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    The composition of the garden and the choreography of the body How it was done Do gardens and ballets form an expression of a particular historical period? And if that is indeed so, what then is the meaning of the Baroque garden. This essay explores the significance of palace and gardens of Versailles. I will try to resolve the dualism of description and explanation by overlaying Versailles, quite literally, with an analogous structure. This additional level offers us more insight into the meaning of the palace and its grounds. The exercise consists of superimposing the choreography for the Ballet Comique de la Royne by Balthasar de Beaujoyeulx, which dates from 1581, upon the somewhat later gardens of Le Nôtre and the Sun King. Panofsky presented a more or less comparable explanation earlier in the same way in his analysis of the Gothic (1951). He demonstrates that between roughly 1130 and 1270, a connection was made between the Gothic style and the philosophy of Scholasticism. That link was much more concrete than a mere `parallel` and much more general than the individual `influences`, which were of course also important, that painters, sculptors, and architects experience. The field of art history has not reached a consensus on this method. Sedlmayer, for one, found this application of analogy to be methodologically absurd. As far as he was concerned, Panofsky´s method was fruitless. Why would a cathedral have to be explained in terms of Scholasticism instead of any of the other forms of expression prevailing in the twelfth century?

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    The composition of the garden and the choreography of the body How it was done Do gardens and ballets form an expression of a particular historical period? And if that is indeed so, what then is the meaning of the Baroque garden. This essay explores the significance of palace and gardens of Versailles. I will try to resolve the dualism of description and explanation by overlaying Versailles, quite literally, with an analogous structure. This additional level offers us more insight into the meaning of the palace and its grounds. The exercise consists of superimposing the choreography for the Ballet Comique de la Royne by Balthasar de Beaujoyeulx, which dates from 1581, upon the somewhat later gardens of Le Nôtre and the Sun King. Panofsky presented a more or less comparable explanation earlier in the same way in his analysis of the Gothic (1951). He demonstrates that between roughly 1130 and 1270, a connection was made between the Gothic style and the philosophy of Scholasticism. That link was much more concrete than a mere `parallel` and much more general than the individual `influences`, which were of course also important, that painters, sculptors, and architects experience. The field of art history has not reached a consensus on this method. Sedlmayer, for one, found this application of analogy to be methodologically absurd. As far as he was concerned, Panofsky´s method was fruitless. Why would a cathedral have to be explained in terms of Scholasticism instead of any of the other forms of expression prevailing in the twelfth century?

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    © All Rights Reserved
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    443 views162 pages

    Versailles and The Mechanics of Power

    Uploaded by

    Delftdigitalpress
    The composition of the garden and the choreography of the body How it was done Do gardens and ballets form an expression of a particular historical period? And if that is indeed so, what then is the meaning of the Baroque garden. This essay explores the significance of palace and gardens of Versailles. I will try to resolve the dualism of description and explanation by overlaying Versailles, quite literally, with an analogous structure. This additional level offers us more insight into the meaning of the palace and its grounds. The exercise consists of superimposing the choreography for the Ballet Comique de la Royne by Balthasar de Beaujoyeulx, which dates from 1581, upon the somewhat later gardens of Le Nôtre and the Sun King. Panofsky presented a more or less comparable explanation earlier in the same way in his analysis of the Gothic (1951). He demonstrates that between roughly 1130 and 1270, a connection was made between the Gothic style and the philosophy of Scholasticism. That link was much more concrete than a mere `parallel` and much more general than the individual `influences`, which were of course also important, that painters, sculptors, and architects experience. The field of art history has not reached a consensus on this method. Sedlmayer, for one, found this application of analogy to be methodologically absurd. As far as he was concerned, Panofsky´s method was fruitless. Why would a cathedral have to be explained in terms of Scholasticism instead of any of the other forms of expression prevailing in the twelfth century?

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    Arie Graaflaand  Versailles and the Mechanics of Power  The Subjugation of Circe  An Essay  010 Publishers

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