By Alberto Manguel
Whereas touring in Calgary, Alberto Manguel was once struck by way of how the radical he used to be examining (Goethe's Elective Affinities) appeared to replicate the social chaos of the realm during which he used to be dwelling. a piece of writing within the day-by-day paper may all of sudden be illuminated through a passage within the novel; an extended mirrored image will be triggered through a unmarried be aware. He made up our minds to maintain a list of those moments, rereading a e-book every month, and forming A studying Diary: a quantity of notes, reflections, impressions of go back and forth, of pals, of occasions private and non-private, all elicited via his examining. From Don Quixote (August) to The Island of Dr. Moreau (February) to Kim (April), Manguel leads us on a captivating experience in literature and lifestyles, and demonstrates how, for the passionate reader, one is totally inextricable from the opposite.
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It is impossible not to be struck with the similarity of this decoration to that of the king's gallery in a cathedral. In a buffet of the fifteenth century there is not a single detail that is not to be seen in the Church of the Trinity at Vendome, or in the apse of Saint Severin in Paris. The uprights are flanked by slender counterforts with flat sides, with ribs, pillars either prismatic or ribbed, the feet of which sink down and penetrate ^ into the finials are sharpthe talus of the base ; 1 Small fantastic animals such as winged dragons, basilisks, etc.
Could So let us follow anything be more amiable ? might Corrozet. * The house he is to bring us through from the cellar La cave tenebreuse et obscure la cure Cave dont Bacchus trend to the garret Oil on Des X >t -^ met toutes les relicque% extencilles domtstiques^ , ^'-} I ftcece^ AN IDEAL HOUSE 33 the house he himself would fain possess, the newfashioned house of a rich burgess. is Noble maison de tons grands hiens garnye^ Riche maison de tons meuhles foiirnye. First of all the courtyard. marble ; and it is It is paved with embellished with medallions Et de figures magnifiques, Tafit de modernes que d' antiques.
However it might be, it was not French work. The foregoing is a condensed description of the technique and style of the furniture of the Middle Ages. In fine, in spite of polychromy, and despite the fact that up to the sixteenth century many pieces, the majority without a doubt, were made of plain heavy wood intended I It must date from the early years of the'sixteenth century LOUIS i6 XIII FURNITURE be continually covered with painted and embroidered stuffs, they were mostly works of mouldings and carving, and never was woodcarving finer always attacked with admirable boldness, while sometimes it was caressing and full of subtlety, it is above all broad and vigorous, a manner especially proper for work in oak.
A Reading Diary: A Passionate Reader's Reflections on a Year of Books by Alberto Manguel