Titlebook: Luxury in the Eighteenth Century; Debates, Desires and Maxine Berg (Professor of History and Director of Book 2003 Palgrave Macmillan, a d

Fallibility

Furnishing Discourses: Readings of a Writing Desk in Eighteenth-Century FranceAlbert or the Metropolitan Museum of Art today, what do you see? (See Plates 5 and 6.) What world does that piece of furniture disclose to you? I imagine that for most people, the exquisite marquetry, gilt bronze mounts and feminine curves of such a piece call up the opulent, aristocratic world of c

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Gourmet

From the Moral Mound to the Material Maze: Hogarth’s st William Hogarth’s . (1753).. Our understanding of the . benefits from contextualisation, since it is significantly different from other texts in the field of philosophical aesthetics in eighteenth-century Britain.. It engages with its central concerns, but declares its opposition and superiority

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From Luxury to Comfort and Back Again: Landscape Architecture and the Cottage in Britain and Americacottages. Ferrars’ ‘cottage’ referred to a house whose acceptability depended on its modesty and physical comfort. This usage not only gave a new meaning to cottages; it employed a new concept in talking about any house, namely comfort.

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Vase Mania Stamp Act of 1765, of ‘Wilkes and Liberty’ riots after John Wilkes’s election as MP for Middlesex in 1768; of disturbances among silkworkers, coal-heavers, farmworkers across the country. Yet amid all these upheavals the polite world was obsessed with classical vases. Perhaps the uncertainty of the

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Performing ,: the Oriental Woman as the Sign of Luxury in Eighteenth-Century Fictionspos of the discourse on luxury is the garden of Eden, its victim being Adam lured by Eve into a fall, noting that ‘a(chǎn)lmost all personifications of luxury are feminine’.. The term ‘luxury’ has two classical roots: . meaning sensuality, splendour or pomp, and . meaning riot, excess or extravagance. Thi

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