Villa Ephrussi de Rothschild
Villa Ephrussi de Rothschild called villa Île-de-France, is a French seaside villa located at Saint-Jean-Cap-Ferrat on the French Riviera. The villa was designed by the French architect Aaron Messiah, constructed between 1905 and 1912 by Baroness Béatrice de Rothschild. A member of the Rothschild banking family and the wife of the banker Baron Maurice de Ephrussi, Béatrice de Rothschild built her rose-colored villa on a promontory on the isthmus of Cap Ferrat overlooking the Mediterranean Sea; the Baroness filled the mansion with antique furniture, Old Master paintings, objets d'art, assembled an extensive collection of rare porcelain. The gardens are classified by the French Ministry of Culture as one of the Notable Gardens of France. On her death in 1934, the Baroness donated the property and its collections to the Académie des Beaux Arts division of the Institut de France and it is now open to the public; the villa is surrounded by nine gardens, each on a different theme: Florentine, Garden à la française, exotic, a stone garden, a Japanese garden, a rose garden, Provençal and a garden de Sèvres.
They were created between 1912 under the direction of landscape architect Achille Duchêne. The garden was conceived in the form of a ship, to be viewed from the loggia of the house, like the bridge of a vessel, with the sea visible on all sides, it was inspired by a voyage she made on the liner Île de France, the villa was given that name. The thirty gardeners who maintained the garden were dressed as sailors, with berets with red pom-poms; the Garden à la française occupies the area behind the villa. Next to the villa there is a terrace with topiaries. Beyond the terrace is a park with palm trees and a long basin, ornamented with fountains and basins with water lilies and other aquatic plants. On the far end of the park is a hill covered with cypress trees, surrounding a replica garden of the Temple of Love at the Petit Trianon palace; the slope below the temple has a cascade of water in the form of a stairway, which feeds into the large basin. A stairway from the French garden descends to the circle of gardens on the lower level.
The Spanish garden features a shaded courtyard and fountain, with aromatic plants, Catalan amphorae, a Gallo-Roman bench. The Florentine garden, facing the rade of Villefranche-sur-Mer, has a grand stairway, an artificial grotto, an ephebe of marble. Beyond the Florentine garden is the lapidary, or stone garden, with an assortment of gargoyles and other architectural elements from ancient and medieval buildings; the Japanese garden has a wooden pavilion, a bridge, lanterns. The exotic garden features other rare plants. A rose garden with a statue surrounded by columns adjoins it, where pink, the favorite color of the owner, is the predominant color. On the east side of the villa is a garden of native plants of Provence and a garden with decorations of Sèvres porcelain; the villa was registered as a historical monument in 1996. Every year the Villa Ephrussi de Rothschild puts on The Painters’ Day in June; the Villa opens its doors to the artists who want to find their inspiration and practise their art in one of the nine gardens of the site.
The villa is the location of the annual summer opera festival Opera Azuriales. Official website of Villa Ephrussi Photo collection of Villa Ephrussi Opéra Les Azuriales Festival website In-depth article on the history of Villa Ephrussi
Merriam-Webster, Inc. is an American company that publishes reference books and is known for its dictionaries. In 1828, George and Charles Merriam founded the company as G & C Merriam Co. in Springfield, Massachusetts. In 1843, after Noah Webster died, the company bought the rights to An American Dictionary of the English Language from Webster's estate. All Merriam-Webster dictionaries trace their lineage to this source. In 1964, Encyclopædia Britannica, Inc. acquired Inc. as a subsidiary. The company adopted its current name in 1982. In 1806, Webster published A Compendious Dictionary of the English Language. In 1807 Webster started two decades of intensive work to expand his publication into a comprehensive dictionary, An American Dictionary of the English Language. To help him trace the etymology of words, Webster learned 26 languages. Webster hoped to standardize American speech, since Americans in different parts of the country used somewhat different vocabularies and spelled and used words differently.
Webster completed his dictionary during his year abroad in 1825 in Paris, at the University of Cambridge. His 1820s book contained 70,000 words, of which about 12,000 had never appeared in a dictionary before; as a spelling reformer, Webster believed that English spelling rules were unnecessarily complex, so his dictionary introduced American English spellings, replacing colour with color, waggon with wagon, centre with center. He added American words, including skunk and squash, that did not appear in British dictionaries. At the age of 70 in 1828, Webster published his dictionary. However, in 1840, he published the second edition in two volumes with much greater success. In 1843, after Webster's death, George Merriam and Charles Merriam secured publishing and revision rights to the 1840 edition of the dictionary, they published a revision in 1847, which did not change any of the main text but added new sections, a second update with illustrations in 1859. In 1864, Merriam published a expanded edition, the first version to change Webster's text overhauling his work yet retaining many of his definitions and the title "An American Dictionary".
This began a series of revisions. In 1884 it contained 118,000 words, "3000 more than any other English dictionary". With the edition of 1890, the dictionary was retitled Webster's International; the vocabulary was vastly expanded in Webster's New International editions of 1909 and 1934, totaling over half a million words, with the 1934 edition retrospectively called Webster's Second International or "The Second Edition" of the New International. The Collegiate Dictionary was introduced in 1898 and the series is now in its eleventh edition. Following the publication of Webster's International in 1890, two Collegiate editions were issued as abridgments of each of their Unabridged editions. With the ninth edition, the Collegiate adopted changes which distinguish it as a separate entity rather than an abridgment of the Third New International; some proper names were returned including names of Knights of the Round Table. The most notable change was the inclusion of the date of the first known citation of each word, to document its entry into the English language.
The eleventh edition includes more than 225,000 definitions, more than 165,000 entries. A CD-ROM of the text is sometimes included; this dictionary is preferred as a source "for general matters of spelling" by the influential The Chicago Manual of Style, followed by many book publishers and magazines in the United States. The Chicago Manual states. Merriam overhauled the dictionary again with the 1961 Webster's Third New International under the direction of Philip B. Gove, making changes that sparked public controversy. Many of these changes were in formatting, omitting needless punctuation, or avoiding complete sentences when a phrase was sufficient. Others, more controversial, signaled a shift from linguistic prescriptivism and towards describing American English as it was used at that time. Since the 1940s, the company has added many specialized dictionaries, language aides, other references to its repertoire; the G. & C. Merriam Company lost its right to exclusive use of the name "Webster" after a series of lawsuits placed that name in public domain.
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Architecture is both the process and the product of planning and constructing buildings or any other structures. Architectural works, in the material form of buildings, are perceived as cultural symbols and as works of art. Historical civilizations are identified with their surviving architectural achievements. Architecture is both the process and the product of planning and constructing buildings and other physical structures. Architecture can mean: A general term to describe other physical structures; the art and science of designing buildings and nonbuilding structures. The style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure. Knowledge of art, science and humanity; the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering professional services in connection with the design and construction of buildings, or built environments.
The earliest surviving written work on the subject of architecture is De architectura, by the Roman architect Vitruvius in the early 1st century AD. According to Vitruvius, a good building should satisfy the three principles of firmitas, venustas known by the original translation – firmness and delight. An equivalent in modern English would be: Durability – a building should stand up robustly and remain in good condition. Utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing. According to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty as a matter of proportion, although ornament played a part. For Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean; the most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, was based on universal, recognisable truths.
The notion of style in the arts was not developed until the 16th century, with the writing of Vasari: by the 18th century, his Lives of the Most Excellent Painters and Architects had been translated into Italian, French and English. In the early 19th century, Augustus Welby Northmore Pugin wrote Contrasts that, as the titled suggested, contrasted the modern, industrial world, which he disparaged, with an idealized image of neo-medieval world. Gothic architecture, Pugin believed, was the only "true Christian form of architecture." The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, published 1849, was much narrower in his view of what constituted architecture. Architecture was the "art which so disposes and adorns the edifices raised by men... that the sight of them" contributes "to his mental health and pleasure". For Ruskin, the aesthetic was of overriding significance, his work goes on to state that a building is not a work of architecture unless it is in some way "adorned".
For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, at the least. On the difference between the ideals of architecture and mere construction, the renowned 20th-century architect Le Corbusier wrote: "You employ stone and concrete, with these materials you build houses and palaces:, construction. Ingenuity is at work, but you touch my heart, you do me good. I am happy and I say: This is beautiful; that is Architecture". Le Corbusier's contemporary Ludwig Mies van der Rohe said "Architecture starts when you put two bricks together. There it begins." The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design: "Form follows function". While the notion that structural and aesthetic considerations should be subject to functionality was met with both popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius' "utility". "Function" came to be seen as encompassing all criteria of the use and enjoyment of a building, not only practical but aesthetic and cultural.
Nunzia Rondanini stated, "Through its aesthetic dimension architecture goes beyond the functional aspects that it has in common with other human sciences. Through its own particular way of expressing values, architecture can stimulate and influence social life without presuming that, in and of itself, it will promote social development.' To restrict the meaning of formalism to art for art's sake is not only reactionary. Among the philosophies that have influenced modern architects and their approach to building design are rationalism, structuralism, poststructuralism, phenomenology. In the late 20th century a new concept was added to those included in the compass of both structure and function, the consideration of sustainability, hence sustainable architecture. To satisfy the contemporary ethos a building should be constructed in a manner, environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling and waste management and lighting