Antiquités dHerculanum, Tome I. (French Edition)
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Skin care Face Body. His three months in jail conditioned his attitude even into the revolutionary years. From to , his writing career — not unlike those of other professional writers in his generation — not only spans all types of genres and self-representations, but of publishing forms as well: The focus here will be on one form and period: These publications responded to the strong demand of the time for instructive reading including sets of good-quality illustrations and curiosities stimulated in the reading public by travel narratives and various aesthetic and cultural fashions.
Antiquités d'Herculanum, Tome I. by Tommaso Piroli - Free Ebook
The Mazarine, as the clergymen who directed it knew, was a meeting place for a few unconventional thinkers and their young admirers. Contractors of printed works who hire brains and get fat in guilty leisure on the sweat of ignored talent working without pause in their offices. Paris is teeming with these literary speculators, these swindlers of Wit, who manufacture books — unable to write anything, but charlatans in selling; they are the worthy rivals of the Booksellers, who do not see them kindly […].
Clearly, he put the professional booksellers in a different category, though the last sentence of this quotation suggests that he resented some of them almost as much as the charlatan speculators: They could nonetheless be an equally uncertain form of employment. XI, came out in ; and the Costumes civils actuels de tous les peuples connus, four volumes published in The narrative of the second organized into chapters with separate pagination , started with an account of Parisian life and costumes and moved seamlessly from nation to nation, from Europe to Asia — connected through the succession of Russian peoples found traveling eastward — and the other continents.
It was presented as an ongoing translation of the report on the archeological finds in the Ancient Roman town given, from to , by the Herculaneum Academy, founded by the king of Naples in These spectacular discoveries followed by those of Pompeii and later Paestum were an important event in European cultural history, particularly because they offered a wealth of new data on which to base judgments on the pictorial art of the Ancients — until then, available vestiges had been very limited. It has been noted, however, that French society had been slower than others in adopting this fashion: Its philosophical contents are all the more interesting because the author was to be a prominent intellectual of the French Revolution.
Antiquités d'Herculanum, Tome I. by Tommaso Piroli
His ideas on the Egyptians, the Greeks and the Romans can thus represent the less obvious uses of Antiquity in the formation of revolutionary culture. Cato, a figure Rousseau glorified as an example of rigorous patriotic virtue, was despised by Diderot for his attempt to ban Greek philosophy in Rome. It can qualify, in other words, the position which reduces all radical revolutionary culture to a stereotyped Jacobinism, seemingly bent on the revival of the harsh patriotic virtue of Sparta and early Republican Rome — bent, that is, on culturally grounding the swallowing up of the individual by the belligerent machine of the common good.
It implied a whole vision of reality, past, present and future and perhaps a few anti-authoritarian anti-bodies. There is a God; of kings he is the avenger: It is asked whether religion is in the State or the State in religion. It is asked if monarchic government preceded religious government, or not? To me, these two bad products of the human brain are from the same period and source […] When men got priests, they did not remain long without masters and vice versa.
His very vision of fulfillment, in other words, was really closer to the Hellenistic moral philosophies of Life according to Nature — to an ideal of individual autonomy focused on the exercise of private virtues — than to a social concept of happiness such as those prevailing in modernity. The same ideas would explode in his comments in the volumes published during the Revolution, volume IX in particular. However the focus here will remain on the pre-revolutionary ones. Any illustration of ancient paintings, sculptures and other archeological finds could offer a pretext or some leeway for synthetic philosophical allusions and indeed an opportunity for an alternative visual pedagogy.
For example, the image of an Egyptian votive hand in the volume on bronze and marble objects: In another passage he showed that his moralism was not sanctimonious: Thus he wrote of the old Cynics: He saw his destiny inscribed in his very name: In their fine historiographic analysis, L. In the s, the same genre catered to widespread curiosity about the latest European contacts with faraway peoples.
In the Costumes civils actuels the message was definitely anti-religious, if still in a semi-covert way. Peripheral peoples — including insular European groups — and nomadic or persecuted groups like the Waldensians in Piedmont were considerably over-represented in this global account: Already well developed by the philosophes in their greatest works, Voltaire and Montesquieu heading the list, this oriented reading of travel literature could be readapted at a more popular level to project a powerful if still partially veiled critical and even utopian message.
It could count on a strong reality effect, created by planetary empirical evidence and on the effectiveness of a good measure of visual entertainment: The Costumes civils enterprise had been launched by a successful publishing adventurer born in Montreal, Jacques Grasset de Saint-Sauveur. A traveler and a diplomat, he was a writer himself and an illustrator, with a particular taste for costumes. After the first edition of —87 in two volumes, Grasset sold his privilege for eight thousand livres to publisher Pavard, who reprinted the work in four volumes and apparently sold it again in the same year to another bookseller, Deterville, who had just started his own printing enterprise.
This second publisher immediately produced another edition with fewer illustrations.
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Proof of this was the fact that they were ready to sell them: Of course he needed to say they were superstitious for the royal censor, who nonetheless erased some sentences here and there replaced by very visible dots. The message, however, was clear enough.
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Still, he did not actually idealize these faraway or insular peoples in his words, while the illustrations did idealize their looks. This is evident from a comparison with drawings by eye witnesses or based on direct testimonies: IV, the cone-shaped headgear of a Nootka man drawn by scenographer Philippe de Loutherbourg for the pantomime Omai , based on eye witness portraits, was a hat worthy of a Parisian milliner on a Nootka woman in Costumes civils. The author wrote about the first colonists of Connecticut: What do some semi-savage hordes have in common with entire nations at the height of civilization?
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