In Ruins
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- $19.99
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- $19.99
Publisher Description
Why are we so fascinated by ruins? Do we see them as jig-saws and riddles or romantic evocations of the damage of Time, complete with crumbling stone and ivy? Do they stir us to remember past glory or warn against future arrogance? In this elegant, provocative book , the brilliant young art-historian Christopher Woodward looks back to the start of the cult in the eighteenth century, when follies were built in English landscape gardens, artists and writers thrilled to Rome's poetry of decay, and in Paris the great chef Careme even served blancmanges shaped like classical ruins. He takes us from Troy and Pompei to Sicilian palaces and Nazi fantasies, and whirls us forward to modern times - to the shattered Statue of Liberty in Planet of the Apes, to Florida's Museum of Natural Phenomena, designed as a court-house dumped upside-down by a hurricane and to Chelsea Flower Show's brand-new 'Millennium Ruin'. Even the decay of an ordinary house can be as moving as the collapse of a temple - with its fascinating stories and characters, and its telling illustrations, In Ruins is full of strange delights and startling surprises, exploring the mysterious, melancholy charm of eternal fragments.
PUBLISHERS WEEKLY
"If I am lonely in a foreign country," confesses Woodward, director of Britain's Holburne Museum of Art, " I search for ruins." Great houses and haunted ones, ruins of antiquity and of modern wars, suburban remnants and monastic shells form his terrain in this erudite, brisk and invigorating walk through lost domains. "Ruins do not speak," says Woodward, "we speak for them." In this compact but capacious book, Woodward brings forth the voices of architects, diarists, sculptors, eccentrics, archeologists, even a boxer. Woodward himself is present, sometimes traveling, sometimes reading, but never as an intrusive presence. Although Byron may have felt "the air of Greece" made him a poet, Woodward is certain that it was "the clammy mists of a ruined English abbey" and the effects are present in his own heightened, engaging prose, which often finds literary ghosts among the stones. From Virginia Water in Surrey, the largest artificial ruin in Britain, to Ninfa ("the loveliest lost city in Europe") and the real life inspirations for the abodes of Miss Havisham, the Ushers and Ozymandias, Woodward ventures to Ephesus (where St. Paul preached) and the magnificently over-designed John Soane's Museum, London (where he served as curator). The Roman Coliseum morphs from terrifying entertainment arena to cow pasture and stone quarry to major tourist attraction visited by, among the many, Hawthorne and Hardy. If " ruin is a dialogue between an incomplete reality and the imagination of the spectator," this book listens in intently.