Inhaltsangabe
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1919 edition. Excerpt: ...was a charter member of the Society of Beaux Arts Architects and the Architectural League of New York, the New York Chapter of the American Institute of Architects, as well as the national organization. MASQUES--MASS MASQUES. The old masques, fashionable in England in the 17th century, were in reality the kind of private theatricals that then generally prevailed at the courts of Europe. Their name is understood to have originated from the use of the head masque, representing either romantic, historical or allegorical types on occasions of festivity or solemnity. The first of these masques (or ballets, as they were called in Italy and France) that we find recorded was that given by Bergonzio di Botta, at Tortona, to celebrate the marriage of the Duke of Milan in 1489. It was the talk of all the elite of the Western World. Originally a parade or festival, a form of dramatic masque quickly developed in England under the wits of men as deft as Ben Jonson and Fletcher, aided and abetted by the master-designer, Inigo Jones (q.v.), reaching a height of tawdry theatrical beauty that died out almost as quickly as it had flamed. At Versailles and other courts the masque or ballet survived for over a century longer. The masque of to-day is philosophical in character. It is the drama of personified ideas. It is akin to allegory. Its dramatic purpose is the presentation of universal truths; and in this indirect way to bring their lessons home to the mind and heart alike. The pageant and masque are distinctly antithetical in character. The one is essentially concrete, the other is essentially abstract. The one depends on realism to tell its story, the other depends on symbolism, though either may make use of the elements of the other in subordination....
Reseña del editor
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1919 edition. Excerpt: ...was a charter member of the Society of Beaux Arts Architects and the Architectural League of New York, the New York Chapter of the American Institute of Architects, as well as the national organization. MASQUES--MASS MASQUES. The old masques, fashionable in England in the 17th century, were in reality the kind of private theatricals that then generally prevailed at the courts of Europe. Their name is understood to have originated from the use of the head masque, representing either romantic, historical or allegorical types on occasions of festivity or solemnity. The first of these masques (or ballets, as they were called in Italy and France) that we find recorded was that given by Bergonzio di Botta, at Tortona, to celebrate the marriage of the Duke of Milan in 1489. It was the talk of all the elite of the Western World. Originally a parade or festival, a form of dramatic masque quickly developed in England under the wits of men as deft as Ben Jonson and Fletcher, aided and abetted by the master-designer, Inigo Jones (q.v.), reaching a height of tawdry theatrical beauty that died out almost as quickly as it had flamed. At Versailles and other courts the masque or ballet survived for over a century longer. The masque of to-day is philosophical in character. It is the drama of personified ideas. It is akin to allegory. Its dramatic purpose is the presentation of universal truths; and in this indirect way to bring their lessons home to the mind and heart alike. The pageant and masque are distinctly antithetical in character. The one is essentially concrete, the other is essentially abstract. The one depends on realism to tell its story, the other depends on symbolism, though either may make use of the elements of the other in subordination....
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