SKU: 72975936456

"The Scottish Country House" 2012 KNOX, James

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"The Scottish Country House" 2012 KNOX, JamesKNOX, James [208] pp. The Vendome Press 2012 First Printing 12 1 2" x 9 3 4" Fine Fine Scroll Down for (12) Additional Scans: At the heart of this stirring tale and visual delight is a group of ten extraordinary houses and castles that have survived the vicissitudes of Scotlands history with almost all of the original families who built them still in residence today. Their histories are peopled with strong willed men and womenfrom the notorious

KNOX, James

[208] pp.

The Vendome Press

2012

First Printing

12 1/2" x 9 3/4"

Fine/ Fine

Scroll Down for (12) Additional Scans:

At the heart of this stirring tale and visual delight is a group of ten extraordinary houses and castles that have survived the vicissitudes of Scotland’s history with almost all of the original families who built them still in residence today. Their histories are peopled with strong-willed men and women—from the notorious General Tam Dalyell of the House of the Binns, who served not only the Stuart kings but the czar of Russia, to the first Duke of Queensberry, who built one of the most sensational castles in Britain, to a love match worthy of the "auld alliance" between the Earl of Stair and his French-born countess.

Each house also represents a landmark in Scotland’s architectural history, ranging from the early seventeenth to the early twentieth century. The cutting-edge classicism of William Bruce at Balcaskie, the sensational French château–inspired Drumlanrig, the splendor of William Adam’s baroque at Arniston, and the sublime Palladianism of his sons, the Adam brothers, at Dumfries House, are a roll call of architectural genius. The Victorian passion for all things Scottish is displayed in Lochinch Castle, a bravura example of the Baronial style, bristling with turrets, bartizans, and stepped roofs. And Robert Lorimer’s beautifully crafted reconstruction at Monzie at the turn of the twentieth century reveals him as a major talent who synthesized European and purely Scottish styles, expressing, like his fellow architects in this book, a uniquely Scottish sensibility. The architectural revelation is matched by the houses’ sensational settings, which merge the historically designed gardens and landscape with the unparalleled wildness and vistas of Scotland.

But, as author James Knox writes in his lively, insightful text, "The glory of Scottish country houses is not just their architecture but their contents, which add layers of personality to the interiors." As Knox guides the reader on an intimate tour of the houses, he recounts their fascinating histories and profi les the colorful, often eccentric, lairds, lady lairds, clan chiefs, and nobles who have called them home. And James Fennell’s masterly photographs, which rely solely on natural light for effect, capture the distinctive atmosphere of each residence. The Duchess of Buccleuch’s boudoir at Bowhill is a frenzy of chinoiserie, needlepoint, and silk tassels. At Ballindalloch, the Macpherson-Grant tartan carpets the entrance hall and Victorian paintings of the family’s prized Aberdeen Angus herd—the oldest in Scotland—adorn many a room. The motto of the Munro clan, "Dread God," is emblazoned throughout Foulis Castle—on china, wall plaques, not to mention the clan chief ’s bonnet. All of these cherished houses are chockablock with memories of the past, from swagger portraits to sporrans, from vintage photographs to ancient weaponry, from curling stones to fading chintz. Some are also treasure houses, not least Dumfries House, saved from the auction block by a consortium headed by the Prince of Wales, which boasts an unrivaled collection of documented Chippendale and Scottish rococo furniture.

The Scottish Country House will enthrall anyone with an interest in Scotland, history, architecture, or interior decoration—all wrapped in a compelling narrative of past lives and taste.

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SKU: 72975936456

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4.2 ★★★★★
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M
Max
Lexington, US
★★★★★ 5
Anne Carson is a Genius
Format: Hardcover
There is no one writing right now -- in essays, novels, poems or short stories -- who is as consistently brilliant as Anne Carson. Her last book, AUTOBIOGRAPHY OF RED contained some of the finest, most exquisite writing I've ever read; and this next collection is a masterpiece. There is a long essay in the book titled IRONY IS NOT ENOUGH: My Life As Catherine Deneuve that is at once moving, sexy and intelligent. There are also a sequence of poems about Hoppers paintings, paired with St. Augustine's Confessions that show perfectly how Carson dances on the fault lines of the modern and the ancient. This woman will win a Nobel Prize.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 10, 2000
M
M. J. Smith
Alexandria, US
★★★★★ 3
Interesting juxtapositions - some successes, some failures
Format: Paperback
As is to be expected from Anne Carson, the breadth of her knowledge results in thought-provoking writing even when it fails as "poetry". An example Hopper:Confessions begins with a quotation from Edward Hopper, followed with 9 separately title poems accompanied by quotations from Augustine's Confessions, and ending with a piece by Hopper. Her essay on female pollution in antiquity is excellent scholarship made enjoyable reading for the "common reading". Several pieces, or portions of pieces, consider Lazarus raising interesting issues from the perspective of Lazarus ... what is his reaction at being called forth (rotting?) from the grave? While many of the pieces, especially the very short pieces, are not impressive, the book is worth your time - for the reflections it provokes in the reader.
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Reviewed in the United States on July 28, 2001
I
I X Key
Carnegie, US
★★★★★ 1
very droll
Format: Paperback
I understand the attraction to Anne Carson. I like experimental poetry, too. I like scholarship. But this book is pointless. The poems are so terrible that by the time I got to the essay at the end about hot & cold symbolism for the writers of antiquity I was so upset with the book that I just couldn't care about anything in it. These poems don't sound good. If nothing else, there should at least be the sound. & in any other respects, the experiments are to no end in themselves. I recommend forgetting this book & going for such progressive, ambitious younger poets as Karen Volkman & Brenda Shaughnessy.
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Reviewed in the United States on May 1, 2003
H
"hirofantv"
Houston, US
★★★★★ 2
seems like an unspecified struggle with herself
Format: Hardcover
I don't know. It'ts a struggle for her to come up with the next line. Doesn't feel especially creative, inspired, or notably intelligent. I read other disappointed reviews people had written about this book, & bought it anyway. I tend to have avant-garde sensibilities, so I thought I'd enjoy it for its avant-garde qualities. I really tried to appreiate the experimentality of it, but I couldn't, because I realised I was readin it more for the sake of reading, & because I enjoy reading,than because this book is any good. I know a lot of unskilled teenagers who write dada-influenced poetry that's much more interesting than this uninspired book; I don't see what makes Anne Carson so special. 1 star because it's not a good book. 1 more star, bringing the total to 2, because I feel bad just giving it 1 star. At least she wrote something...
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Reviewed in the United States on June 30, 2001
P
Pete Dempsey
Lake Worth, US
★★★★★ 1
A Slip-Up
Format: Paperback
I don't know what happened here but Carson's last two books have really gone down hill. Men in the Off Hours, her first book since Autobiography of Red, is a mess. I don't know how else to describe it. It's not that I'd expect an easy read after her last book--just a consistent one. There are poems in here that first appeared in prose elsewhere and now are in lines! This suggests a lack of understanding of the line and its history and uses on the part of the writer, which shocks me since Plainwater and Autobiography of Red I truly liked. I would not suggest this book if you like Anne Carson. It will disappoint you!
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Reviewed in the United States on June 5, 2001

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