No comments about Anish Kapoor: Past, Present, Future.

1 comments about Fashion and Fiction: Dress in Art and Literature in Stuart England (Paul Mellon Centre for Studies in Britis).

1. Fabulous book. Wonderful photos. Most students of Stuart fashion have probably seen most of these illustrations, but the details are fabulous and the text chock full of relevant and revelatory reference material. Extremely beautiful book.

No comments about Land Art (Basic Art).

2 comments about My Life (Oxford World's Classics).

1. I was in Florence recently, when my eyes came across this book. I'am no expert in art, history or biography, but this was a great read. I chuckled often as Cellini vividly portrayed the many adventures of his life. The one amazing thing about this book is, how real Cellini becomes. You feel his many pains and triumphs. Cellini is very normal and flawed, which make him more endearing. I love the guy and wish he were alive today, cause he's the type of guy you'd enjoy a beer with. Buy this book. For everyone.



2. This much-translated book is the story, in his own words, of a real person whose life seems more like fiction. For clarity, I am going to offer readers unfamiliar with the work some facts, before briefly describing the excellent Oxford World's Classics version (the sixth in English), translated and annotated by the team of Julia Conaway Bondanella and Peter Bondanella. I hope that this will help others find their way through a confusing bibliography. (Those familiar with Cellini should skip to the end.)
   
   Benvenuto Cellini, Florentine goldsmith, sculptor, and enthusiastic self-promoter, can safely be described as a man of the sixteenth century, since he was, conveniently, born, in November 1500, and died in February 1571. Other statements about him, however truthful, often sound like fiction. The autobiography he wrote and (he says mainly) dictated between 1558 and 1566 breaks off in November 1562. It covers several tumultuous decades in later Renaissance and early Counter-Reformation Italy, with excursions into the Swiss Alps and France. Alongside Cellini's frequent descriptions of his own prowess as an artist, a duelist and brawler, and a lover, it is notable for Cellini's almost equally frequent confrontations with celebrated figures; it sometimes seems the most appropriate title would be "And Then I *Told-Off* the Pope, the Emperor, the King and Queen, the Duke and Duchess, and the Judge." Amazingly, a lot of it can be confirmed from contemporary documents; Cellini's penchant for getting into trouble, and the fact that he worked in precious metals, both helped leave paper trails.
   
   Cellini's treatises on goldsmithing and sculpture were published in his lifetime and include autobiographical passages; his account of his life had a limited circulation in manuscript, including one corrected by his own hand, until it was published, from an inferior copy, in 1728. A series of Italian critical and popular editions have followed, up to the present. He has yet to achieve the status of Michelangelo and Raphael, which he coveted, but he is being read. His great bronze statue of Perseus, the casting of which he told and retold, was recently restored. Unfortunately, this was soon overshadowed by the theft of his last surviving goldwork, the "salt-cellar" he created for Francis I of France (not the original patron for which it was designed, as usual).
   
   [Stolen in 2003, the ten-inch high object was finally recovered in January 2006; at which time its worth was estimated at 60 million dollars. Or -- in the same BBC story -- as either 33.9 or 36 million pounds; I'm sure Cellini would have insisted on the higher figure. He certainly would have been delighted by the constant repetition that it is "the Mona Lisa" of sculpture," until he decided that the reference should be the other way around.]
   
   The first English translation, by Thomas Nugent, appeared in 1771. A German rendering (serialized beginning in 1796, according to the Bondanellas), published in book form in 1798, ensured the work immediate European attention; the translator was Goethe, THE international best-selling celebrity author of the age. A second English version, by Thomas Rosco, appeared in 1822 ("Memoirs"). By this time a specifically Romantic vision of Cellini was developing, immortalized in Hector Berlioz's splendid opera of 1838, "Benvenuto Cellini." (Was Berlioz's own highly entertaining autobiography influenced by Cellini's example? Or Goethe's?)
   
   The classic rendering in English, by John Addington Symonds, "The Life of Benvenuto Cellini, Written by Himself," was published in 1888. The Bondanellas attribute Cellini's present fame in the English-speaking world to this translation. It has certainly appeared in a variety of forms, including abridgments, and under various titles, and is sometimes listed by editor. It is still in print; there is a Gutenberg e-text available on-line, which is easily searchable, but you need to know Symonds' renderings of Cellini's sixteenth-century spellings of names. (There was even an edition of the Symonds translation illustrated by -- Salvador Dali!)
   
   Unfortunately, the popularity of Symonds' translation overshadowed a richly documented fourth translation, with extensive commentary, by Robert H. Hobart Cust, published in 1910 (as "The Life of ... "); I remember consulting its notes in a library reserve copy, but have no impression of its quality as a translation. (I also have no idea why Dover never picked it up for reprinting, when they offered a translation of the Treatises.) According to the Bondanellas, Cust's version is still, for most purposes, *the* scholarly edition, in any language (Italian included), although more often used than cited.
   
   Since 1956, editions of Symonds have had to compete with George Bull's translation, for the Penguin Classics, as "The Autobiography," which also was the basis of a Folio Society illustrated edition of 1970. Bull's version seems to be regarded as more accurate than Symonds'. Some (myself included) prefer Symonds' prose style; I have adapted much of this review from my notes comparing these two versions. (In revising, I have drawn heavily on the Bondanella's documentation, using their spellings and dates for other translators and editions.) Unhappily, like most Penguin editions of its vintage, it lacked notes or an index; a limited bibliography was supplied in some later printings. It was not until 1999 that the Penguin Classics edition was reissued in a revised version, with extensive notes and a detailed index. There are slight changes in pagination between the two editions of the Penguin translation, but it is my impression that Bull's translation was supplemented, rather than extensively revised. The Penguin edition may or may not be in print as you read this; anyone ordering a used copy should be aware of the difference. (The last page of the original version is 397, of the revised is 496.) For the notes and index, I prefer the 1999 edition to any form of the Symonds translation currently available. And now there is a third choice.
   
   The Bondanella translation is based on the latest critical editions of the Italian text, and, quite explicitly, on Cust's documentation and explication. I am delighted with the result. The translation is more to my taste than that of Bull, or even Symonds. The Introduction and Chronology are clear, and the Select Bibliography is an invitation to further reading. The index is extremely useful. The annotations are tightly integrated with the text, and concisely explain allusions, identify people, supply facts, and answer many questions. (There are, inevitably, a very few points I would question: shouldn't the note on "unicorn's horn" on page 408 have mentioned that it may have been a narwhal tusk?) They even briefly discuss some problems with Cellini's breezy Italian (composed at the same time other Florentines were writing the first "official" grammars of the language), pointing out alternative understandings. A first-rate addition to the World's Classics list.

5 comments about We Beat the Street: How a Friendship Led to Success.

1. Outstanding book! I am fortunate to know Dr. Davis. No wonder why this is such a great story. A great man with an incredible outlook on life. He spent some time mentoring my nieces while they were attending Rutgers University and inspired them to do great things. Doc, They both graduated and are attending grad school:) Thank you! I also had the opportunity to meet Sharon Draper(Co-author)when she came to the middle school where I am now a teacher. The school love all of her books.
   
   My nieces and I are also products of Newark, NJ and the Bronx, NY. "We Beat the Street" is a voice for those inner city kids and every kid that have dreams but yet do not have the resources immediately available in their homes, community and in their every day life. A great story of how to overcome obstacles, stigmas and how to give back to a community.



2. We Beat the Streets by three doctors, Sampson, George, and Rameck, is a nonfiction book. This story is about three friends that go to a medical school and they wanted to be different doctors. I learned that people should hang out with the people who want to bring you higher to a higher grade. I like this book becouse it has a lot of adventure and mystery.Other will like it because it has magnificent stories that will make you want to read more. -by Kevon Pierrot



3. This book is an excellent read aloud book for teachers of young African American males. It encourages and helps them realize that no matter how badly one's life begins, it doesn't have to stay that way. It's a great discussion starter to help young people voice their concerns in a format that normally would not be available to them.



4. Chris Cummings
   
   
   We Beat the Streets
   
   This book "We Beat the Streets" can show people, it doesn't matter were you come from. You can always become something even if you live in the ghetto.
   
   This Book is about three doctors, George Jenkins, Sampson Davis and Rameck Hunt, and all three of them come from a New Jersey city, Newark. All three of them fulfill there dream and go to college. In the book there are incidents from the lives of all three doctors about them living in the bad areas of Newark when they were kids. They did some bad things at first in there lives but then they realized later on in there life that the street life won't pay off in the end. As the reader reads this book they will follow Sampson, Rameck and George as there journey from first grade through medical school. See them achieve there goals. In this book "We Beat the Streets" it shows tragedy of street life and how still living in bad communities you can always achieve your goals.
   
   The content of "We Beat the Street" was edited really good for such young readers, making it a want to read book for this age level. The style of this book was simple but also attractive which will catch reader's eyes. Also the message was to the reader is excellent. It puts a warning to readers and also it's a inspiration, and encourages higher education, especially for those who doubt their ability to achieve there education goals. "We Beat The Streets" was one of the best books I have ever read on a subject like this. I extremely recommend this book to readers.



5. In this work three African American doctors tell the story of how they used their brains, loyalty, and few good chances to escape their tough urban neighborhood, go to college and medical school, and become doctors. The book is targeted for an adolescent audience, although there is an adult version, called "The Pact" available. At the end of each chapter, the doctors give some advice to young people who want to achieve more than those around them expect.
   
   Quote: "Young people need positive role models and guidance in their lives. There is no underestimating a positive figure in a child's life."
   
   I picked this book up because it is the only one recommended by more than one of my ninth graders. I enjoyed the anecdotes about the childhood and teenage years of the young men, but mostly I appreciated their frank discussion of the challenges their lives presented, the choices they needed to make, and the belief of many in their neighborhood that they would never get out. I think young people would enjoy the work even more than I did, since the authors were careful to target students.

1 comments about Athenian Black Figure Vases: A Handbook (World of Art).

1. This book by John Boardman covers an essential period in Greek Art. The Black Figure style takes place from about 580-500 BC, though it is overlapped by Attic Red Figure about 530 BC. This book gives you the names, dates and vases of more than 50 Attic Black figure artists. John Boardman knows his material, and it shows, he gives a full array of differing views about the authorship of some vases showing that his opinion may not be the only opinion. I really learned a lot from this book, and truly recommend it to any Art or Classics student, as well as the person looking for general knowledge. A Good Buy!

No comments about Conversations on Sculpture (Perspectives on Contemporary Sculpture).

5 comments about Holy Terrors: Gargoyles on Medieval Buildings.

1. Almost every tourist who has ever climbed to the top of the North Tower of Notre-Dame de Paris has taken a photo of his or her companion leaning over the balustrade between two gargoyles (technically 'chimeras'), and surveying the streets below. It's the ultimate gargoyle photo-op. I'm surprised this author was able to photograph the gargoyles without a tourist leaning between them. I was only slightly disappointed to learn from this book that much of the stonework on this tower is nineteenth-century restoration by Eugène Viollet-le-Duc, "started in 1845 to repair damage done to the cathedral during the Revolution." However, he did attempt to use molds of the originals.
   
   Basically gargoyles are waterspouts, but to me they are proof that medieval stonemasons had a lively sense of humor--which they might have inherited from the Etruscans or the Egyptians, who also used animal-shaped stone waterspouts. Strictly speaking, gargoyles that do not spout water are known as 'grotesques' or 'chimeras.'
   
   It surprised me to learn that gargoyles used to be brightly colored--oranges, reds, and greens were favored--and sometimes gilded. The author believes that "gargoyles may be survivals of pagan beliefs...incorporated into church decorations for superstitious reasons." I've read many a horror story based on this assumption, most notably "The Cambridge Beast" and "The Sheelagh-na-gig" by Mary Ann Allen.
   
   Encounters between gargoyles and people are unique to the Cathedral of Saint John in Den Bosch, the Netherlands: "As a monstrous creature leaps out from the top of the buttress, the people cringe in terror, each one leaning back in an attempt to escape the attack of their horrible assailant." Americans tend to make pets of gargoyles, but that was not their original purpose. After all, midair is the reputed realm of demons (Ephesians 2:2).
   
   Some of the gargoyles pictured in this book are laughing at us. A carved gargoyle-monk of the Old Cathedral of Saint-Etienne in Toul, France appears to be emptying the contents of a barrel onto his unsuspecting colleagues below. "Some [gargoyles] are so appealing that it is hard to imagine they were intended to be regarded as anything other than good creatures. Indeed, the gargoyles of Notre-Dame in Paris are even said to keep watch for drowning victims in the Seine."
   
   This book is an enchanting collection of photographs, legends, and travelogue. If you ever intend to go gargoyle-hunting in Europe, make certain a copy of "Holy Terrors" is stored in your carry-on.



2. ...I got the two books Holy Terror's and American Gargolyes... it was a great deal. The book is loaded with pictures of gargoyles from across america and desrcibes what type of gargoyle and where it is located in america. The photographs are beautiful and descriptive through out the book. If you gargoyles get the two books for the price of one. Highly Recommended!!!!



3. This book is one of the best books I got from [amazon.com]. I got the two books Holy Terror's and American Gargolyes... it was a great deal. The book is loaded with pictures of gargoyles from across america and desrcibes what type of gargoyle and where it is located in america. The photographs are beautiful and descriptive through out the book. If you gargoyles get the two books for the price of one. Highly Recommended!!!!



4. "Holy Terrors" is that rarest of books, one that is of genuine value to adults curious about art and architecture, but also very much capable of holding the interest of children. My five-year-old son loves the pictures--especially the "Hairy human with animal head" that adorns the cathedral in Burgos, Spain. We also both appreciate the excellent selection of medieval illustrations, such as Schongauer's "Temptation of Saint Anthony." Skimming through "Holy Terrors" is a fun way to introduce kids to one of the cultural treasures of Europe.



5. After searching several times for a book that gives the true meaning behind what gargoyles are, and where to find them, it has been found. This book combines a great number of detailed pictures with excellent writing. Way to go Janetta Benton!!!!

5 comments about The Armourer and His Craft: From the XIth to the XVIth Century.

1. This is a good book but note the title - "The Armourer and His Craft" ... the title is NOT "How to Craft Armour From the XIth to the XVIth Century" - I think a lot of people here got the wrong idea and were disappointed.
   
   As an insight into the armourer though, it is very interesting.



2. More of a historical record - with reprints of armour related period text, invoices, and treaties. A few photos of armour and period engravings. An interesting read for the armour historian - not a 'how to' or 'techniques' text.



3. I don't mind the fact that this book is a little dated. I enjoyed the descriptions and illustrations and learned a few things that I hadn't known already. Although ffoulkes is a little biased about the types of armour he prefers, he none the less presents information and construction elements that apply to all harnesses. There are references in french that aren't translated, and several erroneous footnotes that are untraceable and confusing. Besides it's downfalls, there are excellent points to the book: easy to read, easy to follow, and full of tidbits you'll be pleased to rediscover when you pick it up for a second or third time. It is definately worth the inexpensive price, and should be on the reference shelf of armour enthusiasts.



4. It's clearly specified in the title. This book provides an interesting look into the art of armor construction and also into the lives of the armorers and the people who hired them. The book is written in a simple but informative style.

   Although the book is old (original edition is from 1912), the text is concise and clear. The pictures and illustrations (which are most medieval drawings) are very nice.

   A very intersting read.




5. The books main focus is the history of armor. If you are looking for a guide on how to make armor this is not the resource you want.

No comments about Looking at European Sculpture: A Guide to Technical Terms (Looking at).