembourg, premier palais royal jamais construit à Paris sur un projet cohérent, n’avait pas fait l’objet d’une monographie complète depuis le début du XXe siècle. Des sources inédites ou réinterprétées permettent de préciser l’évolution du projet comme du budget entre 1611 et 1615 et d’en suivre le chantier, incomplet au moment de l’exil définitif de Marie de Médicis en 1631, sous les directions successives des architectes Salomon de Brosse et Jacques Lemercier, ainsi que de Tommaso Francini pour le jardin. Palais parisien bâti par une princesse toscane, le Luxembourg présente une architecture originale, mélange créatif des traditions française et italienne. Dédié au couple Marie de Médicis-Henri IV, comme le montre son parti architectural, ses sculptures et son décor peint, le palais ne se laisse pas interpréter d’une façon simple : au-delà de la « maison » à laquelle elle fait référence en 1611, Marie de Médicis construit un palais mémorial, pour que nul, dans le contexte politique de la Régence et de la minorité de Louis XIII, ne puisse oublier la source de son autorité et de son droit. Cet ouvrage à la fois historique et architectural retrace l’histoire de la construction d’un édifice appelé à devenir un modèle en Europe. Peu accessible au public, entouré d’un parc apprécié, le palais du Luxembourg est un édifice majeur dans l’imaginaire collectif parisien et français.

Architecture --- Maria de Medici [Queen of France] --- Rubens, Peter Paul --- Luxembourg Palace [Paris] --- Marie de Médicis, --- Palais du Luxembourg (Paris, France) --- 72.034 <44> --- 725.17 <44> --- Architectuur van de renaissance; barok; rococo en koloniale stijl--Frankrijk --- Paleizen. Ambtswoningen (van hoge ambtenaren)--Frankrijk --- Medici, de', Maria [Queen of France] --- 72.034 <44> Architectuur van de renaissance; barok; rococo en koloniale stijl--Frankrijk --- Marie de Médicis, --- architecture [discipline] --- architecture [object genre]

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Neumann Balthasar --- Architects --- Architecture --- Architecture, Baroque --- Biography. --- History --- Neumann, Balthasar, --- architectuur --- Duitsland --- zeventiende eeuw --- Neumann, Balthasar --- 72.07 --- Architecture, Western (Western countries) --- Building design --- Buildings --- Construction --- Western architecture (Western countries) --- Art --- Building --- Baroque architecture --- Biography --- Design and construction --- Neumann, Johann Balthasar, --- Architectes --- Biographies --- 726.7(430) --- 725.17 --- 728.82 --- Architectuur ; Duitsland ; 17de eeuw ; B. Neumann --- Barok --- Neumann, Balthasar 1687-1753 (°Cheb / Eger, Tsjechië) --- Architecten. Stedenbouwkundigen A - Z --- Religieuze architectuur ; abdijen, kloosters ; Duitsland --- Openbare gebouwen ; paleizen, ambtswoningen --- Woningbouw ; kastelen --- Architecture, Primitive

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Although Vanvitelli was one of the most notable architects of his century, as Caserta was one of its major buildings, this study by a leading scholar of Baroque and Neapolitan architecture is the first book in English on the architect and his masterpiece.The great palace of Caserta, near Naples, probably the largest building erected in Europe in the eighteenth century, became an archetypal expression of absolute monarchy. It was begun in 1752 for Carlo di Borbone, King of the Two Sicilies, who worked closely with its chief architect, Luigi Vanvitelli. Although Vanvitelli was one of the most notable architects of his century, as Caserta was one of its major buildings, this study by a leading scholar of Baroque and Neapolitan architecture is the first book in English on the architect and his masterpiece. The book offers a new view of the palatial and megapalatial in architecture. Although the monarch for whom it was built never spent a night under its roof, Caserta was designed to provide the royal family and the court with a grand residence and more. It was also intended to house the offices of the government bureaucracy, barracks, a national library, a university, and a national theater - not only to symbolize but to contain the organs of a large modern state. Caserta influenced much that came after: plans by Boulle for a new Versailles to return pride of size to France, buildings in both Imperial and Soviet Russia, palaces of the later British Empire, even the Pentagon. As Hersey notes, "if Carlo di Borbone could return from the grave and rule the United States, he would move the seat of executive power from the White House to the Pentagon." The book also provides intriguing insights into the relationships between poetry - painted and sculptured allegories - and number - architectural planning that has become a geometrical game. It sketches the intellectual background of Carlo's conception, emphasizing the king's mythical forebears and his love of mathematical order. It shows that the Neapolitan poet and philosopher, Giambattista Vico, influenced the king to incorporate such mythic figures as Hercules and Aeneas into his genealogy and Vanvitelli to introduce their likenesses into Caserta's art, which is in turn integrated with the geometry of the palace's gardens and the numerical sequences of its rooms.

Architecture, Baroque --- Symbolism in architecture --- 728.820945 --- achttiende eeuw --- architectuur --- Caserta --- Italië --- kastelen --- mythes --- Napels --- paleizen --- symboliek en architectuur --- Vanvitelli Luigi --- Paleis van Caserta --- Vanvitelli, Luigi --- Architectural symbolism --- Signs and symbols in architecture --- Architecture --- Baroque architecture --- Arts Architecture Palaces and chateaux Italy --- Reggia di Caserta. --- Real Palazzo di Caserta --- Caserta (Italy). --- Palazzo reale di Caserta --- Royal Palace of Caserta --- Palazzo reale (Caserta, Italy) --- Caserta (Italy) --- Caserta, Italy --- Buildings, structures, etc. --- ARCHITECTURE/Architectural History/General