Europe Books

Just buy it. You won't be sorry. Great images and lots of informative discussion of imagery.

I am using this book as a text in school and I am quite impressed. I bought this book (hardcover) for half the price of the paper back version sold at my school. The text in interesting, not dry. The images are good reproductions. The only thing that I don't admire about the book is that some of the images are printed in black and white.

I think that I am like many people in that my knowledge of the Renaissance Art of Northern Europe comes from a few lectures in a college art history survey course. A few iconic images from the likes of Bosch, Holbein,Durer and Breugel are all that come to mind. I knew the era was important but the details were sketchy.

"Northern Renaissace Art" is everything you could want to deepen your knowledge of this important period of history. The book is 750 pages long and has over 680 illustration of which 250 are in beautifully reproduced color. James Snyder does an excellent job of explaining why those iconic paintings that everyone knows are great and deserve to be remembered 500 years after they were painted. More importantly, Snyder takes those second tier masters out of obscurity and elevates them to their proper place in history. Before reading this book, I had never heard of such masters as Jan Gossaert, Jean Fouquet and Petrus Christus. It was a exciting to get know their work. By no means is "Northern Rensaissace Art" a reasonably priced book. But it is the type of book that will give you great pleasure for many years.

I am using this book as a text in school and I am quite impressed. I bought this book (hardcover) for half the price of the paper back version sold at my school. The text in interesting, not dry. The images are good reproductions. The only thing that I don't admire about the book is that some of the images are printed in black and white.

Books on the Renaissance can be quite confusing to non-specialists. For example, Shakespeare classes in English schools discuss him as a Renaissance writer. Yet art teachers describe his near contemporary, Rubens, as the quintessential Baroque artist!
So exactly what does Northern Renaissance Art cover? Is it an age that can be separated, marked out and surveyed by political or religious activities? And by northern what is meant? Is Switzerland the home of northern art? Can it be made in Italy? And what makes it significant and different from the universally recognized world of Italian Renaissance Art, where the term 'art' is always capitalized?
Well, the truth lies pretty much with all of the above. As Snyder shows, several distinct cultures fall into this very large historical category. If you're buying this book as a student for a class, I can only hope you have more than one semester to give to the material. Northern Renaissance Art covers an enormous time period and many countries. It approaches in diversity the far better known works and ideas of the Italian Renaissance. No one seriously discusses the Italian Renaissance in a single semester - the material is taught in a series of classes. The same limitations and requirements should apply to teaching the Northern Renaissance. Art history today no longer focuses on aesthetic questions of style; as a result a student faces a lifetime's study of a period's culture and history.
However, there are some basics. If one word could define what separates the two worlds of the Italian and Northern Renaissance - that word would have to be naturalism. Northern European artists revel in achievements of realism that far surpass the Italians, who, while perfectly capable of such stylistic work, prefer a more intellectually formalized approach. Indeed, Michelangelo dismissed northern artist's attention to nature and care for photographic details as incidental, and excessively ephemeral, when contrasted to his Italian art which used images for projecting deeper spiritual values. The public, however, was delighted with the landscapes, and their non-abstract openness. Many artists from the north specialized in landscape, and it became a manner so associated with them that it was not uncommon for Italian painters to hire Northern artists to fill in the 'less important' landscape backgrounds of their larger canvases.
The Italian Renaissance differed also in that it was singularly connected to the revival and reappreciation of ancient 'pagan' works of art. These antiquities provided a challenge, as well as a reawakening, for the artists and thinkers of Italy. In the north artists did not have at hand magnificent works of ancient architecture or sculpture: as a result intellectual challenges were quite different; though initially tied to the Italian thinking, the northern artists more and more shifted focus onto their own immediate world. As the fifteenth century closed they became attuned to newer discoveries from the exploration of new (not ancient)worlds by sea, and the individuals emancipation brought about through the beginnings of Protestant thought. For moderns this means that the Northern Renaissance often appears closer to us and our own post photographic record of the world. The artist's sense of intimacy with nature seems little different than what most of us know as landscape art. Their religious works also convey a striking ease with space less contrived than our eyes find the representation of space in most Italian painting of the same era. All made the more attractive for being so accessible. Some of this difference marks profound religious and philosophical differences - northern art has about it some of the fervor of emancipation - there is here a reflection of the Armana naturalism revolting against the old art of a more dogmatic less individualistic Egypt. Eventually Italian artists would adapt to this new naturalism, especially in the north of Italy in Venice, in the works of Bellini, Giorgione, and Titian.
This book introduces the reader to the early Flemish master painters, such as Van Eyck and Rogier van der Weyden, the later great German artists, such as Durer and Holbein and Grunewald, and the strange inner universe of Bosch. Topping off the age are the works of one of the grandest of all humanists, Pieter Bruegel the elder. And these are just some of the great painters! There remains a wealth of sculpture and architecture, drawing and craft work. Moreover, the Northern Renaissance is also an artistic universe filled with fresh new theories and a milieu profoundly effected by the great religious upheaval of the Reformation.
Snyder gives as good an overview of so much material as one could hope for - his work replete with an enormous number of images, many of which have for nearly half a millenium been accepted as iconic. The text treats the material with a practised consideration, born of many years study. However; the impetus of the book is to direct the reader further afield, and this is indisputably the author's greatest achievement and the point of such a survey work. The real jewels for readers will be enlarging these discoveries by travel and on site awareness, these efforts made more satisfying through study of specific texts directed at the new artists whose work transforms your view of what the Renaissance was.

My wife and I recently returned from Rome, and one of our many fine moments in that glorious city was sitting on top of Michelangelo's Campodiglio, with Mr. Sullivan's book in hand and understanding for the first time exactly what Michelangelo did and why -- and thus helping us understand more deeply the greatness of his accomplishment. So it went with magnificent works such as Borromini's San Carlino or Bramante's Tempietto. Similarly, we came to understand the failures -- what the architect wanted to do and didn't quite get there. Mr. Sullivan's goal, was to help us move beyond admiration or puzzlement at what we are looking at, and understand what was done, and how well it did or did not work. Very well written, tough in its judgments, and infused throughout by a love for the city. Don't go to Rome without it.

A good read for those who love history, it is an excellent companion for travel to Rome

George Sullivan's "Not Built in a Day" is a unique and wonderful combination of scholarly knowledge, art, passion, and wit. The author recently gave a series of slide lectures at the Smithsonian Institution in Washington, D.C. based upon the material in the book, which I attended. His lectures were exceptional -- insightful and enjoyable, a college-level crash course on the history of European architecture that was set entirely in Rome! He really made the buildings come alive through his enthusiasm and humor; I especially liked that he not only had definite opinions on buildings, but also explained clearly what architectural qualities those opinions were based on. This same in-depth but accessible approach can be found in the book, which is unlike any other guide to Rome that I have seen. I would enthusiastically recommend it if you are going to Rome, and if the lectures show up at a museum near you in the future, I would enthusiastically recommend them as well.

This remarkable book is a must read if you are planning your own itinerary in Rome. The author's love of Rome and its Architecture are apparent from the first page. He organizes the overwhelming amount of information into compact and readable units. Pick a time period or Architectural style of interest and follow the detailed path laid out by the author. The added information of the art to see inside each structure makes this the only "guide" book to Art & Architecture that you will need on your visit to Rome.

Not Build in a Day blends astute architectural observation with basic guidebook practicality. The descriptions combine detail and relevant explanation to make the most lay-person feel expert as they dissect the infinite elements in a church, piazza, or palazzo. For anyone who's been to Rome, the inexorable shuttling between sites makes you numb to the city's splendor, but Not Built in a Day constantly re-orients and reminds the reader that every site contains an element of architectural, historical, or civic wonder that makes the non-stop walking completely worthwhile.

The book's walking tours can be strictly followed (I completed tours 1,2, and 7 without any diversions), but once I had a better feel for the city, I picked specific places that I wanted to see and then read the appropriate entry.

Every guidebook should aspire to be Not Built in a Day

This book was an invaluable resource. Perfect for those who cherish great meals and good wine. We toured Italy from Lake Como to Verona, Venice to Florence and Bologna. In each city we made a point to eat at a site mentioned in this book. Every meal was unbelievable !!! We would love to see more Slow Food guides for other cities around the world.

We brought this book prior to an '07 three week trip to Northern Italy. It is based on the 'Slow Food' movement now going on in Italy. We purchased a number of other books to supplement this one. This book is excellent for people who want to "go" the way the Italian do, i.e., good food (a must for them)at a reasonable cost and small hotels/B & B types without all the hype. We are now using it again for a late '08 trip back to Northern Italy. As a side point - there are also Slow Food shops in Italy where you can purchase quick meals or food items to take away - all of the highest quality and fair price. Remember this "Slow Food" movement was started by Italians for their own people - the main idea was for top quality food and reasonable accomodation at a fair price and they have achieved it. Remember to look for the "Golden Snail"

An essential handbook for anyone with dreams of eating their way around Italy. The descriptions evoke strong images of romantic nooks with sumptuous offerings - all supporting the Slow Food philosophies of local quality ingredients prepared by passionate gastronomes. Included are accommodation options covering 3-star hotels to intimate farm stays. I won't travel to Italy without it.

I almost hate to recommend this book since the Italian language editions have been sort of our secret for many years. Now anyone can find these wonderful places to enjoy authentic regional foods and wines in the REAL Italy! We've been to many, many of these places over the years and the descriptions of them are spot-on so I'm confident that the places we have yet to enjoy will be equally as good. Be patient though, just because the book is in English does NOT mean the folks at these wonderful eateries speak the language. The glossary helps a lot in this regard.

I am an American living in Naples Italy and am delighted with this book. We were already Slow Food fans, and this book has given us a way to further support this philosophy. I have been thoroughly disappointed in many of the restaurant recommendations offered by the best selling travel guides (tourist trap after tourist trap) but this book has replaced them all. These are restaurants you want to visit again and again and are the ones where we take our friends and family when they come to visit. We haven't tried the hotels but I expect they are just as reliable.

This is one of the best books of nonfiction I've read. Not only does it function as a primary-source document for study, but it is genuinely good reading. Subcomandante Insurgente Marcos is a powerful writer, and this book documents a selection of his poems, letters, communiqués and even fables for young children. Marcos, the most wanted man in Mexico, will go down as a major figure in Latin American Literature.

Since reading this book (actually, before I was even halfway finished) I had decided I needed to buy copies for family and friends as gifts and recommend it to pretty much everyone. Marcos is an amazing writer, and the story of the Zapatistas is extremely relevant and intriguing for anyone interested in modern society, politics, Latin America, social movements, civil wars, literature and poetry, what "integrity" means in such troubled times, and so much more. No matter your interest, you will not be dissapointed by this purchase.

Too often those of us who seek social justice for people who have been traditionally oppressed tend to just reminisce on the past.

However, this book proves that there is a great social movement that ordinary people CAN , RIGHT NOW make a diffrence about

The history of Mexico, like the history of Latin America, is a history of pain, struggle, and exploitation.

Marcos shows us a movement that seeks to right some of the wrong, and leads a movement of the oldest of the old, the oppressed of the oppressed: Indigenous campesinos (farmers) of Southern Mexico. Where pictures of Jesus Christ stand right there alongside of.....Che Guevara.

A people that have been traditionally been treated like dirt, for lack of a better word, now taking an inspirational and highly moving stand and demand an end to exploitation and a better way of life.

Through their charismatic and briliant leader, Marcos, he tells us the story of the people known as Zapatistas and their struggle for dignity.

The dignity of a people no longer willing to tolerate centuries of injustice.

What human being cannot be moved by such extroadinary courage?

Without a doubt, Subcomandante Marcos is one of the most important present day writers and activists in the Americas. "Our Word is Our Weapon" is a huge collection of his essays and short stories about the Zapatista rebellion in Chiapas.As such, I highly recommend it for peace and justice activists engaged in Latin American solidarity work, the anti-corporate globalization movement and indigenous struggles. Moreover, it is an interesting study of grassroots participatory democracy in action. Read it and be inspired!

Subcomandante Marcos is not just a man, he is a myth in his own lifetime. The cult of personality that surrounds him is completely deserved. His poetic voice is so sharp and poignant you can not help but feel sympathetic for his Zapatistan cause.

The highlight of the book is the last third which features primarily his writing. The stories and poetry he shares are accessible to almost anyone. He is the antithesis of stuffy. His anecdotes and points are so simple yet so perplexing you wonder how he does it.

... then you'll love this one. For the sketches of the Parisian scenes are wonderfully well-drawn. Sometimes you'll be amazed to find out the "spots" that you didn't pay much attention on while you were there. Also, It captured all different moods..... and you feel like you are visiting Paris AGAIN!

A grand book for travelers to Paris or those already in love with the "City of Lights"!

A "Paris Sketchbook," captures Paris superbly. Walk again down the streets of Paris, sit in a cafe, or in a paris garden, or wonder at the Paris buildings and architecture. It is all there and captured beautifully by Mary Kelly's precise and spiritual prose, with Graham's Byfield's water colors of Paris. The pictures and prose combine to be more like a musical piece, one reads then "hums" like a tune from time to time. If one is looking for that special gift or souvenir of Paris, this is it. Enjoy Paris again and again, or tanalize the traveler who is planning a Paris visit.

A "Paris Sketchbook," captures Paris superbly. Walk again down the streets of Paris, sit in a cafe, or in a paris garden, or wonder again at Paris buildings and architecture. It is all there and captured beautifully my Mary Kelly's precise and spiritual prose, with Fabrice Moireau's water colors of Paris. The pictures and prose combine to be more like a musical piece, one reads and then "hums" like a tune from time to time. If one is looking for that special gift or souvenir of Paris, this is it. Enjoy Paris again and again, or tanalize those who plan a visit to Paris.

Fabrice Moireau's watercolors and sketches bring the City of Light to life, and vividly captures the atmospheric city with its teeming cafe life, historic buildings, and new constructions. The book is divided into several segments covering the historic center, Northern Paris, Eastern Paris, Southern Paris, Western Paris, and the Gazetteer provides additional information of some of the prominent buildings featured. Moireau's paintings and sketches are accompanied by Mary Kelly's impressions of Paris, and both perspectives provide a wonderfully warm portrait of the City of Light.

This book has been one of the many reasons I fell in love with Paris.

In fact, it taught me how to explore Paris on my own during the 5 years I lived there. Beginning with this book, I learned how much history and cultural wealth is hidden in every corner of the city, ready to be discovered. I learned to explore the building façades, their inner patios that sometimes hide gardens, statues and even centuries old temples. I have explored parkings for outstanding discoveries (like the medieval wall on the underground parking on rue Mazarine), etc.

I learned enough of the city history to get me curious and start reading on my own about the kings of France, the history of Paris architecture, and so much more.

I have both an older edition and the audio guide, which is excelent for use when walking alone. However, I noticed that on the latest edition, the walk on rue Moufetard is gone (at least that's how it seems from the index here on Amazon"). Pitty, because I loved the region and the walk itself.

The only danger is that if you go to Paris with this book, you may never want to leave again, like I did.

I've taken this book to Paris three times. Our local library discarded the book and I was so upset. It's wonderful to use in Paris or to remember my trips. I was so excited to find in newly published. I have already got one, which I passed on to a friend going to Paris, now I'm ordering another.

This is a terrific "off the beaten path" type tour guide. These tours take you to areas that other tourists just pass through on their way to the Eifel Tower and Louvre. With this book you experience the real Paris, not the tourist's Paris.

At the beginning of each tour (allow one per day), find a bench in one of the many small parks and read the introduction to the tour. While you take in the sights, smells and sounds of the area, you'll learn a bit of history to set the stage for the tour. The walks are slow and intend for you to really look at your surroundings as you read about the history, architecture and people. I wish there were guides like this for every city!

I was fortunate enough to stumble upon a much earlier edition of this wonderful little guide to the Paris these authors obviously love. The distaff side of the Landes clan has a keen eye for detail and a sharp nose for the unexpected tidbits that make visiting any city a delight.

Directly as a result of following one of the walks I have found a club that is now, years later, a regular stop anytime I am in Paris. Everyone who has an interest in the quiter, more intimate details of Paris should take these walks. The authors' love of the city and their simple love of city life shines through in each of them.

This latest edition is, if possible, an improvement on the previous ones; adding the perspective of a new co-author has improved the product.

The Pariswalks audiotape is an immensely entertaining and educational way to wander through Paris neighborhoods. You can, for a change, SEE what the guidebooks are talking about WITHOUT having your nose in the book the whole time. The narration is humorous as well as informative. Because this Pariswalks audiotape is so good,I have given theLondonwalks audiotape on faith for Christmas to someone about to head for London. I will never travel to Europe again without first checking to learn whether an audiotape is available for my destination city.

Great book if you're planning a trip to Ireland or if you just want to enjoy a pint in your own living room!

When I'm in Ireland -- which isn't nearly enough -- I try to avoid the trendy new pubs and stick to the joints where the local people go, where you're still likely to find a session in the corner, where the food is simple but hearty, and where the Guinness is pulled with pride.

Eric Roth, a Boston-based photographer, pays tribute to the "real" Irish pubs of Ireland in "The Parting Glass." Of course, there are thousands upon thousands of pubs to choose from, and the book had limited space, so after exhaustive research (read: going to lots of pubs) he picked 43 representative establishments to capture on film. Eileen McNamara, a Pulitzer Prize-winning Boston Globe columnist, went along for the trip and provided the text to support Roth's images.

Of course, I have my own favorite spots in Ireland, and sadly, they're not included here. And yet, of the 43 pictured, I've been to only a handful, and they ALL look a delight!

The book includes numerous large, colorful photos of pub facades and pub interiors. Too, you'll find distinctive pub signs and unique pub decor. Better yet, you'll see people manning taps and hoisting pints, people who make up Ireland's traditional pub scene as much as the Guinness-stained tables, peat fires, live music and pleasant conversation.

There are city pubs and country pubs, ornate pubs and plain, crowded and empty. Roth's photos are gorgeous, rich in color, detail and personality. McNamara's narrative is equally colorful, informative and evocative of the pub experience. Combined, they create a desire to dive through the pages, take a seat and order a pint.

Great photography. Great for Irish conversation. Makes a great gift.

This book is for those who want to be swept away on a marvelous journey through a land of incredible scenery interrupted by warm and friendly people invigorated by mouth watering blends of spirits served in the most welcoming places short of heaven.

This book made a wonderful gift for my husband this Christmas. He and I went to Ireland a few years ago to see a U2 concert at Slane castle. To this day, it remains one of my favorite vacations of all times, and this book rekindled those wonderful memories. So much so, that after browsing through the pages together, my husband and I are planning a return trip "across the pond" as a gift to each other! We're even planning some of our itenerary around these cool cities and pubs.

The photos are just beautiful and so are the stories of the owners, the bartenders, the patrons and pub histories. Neat facts are tucked in between the pages, making it more than a photo essay -- I learned that a special place called a "Snug" exists in the older pubs, where the women used to share a pint or two without the company
of men.

If you are looking for an unusual and thoughtful gift, I recommend this book. It would make a wonderful father's day gift, (or mother's day gift!), it would be great as a birthday present, a graduation present, a coffee table book for a new homeowner, or for any other occassion where you want to raise a pint in celebration. Cheers!

Hollander puts the selective moral outrage and selective acceptance of evidence of the Left on parade as he follows these blinkered one's through the various Potemkin Villages of the Totalitarians, from the October revolution forward into most of the 20th century. Smug arrogance knows no political party or religious faith, no gender, race or sexual preference, it seems to be evenly spread among us. In this instance the highly developed capacity for self-deception of the Left is on trial and an amusing trial at that. Their tortured explanations of the intellectually unexplainable are a fictive of mankind's marvelous ability "to transform things to the liking of his desires".

Like all those who are "blowin' in the wind", these intellectual hard heads do not seek truth, but instead to validate their worldview. This book is a study of intellectuals, estrangement and its consequences.

Hollander hits an important nail on its head. Many members of the intellectual left have a horrible track record of either excusing or turning a blind eye to the brutality of socialist dictators. As such, many twentieth century leftists served as apologists for evil socialist dictators. Of course, these same people have no difficulty finding fault with the US and UK. No problem in the West is too small to warrant condemnation in their eyes.

The sad truth is that the vision of an egalitarian society has been romanticized and popularized. Even today there are some who defend and even promote the USSR. Hollander counters this nonsense with evidence. Unfortunately, there are still some ideologues to whom evidence means nothing. We need more scholars like Hollander.

Political Pilgrims is the amazing story of how Western intellectuals embraced Marxist tyrants at the very moment their colleagues were rotting in prison cells, and the common people everyone claimed to be concerned for, were starving. The book relates how cultural and religious leaders from the West, including familiar names, visited the Soviet Union, China, Cuba, and other communist countries, and told the most appalling lies to flatter their hosts and express their contempt for Western society. It is quite an education, as another reviewer put it. Marx's revolutionary myth dominated history for the better part of the 20th Century, and if we are serious about not repeating the errors of that period, this book should be a part of our education. The short story Buddha's Smile in Solzhenitsyn's masterpiece, The First Circle, brilliantly tells the same story, from the point of view of Soviet prisoners. Lewis Feuer's Marx and the Intellectuals compares Marx and Engels themselves with the kind of people Hollander is describing. I also recommend the writings of the Rumanian philosopher, pastor, and former prisoner, Richard Wurmbrand.

Hollander retells George Keenan's story of a Norwegian radical who, when asked what country he most admired, said, "Albania." Keenan noted that the student obviously knew nothing of Albania, but chose that country "simply because it seems to be a club with a particularly sharp nail at the end of it with which to beat one's own society."

The same reactionary psychology has, it seems to me, been transferred in our day to an uncritical and naive attraction towards what is (simplistically) called "eastern religion." One could write an even longer book about how Westerners project their fantasies on monist ideologies: people like Joseph Campbell and Karen Armstrong "explaining" human sacrifice, the Theosophical Society standing up for caste, Arthur C. Clarke (Did he know much more of Asian history than the Albanian radical knew of Albania?) describing Buddhism as "the only faith that never became stained with blood." Even Hollander allowed that, "While the suspension of disbelief has its place in human life, it belongs more to the religious (or asthetic) than the political realm." But his book should be read, in my opinion, as a warning against all forms of ideological naivite. A love of truth, and a determination to tell it no matter how out of fashion it may seem, is essential to integrity in all walks of life. Political Pilgrims vividly illustrates, in the political realm, the evil that can be done when honesty plays second fiddle to fashion.....

This is an awesome book which helps the reader understand why intellectuals always seem to be on the wrong side of history. They loved Communism even when it was obvious that Lenin & Stalin were exterminating hoards of people! They are defective in their thinking and they stick to it. The author has a quote at the beginning of the book. "A GREAT DEAL OF INTELLEGENCE CAN BE INVESTED IN IGNORANCE WHEN THE NEED FOR ILLUSION IS DEEP." (Saul Bellows) . This book walks you through the 'needs' that these intellectuals seem to have which continually seems to cause them to deny the stark realities around them & cling to their 'ideologies'. I am so glad I read this book as I just laugh now when I hear so much of what is on the news. I GET IT!

25 years ago, "Political Pilgrims" documented beyond any doubt the willing self-deception of intellectuals in love with the totalitarian regimes in Cuba, China, the Soviet Union and East Germany. The debate no longer rages over whether these countries were "freer" than their counterparts in the West. They aren't. What hasn't changed, however, is the continued willingness of intellectuals to find paradise anywhere but in the US.

Paul Hollander brings his trademark meticulousness to the study of Intellectuals who travel to what used to be referred to as Worker's Paradises. Using mountains of evidence, one cannot help but be persuaded that Western Intellectuals experience such a depth of alienation from their cultural birthplace, that they become morally blind to the abuses of its antagonists.

What's truly remarkable, is that none of this has changed. One merely needs to point to Michael Moore's Fahrenheit 9/11 and it's grotesque representation of Hussein's Iraq as an innocently peaceful place of playful children and mothers. At no point in that execrable movie does he mention the mass graves or torture chambers.

Michael, post your wish list on Amazon and I'll send you this book. Promise.

An excellent and very needed book in the English speaking world where so much of what we read and learn is from the British point of view with all the prejudices of the British thrown in. A valuable book for those who wish to get a more balanced view of the war by reading about both the British and the French. A caution, however, as one finds the british accounts onesided, there are moments in reading the book where i got the feeling the author was anti-British. But it doesn't detract from the overall excellence in providing a seldem heard aspect of the war.

Most histories of the First World War have focused on the British or German perspective. This is a history of the French operations, which provided the bulk of the resistance to the Germans on the western front.

Histories of the First World War suffered from partisan books written directly after the war that gave a caricatured version of operations. They suggested that French and British generals failed to appreciate the impact of modern technology and simply used men as cannon fodder. This book is one that seeks to counter that view and show how the French commanders reacted to the success and failure of operations and developed strategies which evolved during the war to lessen the loss of human life and develop more efficient methods of attack and defence. In fact the year of 1914 saw one of the French Armies considerable triumphs the defeat of the German movement through Belgium aimed at outflanking the French line. This success occurred when the Germans devoted the majority of their army to the western front in an attempt to gain an early victory. England at the time had only mobilised a small army so the defeat of the Germans was a remarkable victory.

One of the interesting points made by the book is that some 50% of the French losses occurred in the first year of the war before the development of the trench system. The reason of course was that before the development of the trenches when there was the war of movement infantry were much more vulnerable to artillery fire. In 1915 when the French attacked again and again in an attempt to aid the Russian offensives the losses were although substantial far less than in the disastrous first year. The losses suffered in resisting the German offensive at Verdun again were again less than in 1915. It was only in 1918 that France carried out the series of attacks that finally led to Germany's capitulation that the casualty figures increased to levels close to 1915.

The book is interesting as it shows how the French developed tactics over time. The rolling barrage to protect the infantry in its advance. The notion of the flexible defence so that infantry was kept away from the front line to avoid the heavy losses which resulted from opening barrages and instead using counter attacks and the holding of key points to inflict casualties on the attacker.

In fact it is clear that the French became frustrated with the English under Haig who launched his Somme offensive without using the sorts of advances in strategy that had been developed by the French and Germans thus turning that battle into a costly stalemate. One of the attractions of the book is that it shows the history of the English campaign and issues though an observers eyes.

The book also reveals how close the Germans came to victory in 1918. If Ludendorff had been able to move more quickly to separate the English and French armies in detail he could have won. Instead he relied on costly staged offensives delayed so much that the French and English were able to hang on.

Despite the loss of the major industrial section of their country the French were able to turn their country into an arsenal producing ¾ of the weapons that were used by the Americans. Huge numbers of tanks aircraft and heavy artillery.

The book also shows clearly the importance of the operations in Macedonian in hastening the end of the war. The attack on this front in `1918 led to Bulgaria being forced out of the war. This broke the German supply line to Turkey which meant that the British under Allenby were able to advance from Egypt easily also defeating that country. Lastly the surrender of Bulgaria opened up yet another front that the weakened Austro-Hungarian Empire could not hold. One of the more interesting books on the First World War which is valuable in giving another perspective on the conflict.

Robert Doughty's 2005 "Pyrrhic Victory" may be the most extensive English-language account available of Franch strategy and operations during the First World War. Doughty has combed a variety of archives to document that, contrary to popular myth, France sought throughout 1914-1918 to execute a coherent strategy of fighting a multi-front war in order to maintain pressure on Germany. Moreover, France executed this strategy despite increasing shortages of manpower, a ferocious battlefield learning curve for its general officers, and several crises of confidence.

France understood itself in 1914 to be at a distinct disadvantage in population and industrial base with respect to Germany. This disadvantage drove France to seek out allies throughout the war. France would rely on the huge but unsophisticated Russian Army to force Germany to fight a two-front war and on a reluctant Great Britain to help defend France itself.

In 1914, France and Britain narrowly avoided defeat in a war of movement that culminated in the miracle victory at the Battle of the Marne. As the Western Front stabilized into hundreds of kilometers of opposing trenches, France and its allies would spend the next four years trying to break the stalemate in France while applying pressure on German and its allies through operations in Turkey, the Balkans, Italy and Eastern Europe.

Doughty recounts the tense struggles between French civilian and military leaders over the best way to identify and carry out a winning strategy. The inability to impose a decisive battle on the Western Front in 1914 led to experimentation with siege tactics, renewed offensives in 1915, and a reluctant acceptance of a strategy of attrition by 1916. A premature return to a strategy of decisive battle in early 1917 nearly broke the French Army. France leaned heavily on the British Army to carry the load during much of 1917 while suppressing mutinies and scraping the bottom of its manpower barrel. Key changes in leadership, especially the elevation of Generals Petain and Foch, enabled France to ride out the supreme crisis of renewed German offensives in early 1918. The arrival in numbers of trained U.S. troops on the front lines by summer 1918 enabled the Allies to go over to the offensive and finally defeat an exhausted German Army.

Doughty's narrative makes clear what a close-run thing the Allied victory was. Despite a total nation effort to field and equip an enormous Army, France had been bled white by 1917 and was completely exhausted in the military sense by 1918. The maturation of a mass British Army on the continent, and the creation of a mass American Army in France, both events fostered by French leadership, enabled France to persevere to a pyrrhic victory that may have gutted its national resources and will for a generation.

"Pyrrhic Victory" is a scholarly work written perhaps as much for other scholars as for the general reader, who may find it a long dry effort at over 500 pages. Doughty has included some good maps; this reviewer wishes he had included a few more. Doughty's discussion of French strategy and operations might have included more commentary on corresponding German actions, making the external context of French actions a little clearer.

These minor criticisms aside, this is an exceptional work of military history, very highly recommended to students of the First World War, especially those seeking insight to evolving French strategy.

As has been noted there are a rash of english language books on the Anglo and American participation of the war. The battle of the Somme and the 1918 offensive are covered in detail in most books on the war. Anyone with a serious interest knows about the destruction of the British regular army and England's officer class. We read about the war at sea because of England's involvement.

Few books have concentrated on the French aspect except to mention the Mutiny's, the miracle of 1914 and of course the mention the damage done to the French nation by the death of so many Frenchmen.

THis book is parhaps one of a kind then because it gives the English language reader insight into the French strategy. Mostly a strategy that hs been mocked or passed over. Most have viewed the 1917 offensive as one more ill-concevied blood bath leading directly to mutiny. Many know about Verdun, however the rest of the front, some 70% of it was manned by Frenchmen. The French army shared the burden of the war on the western front. Here we are given a fuller picture of the french general staff, of Foch and Petain and of the french strategy in more minute detail. Keegan and others have done wonderful books on WWI, the more specific study will sppeal to those with a genuine interest in the period. A worthwhile read.

Seth J. Frantzman

Despite the fact that the French Army carried the bulk of the Allied war effort on the Western Front in 1914-18, it has rarely received its due in First World War historiography. Brigadier General (ret.) Robert A. Doughty, head of West Point's history department for twenty years, seeks to correct that omission in his Pyrrhic Victory: French Strategy and Operations in the Great War. Overall, this is an erudite, well-written book for professional military officers and historians and an essential addition to any serious library on the First World War.

This book consists of ten chapters, with one on pre-war doctrine, eight that each cover about six months of the war and a conclusion. The initial chapter on transformation examines pre-war doctrine and strategic planning. Despite first-rate intelligence on German order of battle, the author notes that the French expected an invasion of Belgium but thought that the Germans lacked the reserves to make a deep penetration. The French Army was also fairly well equipped for war, but the neglect of heavy artillery was a serious omission. Furthermore, the author notes that initial combat on the borders indicated "the bankruptcy of French tactical doctrine and the inadequacy of their artillery," although these flaws were not immediately apparent to General Joffre, the French commander-in-chief. Indeed, the author paints a poor picture of Joffre in August 1914, as a commander who blamed others for his faulty operational plan, failed to concentrate his forces and ignored intelligence about enemy intentions. On the other hand, Joffre showed marked improvement in September 1914 by effectively utilizing France's railroads to mass forces for the Battle of the Marne - a victory which the author notes to Joffre's credit.

Once the war shifted to a static phase in 1915, the author notes that the French failure to defend vital coal and steel regions at the start of the war hindered their long-term war industrial potential. It is not uncommon that military men ignore economic factors until they are faced with shortages. As the French Army gradually shifted to an offensive strategy in 1915, the author describes how Joffre succeeded in creating a substantial reserve force but that the early attacks were costly failures due to limited artillery support. Two competing offensive doctrines emerged: Joffre's "continuous battle," which envisaged a massive `big push' style attack, and the "methodical battle" advocated by younger generals such as Foch and Petain. While Joffre believed that a decisive breakthrough on the Western Front was possible, more realistic officers such as Petain realized that it was no longer possible and that the conflict had become a war of attrition. However, Joffre set the strategic agenda well into 1916 and he adamantly opposed diversions such as operations in the Mediterranean that took troops away from his `big push' offensives on the Western Front. It was not until near-disaster at Verdun that Joffre realized the demands of attrition warfare and promoted defense-in-depth against German counterattacks. Also, by 1916 the French Army had finally corrected its deficiencies in heavy artillery, which transformed its operational potential. Yet unlike Germany, France did not opt for total war as Germany did, with its political leaders placing limits on bombing German cities and the use of chemical warfare.

By the end of 1916, French officers such as Nivelle, Petain and Foch had developed new methods of infantry-artillery coordination that enabled the French Army to launch short, but effective attacks. Nivelle became a little too enamored of these new tactics and when he replaced Joffre, he attempted to use them to achieve a major breakthrough in the ill-fated Nivelle offensive. The mutiny that resulted from Nivelle's poor judgment nearly broke the French Army, but it was Petain that saved it from dissolution. Petain adopted a new program for the army that emphasized material over haphazard use of infantry and this program emphasized aircraft, heavy artillery, tanks and chemicals. Ultimately, Petain found the material key to victory but it was Foch - who finally became the unified commander of Allied forces in the desperate days of 1918 - who found the morale key to victory.
Pyrrhic Victory also offers readers a very different perspective on British actions. From the French perspective, the BEF was not pulling its fair share of the load in 1914-15 and British offensives were rather puny. While the author does not denigrate the British, Belgian or American contributions to victory, this book helps to illuminate the major role played by the French in achieving that victory. Although starting out wrong-footed, the French Army survived a major offensive by one of the best armies in the world, adapted and eventually developed the means to push that enemy off its soil. While the price of victory was crippling, there is no doubt that the French Army in the First World did far more than merely `survive' until the Americans came to `rescue them.'

After reading this book and salivating at the photographs, I'll NEVER lust after anyone else's jewellery again. Apart from the sheer magnificence of the stones and the settings, the provenance of the pieces and just how they happened to be in the possession of the various members of the royal family, is completely fascinating. It's also a very interesting look at the social mores of the various eras. In Queen Victoria's time, she tended to wear more modest jewellery, much of which had a sentimental value to her, and so the ladies of the day tended to follow her example. In the following reign, that of Edward V11, the upper classes of the day followed the example of Queen Alexandra, who was a beauty and who dressed lavishly in her own particular style, which was followed by ladies of the court and which featured high necklines, decorated heavily with diamonds and precious stones. In the following reign of a very rigid George V and Queen Mary, the court seemed to be bolstering the idea of an unapproachable royalty, above the touch of scandal and to foster this idea by literally covering the Queen in jewels from head to toe. Today's monarch jewels up only on the most formal of occasions, but it's thanks to her and to the Queens of the past that this amazing collection has been built up over the years to amaze and bedazzle lovers of beautiful jewellery everywhere.

I can't say enough about this book. Leslie Field obviously loves her subject; the amount of research that went into this book is impressive. It is fascinating to follow a piece of jewelry through history from Queen Victoria to Princess Diana through pictures. The accompanying text is informative, but the pictures really say it all in this book.

Field has produced an excellent balance of text and pictures and has done an exceptionally thorough job of documentation. I was fascinated by his descriptions of how the jewelry was modified over the years to accommodate the fashions of the day and the taste of the current owner. The only reason I did not give this 5 stars was due to the pictures. Most are black and white (for obvious reasons), however some were of very poor quality, and very few taken with the intention of displaying jewelry. There was one delightful story of a gift to the young Princess Elizabeth, a necklace and bracelet, which the Queen now refers to as "my best diamonds". But do we get to see the diamonds? No, the only available picture was a distant news photo of the young Princess sitting at an angle and the jewels nearly impossible to see. For Princess Diana fans, don't bother buying this book. There are less than a half dozen images of Diana, and nothing you haven't seen before. And just a reminder, this is her personal collection. You won't see any of the crown regalia.

I was so impressed with and have gotten so much Joy from this book, it has inspired me enough to go ahead and try my first on-line review. When I noticed this was out of print I was very surprised. Even more so when I realized there was also a 1997-revised edition. I am hopeful its simply because the newly expanded volume is getting its finishing touches. With digital imaging technology having come so far since the publishing of the first two editions (87/97), the detail that is now available will hopefully be prominently featured in the next. A unique aspect of this book is the thoroughness of information presented on several different topics.
The title subject is definitely covered in meticulous detail. Aside from the jewels it really is almost a complete mini-biography of most of the British Royal Family. After all the Men bought jewels too! It is amazing to see an 18th century piece on Queen Elizabeth and be able to trace it exactly from it origin through the centuries.
The information in text and pictures give a much better understanding of the whole concept of continuity, with many surprises along the way. Tidbits like how Queen Victoria stubbornly refused to return gems that another Royal House insisted it owned. How important Jewels were to Queen Mary, not for their monetary value but because of their family historical importance. Its the little details like this that give you a much more personal understanding of monarchs, without being dishy or gossipy.

Both the front and back inside covers gives a complete family tree dating back to Henry VII. Inside, thirteen categories/chapters cover everything from Diamonds and Emeralds to Sapphires and Amethysts, explaining who favored a particular kind of gem or style over another. Do not expect a very in-depth education on gems, however you get a great understanding of the history and importance of gems through the centuries as a symbol of power and status. There is a generous amount of color and B&W photos perfectly balanced with the text. Generations of Royals Portraits set-up three or four to a page wearing the same Jewels over scores of decades are some of the picture highlights. I really don?t think you need to be a Royal Watcher to appreciate the images. From all the individuals listed in the Acknowledgments many of them with titles you understand this book was published with the complete cooperation and help of the entire Royal Family. Its the photography that makes you appreciate this. A perfect example of this is the cover subject. A magnificent necklace part of a set named: The Cambridge and Delhi Durbar Parure. Inside there is another full color page showing the complete set, however throughout the book you can see no less than ten or twelve different royals wearing some kind of configuration of it. Including the World Famous snapshot of the late Princess Diana wearing the necklace as a headband.
You cannot help but feeling like you know the members of the various royal houses a little better after reading a few excerpts. The entire volume gives you an impression that the author truly respects, enjoys and is highly educated on her subject. This is one of the few books that I own, that I know I will never post for sale used. I hope you enjoy!

Leslie Field's "The Queen's Jewels: The Personal Collection of Elizabeth II" is a splendid, splendid book in every way. Field has gathered together hundreds of important photographs (of the nearly half million she saw altogether) of Queen Elizabeth's jewels. These are shown both in their cases and being worn by various monarchs, and we see how different royal family members have altered the look or the purpose of pieces as fashions and times changed over the years. Field has complemented these photographs with her outstanding, meticulously researched text. Even if you purchase the book mostly to drool over the photographs, you will end up being both captivated and educated by the accompanying text.

Field begins the book with the ascension of Queen Victoria to the throne. Because of the Salic laws passed by the House of Hanover in 1833, Victoria was prevented from becoming ruler of both the United Kingdom and Hanover. The kingdoms were split for the first time in well over a century. Immediately, King Ernest of Hanover--an uncle of Queen Victoria--demanded his share of the royal jewels, arguing that since the kingdom had been split, so must be the gems. Victoria disagreed, and the argument went on for two decades before finally being settled in favor of Hanover. Subsequently, Victoria gave up several important pieces of jewelry to her uncle's descendants--but was already well on her way to amassing an important collection.

Victoria was the first British monarch to make clear that some pieces belonged to the Crown and were for use by any Queen to follow her--and that some pieces were her personal property, and hers to dispose of as she saw fit. British monarchs have followed in her footsteps ever since and although Field showcases many sumptuous Crown pieces in the book, the bulk of what we see are the Queen's personal pieces. And what a collection it is!

The collection is vast and jaw-droppingly beautiful. Field wisely divides the book into types of stones, from diamonds and pearls to emeralds, sapphires, amethysts, turquoise, and more. We see everything from parures
(i. e., complete matching sets of everything from necklaces to brooches to rings to earrings and more) to necklaces and tiaras which were gifts from other governments or from such quaintly named organizations as "Girls of Great Britain and Ireland" to pieces designed by Prince Philip expressly for his wife.

Among the many stand-outs in the book are:

- Queen Elizabeth's three-carat diamond solitaire engagement ring, designed by Prince Philip for his wife and set with a handsome diamond taken from a tiara belonging to Philip's mother (p. 85);

- The Godman Necklace, which had been bought by an English naturalist in the 1890s while on holiday in Bavaria. His daughters, many years after his death, wrote to the Lord Chamberlain saying that they felt they owned jewelry once owned by Empress Josephine of France and that the Queen might be interested in it. Although it turned out not to have been of this provenance, it was undoubtedly a stunning and valuable piece, showcasing seven large emeralds and three smaller ones, and surrounded throughout with an encrustation of diamonds and platinum filigree (p. 95);

- The Cambridge's Lover's Knot Tiara, shown being worn by the Duchess of Cambridge in 1818, the Grand Duchess of Mecklenburg-Strelitz in the 1890s, Queen Mary in 1926, Queen Mary again in 1935 (this time without the upright pearls which originally adorned it), Queen Elizabeth in 1955, and Diana, Princess of Wales in 1985. This is powerful testimony that good design and fine jewelry are both timeless (pp. 113 - 115);

- Queen Mary's "Rose of York" bracelet, which is a breathtaking ruby and diamond pendant which was eventually turned into a bracelet (p. 143).

Of course these are but a few of the many treasures in the book. It is a fascinating read, and a wonderfully complete and detailed account of what is probably the finest jewelry collection in the world today.