Art History Books

This book is absolutely wonderful. It's really amazing. Everything you could ever think would exist in a basic 18th century wardrobe is here, and the ease of use is stunning. It goes into great detail on several pieces, including several sewing techniqes. And hey, if a teen can figure it out, anybody can do it. Although some parts are a bit tricky, it is overall a wonderful book, and belongs in every costumer's library.

If only Linda Baumgarten would write more books like this!

This is one of my favorite costuming books, because its format embraces a lot of different styles and the combination is much stronger than any of them singly. The book presents information both in articles and text-box asides, and uses line drawings and period illustrations as well as photographs and patterns of the actual garments. BEST of all, the book shows clear photographs of the INTERIOR construction of these garments, which is lost in most other books. (Janet Arnold shows a few interiors, but Nancy Bradfield seems to be the best about remembering to include construction.)

I'm so very, very happy that Quite Specific Media decided to bring this one back into print!

Does the "DNA" analysis of the clothing so you can get a true picture of each garment as it marched through time. Answers questions I have always wondered. Beautiful pictures.

Like Janet Arnold's now-classic "Patterns of Fashion" books, this book takes existing museum garments and offers basic scaled patterns for them. It also offers great details about how the garments were original made, tips for using period techniques, and even a few short histories (like the history of pockets). I can't recommend the book highly enough.

The patterns are not, however, for beginning sewers; they must be scaled up to size and then made up in muslin for the best accuracy. However, even beginners can enjoy drooling over these wonderful garments (shown in color and b/w) and learning about period construction.

Fortunately, I was able to get it from our library. I guess I'll have to be patient about actually owning it, but anyway....

This book contains excellent information, not only on pattern, but on the textiles used and construction methods on actual garments. I am fascinated with how these period items were put together and amazed at the detail the researchers were able to identify - so much better than iffy descriptions of fashion plates and contemporary paintings. It is also interesting to learn how patterns would've been used with particular textiles, given cost of fabric at the time. (Interesting to me, anyway, I'm a little obsessed.)

I highly recommend this book to anyone who is serious about re-enactment costume, or who just wants to learn more history about how things were made.

Rigorous research of police archives regarding murder cases ocurred in Paris in the 19 th. century. Every case is written in a narrative style that captures the reader form the beginning to the end. This is the best book I have ever read as a journalist and crime investigator. Black and white photographs compiled in this volume are unique.

Raw real life photography, if you have a weak stomache then this
book is not for you. If you think crime is bad today this book will shock you, black and white images of death from the late 1800's to the very early 1900's. This book, though, is a must-have for the true crime buff. Whether it be for the photos, or the stories of how the people were found and how they passed. I can usually look at shocking photos, but this book made me feel like the other photos were nothing, compared to these. If you want a real conversation piece AND a piece of history buy this book. The positions of some of the people are disturbing.

If you're not interested in crime, homocide, early criminological studies, or Paris or have a delicate constitution, don't read this book. However, if these things fascinate you, pay as much as the seller asks because this is a good one. The photos were discovered in Paris by Eugenia Parry, a photography scholar. The photos she found were old Bertillon photos of crime scenes in Paris. Ms Parry then matched the photos to newspaper reports. Some are grotesque, all make you catch your breath: this is what we do to oneanother. Twelve years later came WWI, the trenches, artillery, machine guns and gas. The acts described in this book were not so efficiently conducted. This is a book you won't easily forget.

I truly agree with some of the previous reviews,but let me give you an opinion on someone who knows crime photography well.this book is so well organized as far as text, bescause of the fact that it gives you complete stories behind the photos,plus early crime photos that are magnificent as well as tastefull,(believe me,I've seen some that are much worse,but still very intense photos),makes this book one of the best and most tastefully done works on crime photography I have ever owned!It's not a gore book relying primarily on shock value for it's saleability.Although the only thing it does'nt include is photo type reference,although they are all dated.Take it from a collector of early crime photography,this book is truly a gem!

This is a very disturbing book, with some extremely gruesome photographs of real-life violent crime scenes and murder victims from Paris around a hundred years ago. The author gives us the fascinatingly tragic and horrible stories behind the photographs, showing us that fact is sometimes stranger and more disturbing than fiction. From the murder of a courtesan to a limbless torso found in a suitcase floating in the river, to an infant neglected to death by his own parents, to an old bag lady found strangled in the bed of her run-down shack, to a waiter who killed a fellow waiter, to a dead body incinerated to hide its existence,--these were all well-publicized sensationalistic crimes which filled the public with titillation, fear and dread. This unique book is simply a must-read for anyone interested in criminology and the "true crime" genre.

David Rehak
author of "A Young Girl's Crimes"

dada: zurich, berlin, hanover, cologne, new yorkk, paris

This book is wonderfully informative, plus it has so many full-color reproductions--the type of terrific catalog that inspires one to stroke its pages with a sense of seduction (works in my mind!).

Coupled with Hans Richter's: "Dada, Art and Antiart" and movement's philosophy and works are clearly understood. Graphics are truly great and commentary enlighten. It might be noted this book is German published as the Max Ernst book "Life and Work". Both with numerous colored plates of the highest quality. The Dada book though excels in text.

I have always had a weakness for Dada, and within this quixotic movement a special liking for Schwitters. So I visited the Dada-exposition in the Paris Centre Pompidou last year, and there bought both the Dickerman catalogue of the American exposition, and the (French language) catalogue of the Centre Pompidou itself, which differ in many ways. The exposition was wonderful by the way, and one of the best I' ve seen in many years. Thinking that a morning would be enough to see what I wanted to see, I changed my mind, decided to take dinner in the Pompidou, and stayed for the rest of the day. The immense amount of material was stunning. And the same thing really goes for both impressive catalogues. The American (Dickerman) version (520 pages) follows Dada by way of the cities where Dada developed, and does so in a more or less chronological fashion. Essays are excellent, photomaterial looks great. It is the sort of catalogue you would expect from an exposition like this. The European catalogue, more than thousand pages, printed on very thin paper, treats subjects, artists, and everything else connected with Dada according to alfabet. It seems to me that the catalogue has just about everything that could be seen at the exposition, with exception of the films of course. Although I felt a bit silly after buying both catalogues (spending some 100 euros), I was in the end very glad that I did. Everybody who buys catalogues now and then, know how disappointing these sometimes are. Well, these aren't. They are both superb, knowledgeable. And the people who made them have done a terrific job. In the end you wind up thinking: Hey, these guys (and girls) must have loved Dada as much as I do.

IF YOU LIKE ART THIS IS THE PERFECT MEAL.
BREAKFAST LUNCH DINNER AND SNACKS
I WISH I HAD ONE OF THESE BOOKS IN EVERY ONE OF MY ROOMS
OR ANYWHERE I VISIT WHERE THERE MIGHT BE FREE TIME TO LEAF THRU IT!

This book serves more than one purpose. It is a short, but entertaining read for a child or for a parent to read to their children. The story is about Marie, a young girl in France who is loved by her poor, but hard-working parents. They work long hours to save money to send her to ballet school - as it is her dream to become the world's most famous ballerina.

When her father becomes ill and can no longer afford to pay for her classes, the famous artist Edgar Degas offers to pay her for modeling for him. He is mean, short-tempered and impatient with Marie, making her hold poses for hours until her neck aches.

One night, however, she finds out just a little of what is under the surface of Degas' rough exterior and feels sorry for him, giving him her long hair ribbon.

Even her modeling pay cannot sustain the cost of her classes, so she must give up her dream. Later, she and her parents receive an invitation to a gallery showing of Degas' work - the center piece is the only sculpture of his ever displayed during his lifetime - it is of Marie - and unlike other statues, hers is wearing a tutu and the beautiful hair ribbon she gave him.

The story is not only entertaining, but it tells children that while some people may act mean or rude, it may be because they are hurting on the inside - and extending friendship to someone who behaves in such a manner can truly make a difference in their life and in yours.

The story is peppered with illustrations of Marie and her family, as well as photos of Degas' paintings and of course, his famous sculpture. Information about the names of the paintings and the museums where they are displayed is also cited at the end of the book.

This doesn't have to be just a book for girls - even young boys will see a universal truth - we can always have dreams and even though they may not come true the way we envisioned them, we never know what wonderful surprises are around the corner.

My 9 year old daughter read this book just before we went to Paris and literally dragged me to the Musee d'Orsay to see all works by Edgar Degas. She then read everything else by Anholt and is now chafing at the bit to see works by Picasso. Anholt's books are wonderfully illustrated, show the works of the artists, and know how to appeal to a child's imagination. We are fans.

Degas and the Little Dancer is a true story about Marie, a young ballerina, who posed for Degas to pay for her sick father's doctor. She always dreamed of becoming world famous and thanks to Degas she did. The story has beautiful illustrations. This is a great way to introduce children to art. However, the story was a bit lengthy for my three-year- old. I would recommend it for children who have longer attention spans than a toddler.

Laurence Anholt created a wonderful opportunity for youngsters, and adults, to learn about art history. Never before have I ever experienced Degas in this manner. I have given this book to many 5-year olds interested in ballet as well as art. It's become a treasured book for both the child and the parents.

This is the story of Marie van Goethen, a young dancer at the Paris Opera Ballet School who posed for Edgar Degas (1824-1917). He created the sculpture, "The Little Dancer" based on Marie's likeness. This was the only Degas sculpture to be exhibited during his lifetime. This charming figure was wearing a tutu and a wig.
The illustrations in this children's book are beautiful and even some of Degas' own paintings are included. I wish that more of Degas' life had been included in this story. I also feel that this book would have been perfect if more of his paintings were displayed with descriptions of each work of art.
This book is a good introduction to Degas and should be targeted towards lower elementary students.

I originally read about this book in a review from animation world network (www.awn.com) It is everything the review said. Great information about the start of the industry fighting for its rights. A great read if you are into animation history. All of the animation old masters are involved, and speaks of even though they were in competition, they all had the same goal.

As a Disney enthusiast, I have found one of the most delicate and hard-to-research periods in Disney history was the 1941 studio strike. Tom Sito fills this gap by providing a comprehensive narration. But more important to others, he provides a complete history of labor developments in the animation profession. I had no idea there had been so much turmoil! His account is very up-to-date, too, covering the most recent developments, like computer animation. This is a key reference tool for anyone seriously interested in the business of animation.

Mickey Mouse, Popeye, Bugs Bunny, Tom & Jerry, Mr. Magoo, Fred Flintstone, the Pink Panther and Bart Simpson, are the biggest stars in the business. But they couldn't make the slightest move or even open their mouths, without the help of the animation worker. Meaning no disrespect, I say worker and not artist, because that's what Tom Sito's book "Drawing The Line" is all about. The eternal labor struggle of men and women in the animation industry and their right to be recognized and treated as artists. Of course Hollywood is not the kind of town where that is ever likely to happen any time soon. And for all those that scoff and think that anyone who gets paid to simply draw for a living, let alone getting to work in Hollywood at all should be forever grateful. Well -you're about to have your eyes opened as you turn the pages of this well written and lovingly researched history, that dares to speak the truth and document it in precise detail. Through first-hand accounts of the animators that struck the studios, were fired and blacklisted, Sito has chronicled their plight and shown the effect it has had on working conditions today.

As an animator himself and a former declared labor cynic. Sito learned from personal experience why their really was a need to be unionized. So much so that he later went on to become an active president of the screen cartoonists local in Hollywood. Yes, animation was and still is a labor intensive assembly-line that even in this digital computer age, still relies on the artistic and professional skill's of it's of workers. It's a "must read" not just for anyone with the least interest in animation, Hollywood or social and labor studies, but for anyone who's keen to know just how their favorite cartoon characters came into being in the first place. Believe me, you'll never see them as just simple drawings ever again!

DRAWING THE LINE: THE UNTOLD STORY OF THE ANIMATION UNIONS FROM BOSKO TO BART SIMPSON provides the first comprehensive history of animators' unions in modern times, from silent cartoons through today's big movie hits. Any involved in cartooning will find the business and industry insights essential to a thorough knowledge of their career choice: history and cultural observations blend with a survey of the entertainment industry as a whole, making for many important insights on how the business evolved and how it affects today's working animators.

Diane C. Donovan
California Bookwatch

Yes, this is a history of union activity within the American animation industry, but don't think for a moment that it is a dry, dusty treatise on labor practises. Tom Sito has written a lively, anecdotal, funny, hugely entertaining and magnificently informative history of the animated cartoon -- where it came from, who was responsible, and how far it has come. At a time when legendary figures like Walt Disney tend to be Rushmoreized, Sito presents them as real, living and breathing people -- enormously talented, even brilliant, and sometimes conflicted, yes; but real. In the process he tells the stories of these cartoon creators that are often as funny and endearing as the cartoons themselves. This is not simply the story of animation, however. It is also the larger story of Hollywood and how its traumatic, sometimes even violent unionization efforts reflected what was going on everywhere in America.

Sito has written an important story with panache, wit, and a unique insider's perspective, and has created a book that everyone interested in classic Hollywood and the Golden Age of animation must have.

This book gave me insight into the methods, trials and tribulations of early precious metal miners in he US. Great Photographs! Fascinating page after page because the writer expressed himself in a way that an interested novice could understand. I read the paperback edition, known as the second (revised and expanded) edition, first printing 2003, purchase price $30.00 new.

As someone with very little mining knowledge, I greatly appreciated the explanations of the various mining techniques. The author's obvious enthusiasm for the subject made the book a joy to read. Highly recommended for both mining experts and for those simply wishing to understand more about mining in earlier years.

A very comprehensive book that is compelling and fascinating. I learned many unusual and intriguing facts. I thought that I was familiar with historical mining technology, but this book covers many topics with a new and different perspective. The chemistry of precious metal recovery is explained in such a way as to be informative and educational. I recommend this book to anyone who enjoys a book that is informative while still being lively and entertaining with great references.

Great Resource

I thought this book was very well written and researched. I would highly recommend this book for anyone wanting to learn more about precious metal mining in the old west. This book covers many subjects in detailed chapters that include the Gold Rush, Hard Rock Mining, Timbering, Pumping, Explosives, Machine Drills, Transportation, Power & Fuel, Fire Assay, Mills & Smelters, Mill Machinery, and an appendices that includes Mining & Milling Hazards. The many photographs, illustrations and tables were interesting which added to the pleasant reading experience.

Drills and Mills, which covers the history of mining, milling and smelting from the 1848 gold discovery in California to the late 19th century is a wonderful, well researched book.

Loaded with pictures,tables,illustrations,chemical formulae and many interesting side notes (factoids),the author covers the gamut in the machinery used to win the metals from the earth.
Excellent review on the evolution of the rock drill,explosives, crushing equipment, pumps, timbering, etc etc.

Also included within the 250 plus pages of good reading, is an excellent 10 page bibliography which is referenced to the chapter footnotes, to assist those who may have a futher interest in any of the subject matter. This is a must have book for the mining historian and for anyone interested in 19th century mining. In short a great book.

Fulcanelli and E. Philalethes have been my inner masters for so many decades that I am astonished that so many writers on "alchemy" do not see them as bursting to let the cat out of the bag, coming as they did in the days of the final decline of the Art. Jungian reductionism, and ley-line geometrers try to squeeze these men into their procrustean views. Jay Weidner as example, focusing on the Cross Of Hendaye, which is really just an addendum to Cathedrals. They have nothing to say of the labyrinth of clues laid out in the Work toward the Stone. Why? Because they don't get it.
Here is a simple clue for the diligent student, Fulcanelli says that Salamander means sal-a-la-mandre, or "Salt of the Stables." If you have ever done any lab work you know about Sal Armoniac, and by pun, Sal Harmoniac; in a word, Salt of the stables of Ammon in Egypt. A white pungent and most sharp vinegar. Now "our" Sal Armoniac is like unto that other, yet derived from a Fountain that does not wet the hands. Man is the mountain says EP, and you will find this stream flowing from that mountain. Need more be said? Having this Fire which is the key to animating the Mercury (which you must now find) and discover the Doves of Diana in the preparation, you have broken at last into the inner temple.
Do you not see that the white unicorn is this "horse" from the stable of Ammon, with its sharp and piercing nature? And who is the Virgin Eve in whose lap it will lay its head? In what mirror does Saturn see himself? Are the woods green? What is vitriol?

And Laura Knight-Jadczyk: we get that you read the book. Your long winded review throws no new light. Get a colonic.

"Dwellings of the Philosophers" (Les Demeures Philosophales) was the second and the last known work of Fulcanelli as first published in 1929. This two-volume/500-plus-page book consisted of further information on classical architecture and alchemy than his first work, Fulcanelli: Master Alchemist: Le Mystere des Cathedrales, Esoteric Intrepretation of the Hermetic Symbols of The Great Work (Le Mystere Des Cathedrales ... of the Hermetic Symbols of Great Work).

In this work, Fulcanelli used a unique method to which differs from the masters before him by the means of scattering the clues or pieces throughout this book. And, it is truly up to the sincere seeker to discover these pieces and complete the puzzle of the great secret. A disciple of Fulcanelli, Eugene Canseliet, mentioned this "puzzle" in his first preface to this work. The means of discovery is highly important to Fulcanelli because he would see who is sincere and who is not sincere during the process of discovery. Such secrets are not for everyone.

Fulcanelli, a Great Master Alchemist of the 20th century. He is also the most mysterious figure of the 20th century, whose real name was unknown until the recent ground-breaking work (Fulcanelli - His True Identity Revealed) by Patrick Riviere, who was the student of Eugene Canseliet, a disciple of Fulcanelli himself.

To the truth seekers, I would recommend this book as part of your search, either in history, mystery, ancient arts, gothic, or alchemy. And, to the minds of curiosity and researchers, I would recommend this book as well for your keen eyes as you go through the ancient buildings seen in this book and the great symbolism that lies within. The stones in these walls as mentioned in this book give the most accurate truths than any written historical documents.

Fulcanelli's second book, Dwellings of the Philosophers , was originally one volume consisting of some six hundred pages divided into twenty chapters. In his foreword of the book, written in April 1929, Eug?ne Canseliet reveals the key enabling one to penetrate his master's writings. It lies in the following excerpt:

His method differs from the one that was used by his predecessors: it consists in describing in detail all the operations of the Work after having separated them into various parts. He thus deals with each phase of the work, begins to explain it in one chapter, interrupts it to pursue it in another chapter, and then completes it in yet a last one. This breaking up, which transforms the Magisterium into a philosophical jig-saw puzzle, is not to scare the learned researcher, but it promptly discourages the outsider, incapable of finding his way in this labyrinth of another kind, and unable to restore the order of the manipulations.

At the beginning of the book, Fulcanelli reverts to the subject of stone edifices; the custodians of hermetic science:
[...] Our preference remains for the Middle Ages such as revealed by the gothic edifices, rather than that period of time as described by historians.

Further on, he alludes to Huysmans' statement:

History is the most solemn of lies and the most childish of catches!

He seizes that opportunity to question the authenticity of certain tombs - crypts allegedly containing the remains of this or that historical figure, maintaining that it stands to reason that they are empty, unless corpses were substituted! He then again evokes the primacy of the Middle Ages over the period of the Renaissance:

[...] We deem that the medieval way of thinking reveals itself as being of scientific essence and no other. Art and literature are merely humble servants of traditional science. Their specific mission is to translate into symbols the truths that the Middle Ages received from Antiquity and of which they remained the faithful repositories.

In the next chapter, Fulcanelli gives some definitions of the term alchemy and pays tribute to the Adepts of the past. He then evokes the image of the legendary laboratory with its picturesque character.

In the following chapter, entitled "Chimie et Philosophie", Fulcanelli makes a distinction between alchemy and mere chemistry. He describes the first as the "science of causes" and the second as "science of facts". In his opinion, the latter rests on matter and experimentation, while the first originates in philosophy.

In the next chapter Fulcanelli makes a point of explaining the hermetic Cabala, which is based on phonetic assonance as well as on certain rules resting on the study of ancient Greek - the language of the Hellenes, and before them of the Pelasgians - perhaps of the very gods themselves! It is the language of the birds, the gay science or gay s?avoir, which enables the initiate to express Knowledge in only veiled terms.

After this, Fulcanelli undertakes the actual study of certain historic buildings that are adorned with alchemical symbols, and which he names "the dwellings of the philosophers". The Manoir de la Salamandre in Lisieux (no longer in existence) is the first one he deals with. Fulcanelli suggests that within its walls there existed a fraternity of Adepts - the Flers Alchemists, in the Orne Department - that counted the following three men among its members in 1420: Nicolas de Grosparmy, Nicolas Valois, and the priest, Pierre Vicot. This small group alone is said to have moved to Caen (Calvados Department), and one of the members allegedly erected the Manoir de la Salamandre in the course of the following century. Fulcanelli discusses at length the Secret Fire of the Great Work in this chapter. This Secret Fire is allegorically represented by a salamander, and according to legend, it lives in the igneous element. Several pages farther along, Fulcanelli lists the multiple virtues of the philosopher's stone. Drawing on various texts by the scholarly librarian, Pierre Dujols, he also brings our attention to the alchemical symbolism emanating from the Graal and the Templars' Baphomet.

Referring to the "house of Adam and Eve" in Le Mans, Fulcanelli also discusses in some detail Genesis and the symbolic appearance of the first Adam (made of red earth), and of the second Adam (Sulphur) that united with Eve and which designates Mercury.

In the chapter dedicated to Louis d'Estissac, and recalling the hermetic concerns of the author of Gargantua and of Pantagruel, Fulcanelli sees in the scholarly Fran?ois Rabelais the ma?tre d?s alchimies who initiated young Estissac. In this chapter, Fulcanelli particularly develops his thoughts on the symbolic significance of the Greek letter X (khi), since it is this letter that is identified with Light itself. In this respect, he tells us "the Greek X and the French X represent the writing of the light by the light itself". Bringing up Saint-Andrew's cross, as well as cat whiskers in the shape of a cross, he also tells us about the ways and customs of the Ecole Polytechnique (the "X" ), which he knows too well to have not been personally familiar with them!

In the following chapter, entitled `L'homme des bois' , Fulcanelli refers to the hermetic pilgrimage to Saint James of Compostela, as well as to the Parisian alchemist, Nicolas Flamel.
Fulcanelli then extensively examines the coffered paintings on the ceiling admirably adorning the high gallery in the Ch?teau of Dampierre-sur-Boutonn.

The prestigious tomb of Fran?ois II in Nantes provides him with ample material to discourse on the alchemical androgynous state, and thus discuss what sets the hermetic Cabala in opposition to the mysteries of the Hebra?c Kabbala.

In the study of the Holyrood Palace sundial in Edinburgh, Scotland, Fulcanelli gives the reader precious information about the making of the Adepts' famous vitryol. Furthermore, he supplies significant details about the hermetic character of the prestigious Order of the Thistle, with which Scottish alchemist Alexander Sethon was likely not unfamiliar.

In its subsequent edition, The Dwellings of the Philosophers ends with a chapter entitled "The Unlimited Paradox of Sciences", which is decidedly hermetic in orientation, although also apocalyptic. According to Eug?ne Canseliet, this section was added to the previous text and was composed of the material of a third "collection of handwritten notes" that his master, Fulcanelli, had left with him before taking them back in 1928, thereby making it impossible to eventually publish the third book. That book, had it been published, would have been entitled Finis Gloriae Mundi - The End of the Glory of the World.

The alchemist Fulcanelli was the most famous adept of the 20th century, the man who achieved the Great Work less than 100 years ago, but his true identity has always been shrouded in myth and uninformed speculation...until now.

Patrick Rivi?re reveals with profuse documentary evidence the true identity of the enigmatic and prestigious author of The Mystery of the Cathedrals and The Dwellings of the Philosophers. Beginning with an overview of French alchemical life at the turn of the 20th century, Rivi?re carefully builds his case step-by-step with facts, documents, and photographs, introducing us to the well-known physicist who was known as Fulcanelli. Rivi?re also demolishes the scurrilous hypotheses that suggest Fulcanelli never existed. Rivi?re is uniquely suited to solving this mystery as his teacher was Fulcanelli's sole student, Eug?ne Canseliet. (ISBN 1-897244-21-5 Red Pill Press)

I've read every Alchemical and Hermetic Chemistry book I could get my hands on over the last 3 years and this was up there with some of the best. It's not for the beginner because it makes some assumptions of general and basic knowledge about Alchemy that could leave the casual read in the dust. This book really caters to the avid student of Alchemy. It is none the less a book for your alchemical collection because the beginner one day will be no longer, and this book will offer knowledge without a doubt. "The lips of wisdom are closed except to the ears of understanding"

This is the most thought-provoking work on alchemy I have come across. There is so much here, that it's difficult to know where to start.

Fulcanelli is the first practical alchemist I've read who came out and said that without divine inspiration and the aid of the stars, one will not be able to carry out the Work. So often it seems that folks concentrate purely on the practical side or worse, purely on the spiritual side. Most seem to ignore the astrological aspects, I guess considering that "as below, so above" is referring to the practical and spiritual, not to the celestial. It is refreshing to hear someone reiterating the importance of all three aspects--material, spiritual, and celestial--for success.

Fulcanelli is very explicit when discussing aspects of the Mineral Path, to the extent that I don't understand why I have not seen this book more often referred to when alchemists working on the Mineral Path discuss their operations. I wonder how many people have actually read it. Perhaps folks are put off by the apparent topic, the alchemical decorations on various buildings. But while the book does discuss these decorations, they are only a jumping-off point for discussing alchemical concepts and steps in the process. For instance, when touching upon salamander decorations, he gives many excellent clues about the nature of the Secret Fire.

One of the especially interesting things he discusses is what he calls "cabala." This refers not to Kabbalah or Qabalah but is instead a system of transmitting meaning by using visual puns that was especially popular in the late Middle Ages and Renaissance, according to him. Anyone who is even slightly interested in alchemy knows the importance in it of graphics. We all know that these pictures are meant to be metaphorical, but Fulcanelli suggests that they incorporate visual puns as well. Looking for these puns gives us a whole new way of reading these pictures. 'Course, we need to know medieval French and German, etc.:)

Although alchemy has mostly managed to escape the attention of contemporary writers who simplify complex magical or spiritual systems in order to sell books or make a name for themselves, much contemporary writing about alchemy is dominated by the same sort of fluff-bunnyism that so undermines serious studies of magic. If we go back to the original works, we are presented with the problem of what has been lost in translation, and a number of these were garbled, either deliberately or not. Fulcanelli's book is perfect for the individual who has a background in alchemy and who rejects the "make the Stone in your head" approach yet who has had enough of beating their head against the impenetrable older texts. And that's a lot of us! Fulcanelli will give you new ideas for how to go about alchemy that you cannot find anywhere else.

Before reading this book I would have found it difficult to believe that I would be able to use the word hyperbole and the Eames Office in the same sentence. The work of the Eames Office remains beyond reproach and this book does offer some genuine insight into its multifaceted work but tends to avoid difficult questions and for the most part gives simple answers.

The book glosses over the realities and complexities of the Eamesian approach to design and the creative atmosphere of the Office. However, I think the title itself makes the authors intent clear. As a "primer" this book fits the bill in terms of the information included. My main criticism is that the author should have followed through and been more concise and direct. This book is verbose and practically glows with the repetitive and nearly-universal fond memories of the individuals interviewed. Worst of all, the prose has the faint sent of re-contextualization and hero worship (hard to avoid for a grandson).

Secondary to the above but still significant is the books poor quality of design and production. I found the book extremely difficult to read. The font and point size selected, compounded by the overly-wide text line length, made for uncomfortable reading. To top it off the paper selected displayed a surface glare that made reading the book all but impossible except in the best light conditions. The design renders it more a pretty-object rather than a functional book. On the other hand it looks good on the shelf... if you want to impress your friends.

If it weren't for the fact that this book is really about as good as any other design book, it would fair far worse. If you couldn't tell, I would recommend getting the book as there is not much out there on the subject thats any better.

I have had the pleasure of visiting the Eames House and the Eames Family (incldg Eames Demetrios--author and grand-son and Lucia --Charles's only child) on the occasion of the Charles's 100th birthday anniversary. What a delight! Before that wonderful trip, I had the benefit of reading this book which helped me fully understand the history and legacy of this important creative team and the family life that influenced them

It's a must have for any mid century devotee. Get it for your library and be inspired!

This is a great insight into the lives of the Eames'. I think many designers (myself included) think we know something of their lives and importance. This book is a true eye opener into their influence around the world. There is so much to learn not just from their work, but HOW they lived their lives. Very well written. A must read for any designer.

As you might imagine and the title implies this is a wonderful introduction to the work of the Eames' design office. More importantly it is a warm fun filled story of two wonderful and creative human beings who truly sought to make a difference in the world by living with integrity. I feel they succeeded and I think that anyone who reads this little gem will begin to see the connections that weave all life's little mysteries into a comprehensive story .

In 1988, filmmaker Eames Demetrios made the film, 901: After 45 Years of Working, a family record of the closing of the Eames Office shortly after the death of Ray. It was an objective attempt to capture the essence of the studio and design work created by Charles and Ray Eames and their multi-talented staff. Now more than ten years later, Demetrios has again recorded the studio and work in the book, An Eames Primer. The modest title implies an introduction and starting point to all the work of his grandparents but it is much more informative. What makes this book essential reading is the personal nature of the writing, connections, and the concept of "design addressing itself to the need."

Much of this personal nature is expressed in the chapter on the life of Charles Eames and Ray Kaiser before their meeting at Cranbrook, including extensive writing on each family history. This early period of their lives is illustrated by several drawings and paintings by Charles and Ray with each piece exhibiting a pleasing combination of color and form that would later become the hallmark of their work.

Demetrios devotes two pages on the issue of the Eameses signing with either Knoll or Herman Miller for the plywood group. This analysis, which isn't really dealt with in other books, is a rational and logical explanation of Charles and Ray's principles and their main concern about simply marketing a "good chair". For anyone interested in this crucial choice the author has formulated an essential case for the decision to go with Herman Miller.

One of the many highlights of the book is a wonderful collection of color photographs of different objects hanging from the ceiling of the Eames House that is pure aesthetic delight. Also, the bottom right corner of each page serves as a flipbook tour of the expansive 901 Studio.

What must have been an amazing event in film exhibition is Glimpses of the USA at the American Pavilion in Moscow in 1959. The seven-screen presentation of life in the United States shows a cultural identity of amazing diversity and Demetrios explains the process behind the production of this film. In an unbelievable set of circumstances, the American government had given Charles and Ray complete freedom to produce this film at the height of the Cold War with no "final cut" approval from Washington. Several pages also describe the production of the two versions of Powers of Ten. These films required experiments in film technology and camera work and Demetrios fully describes the process. The many contributions of staff members and outside consultants are thoroughly explained.

Throughout the book, many former Eames Office members and consultants describe their experience of working in the studio on the amazing variety of projects. Issues of design attribution are commented upon and examined for several projects.

Two days after finishing the book I retrieved Eames Design and several other excellent books and realized that everything now seemed much clearer after reading Primer. Perhaps Demetrios is correct in giving his work that modest title. The clean and clear connection has been analyzed and described so that it all seems so perfectly obvious. This is an informative educational book written in a casual but serious style and a worthy addition to a personal library.

very useful reference book for inspirational creativity.

There was nothing written on this true master of Art Deco metalware, and this book is as comprehensive as a book can be on an artist. Written with respect, admiration and love for the Art Deco style and the metal craft. Cannot be surpassed. Nothing missing, nothing redundant.

I am a practicing metalsmith of 35 years. This much needed book covers it's subject from every perspective. It will become a valuable asset to historians, collectors and craftsmen. My only critique is that Joan did not include a picture of Brandt's stamp and other ways of varifying his work from fraud.

The author has produced a comprehensive work covering this great Art Deco artist and the exciting era in which he flourished. Joan Kahr's tremendous depth of knowledge and understanding comes through on every page of this beautiful book.

This book is a "must have" for any fan of French art deco/art moderne style. It is beautifully researched and written. The wonderful photography only made me long for more.

Must rate this volume as the standard reference on the topic. This current edition supplants Ripley's "Artillery and Ammunition of the Civil War." I actually own copies of the original and revised editions. There are a few notable updates, making the second purchase worth the expenditure. While I have found some minor omissions in the listings (particularly discussing some of the poorly documented Confederate gun makers), the authors seem to leave few stones unturned.

Book was not what I expected it to be. I anticipated a thorough study of specific artillery types with color plates and detailed drawings, and with specific histories, usage, success, etc. This is not what I received. It was a hugh disappointment, considering the high price I paid for this book.

A very concise and thorough (almost an encyclopedia) book of the weapons of the civil war.

"Field Artillery Weapons of the Civil War" is the definitive reference work for civil war cannon used in the field. Nothing else approaches its structured grouping and organization of the diverse and confused world of American Civil War field guns. However, this is not a book for everyone since it is quite focused on the specifications, manufacturing origins and methods of the tubes themselves, not on the tactical employment, range charts, the batteries, or the projectiles they fired. (Understandably, many readers will be shocked if they don't realize this before purchase--including me!)

It is hard to over emphasize what a fine job the authors have done in bringing order out of chaos. Their encyclopedic inclusion and explanation of all known types solves many riddles. The complexity and nuances will still require considerable study by the reader to reach a full understanding, but at last it is logically and rigorously catalogued.

The chapter list is as follows: 1. Fundamentals. 2. Federal 6-pounder Guns and 3.67" Rifles. 3. Confederate 6-pounder Guns and 3-inch Rifles. 4. Federal 12-pounder Field Howitzers. 5. Confederate 12-pounder Field Howitzers. 6. Federal Napoleon Guns. 7. Confederate Napoleon Guns. 8. Parrott Rifles. 9. 3-inch Ordnance Rifles. 10. False Napoleons and Gettysburg Replicas. 11. The Small Ones. 12. Boat Howitzers. 13. James Smoothbores and Rifles. 14. The Rare Ones. 15. Too Big for the Field. 16. British Rifled Cannon. 17. Carriages. 18. Conclusions.

The chapters are well illustrated with photographs and schematics of the gun tubes. There are also detailed dimensional specification tables, and some estimated production counts of various types. Following the main text is an extensive set of appendices that serve as a catalog of known foundries, inspectors, designations, foundry numbers, weights, and locations of known survivors,

I highly recommend this work to anyone who wants to be able to identify nearly any Civil War field gun he/she comes across. However, I don't recommend it as a detailed work on the employment of Civil War field artillery--that is not the objective or nature of the book.

Note: The companion work for the heavy artillery is "The Big Guns. Civil War Siege, Seacoast, and Naval Cannon" by Edwin Olmstead, Wayne E. Stark, and Spencer C. Tucker. It follows the same format and style, but its availability is limited.

A comprehensive source of information on the field guns used by both sides of the american civil war. Provides each weapon's history and statistics. Extremely informative.

No civil war library should be without it.

An excellent companion to other book The Big Guns by Omstead and Wayne E. Stark and Spencer C. Tucker which covers the big guns of the conflict.