remainder-expression: * see Endnote<A>

Footnote 1 provides clarification “the expression for the sum of a. convergent series beyond any specified term”

 

Le Notre:

1613-1700, French landscape architect, principal gardener of Louis XIV; designed the park at Versailles, his work is the height of the French formal garden style.  Prior to this he collaborated with Louis Le Vau & Charles Le Brun on the park at Vaux-le-Vicomte.  Other works include the design of gardens & parks at Chantilly, Fontainebleau, Saint-Cloud & Saint-Germain.  He helped plan the Tuileries where he extended the westward vista (later the avenue of the Champs-Élysées and comprise the Axe historique).

 

landscape-gardeners of Northern France:

Le Nôtre died in 1700.  His pupils & ideas would dominate French garden design through the reign of Louis XV.  His nephew Degots created gardens at Bagnolet (Seine-Saint-Denis) in 1717, and at Champs (Seine-et-Marne).  Another relative, Jean-Charles Garnier d'Isle created gardens for Madame de Pompadour at Crécy (Eure-et-Loir) in 1746 and at Bellevue (Hauts-de-Seine) in 1748–50.  As the major inspiration for gardens continued to be architecture rather than nature, it was an architect Ange-Jacques Gabriel who designed elements of the gardens at Versailles, Choisy (Val-de-Marne), and Compiègne.

 

Fouquet's Vaux-le-Vicomete: * see Endnote<B>

French aristocrat, Superintendent of Finances in France 1653-61 under King Louis XIV; enjoyed a glittering career & acquired enormous wealth.  However he fell out of favour accused of peculation (maladministration of the state's funds) & lèse-majesté (actions harmful to the monarch).  Louis imprisoned him from 1661 until his death.  As Superintendent of Finances he allowed the accounts to fall into considerable confusion: favour & fraud ruled.  A wealthy individual he spent enormous sums in building a magnificent château on his estate of Vaux-le-Vicomte, which in extent, magnificence & splendour was a forerunner of Versailles.  He brought together 3 artists Louis would later take up for Versailles: the architect Louis Le Vau, Charles Le Brun & André le Nôtre.

 

Renaissance park (Medici): * see Endnote<C>

new style of garden, late 15th century at villas in Rome & Florence, inspired by classical ideals of order & beauty; intended for the pleasure of the view of the garden and the landscape beyond, for contemplation, and to enjoy the sights, sounds & smells of the garden.  In the late Renaissance, the gardens became larger, grander & more symmetrical, filled with fountains, statues, grottoes, water organs & other features designed to delight their owners, amuse & impress visitors.  It was imitated throughout Europe, influencing the gardens of the French Renaissance and the English garden. 

 

The Baroque park: 

a style of garden based upon symmetry & the principle of imposing order on nature; originated in the late-16th century in Italy, in the gardens of the Vatican & Villa Borghese gardens in Rome and in the gardens of the Villa d'Este in Tivoli; it spread to France, where it became known as the French formal garden. The grandest example is found in the Gardens of Versailles designed during the 17th century by the landscape architect André Le Nôtre for Louis XIV. In the 18th century, in imitation of Versailles, very ornate baroque gardens were built in other parts of Europe, including Germany, Austria, Spain, and in Saint-Petersburg, Russia. In the mid-18th century the style was replaced by the more less-geometric and more natural English landscape garden.

 

Macpherson's" Ossian" (autumnal accent): * see Endnote<D>

1736- 1796, Scottish writer, poet, literary collector & politician, born at Ruthven, Scotland, infamous as the "translator" of the Ossian cycle of epic poems. He was the first Scottish poet to gain an international reputation.

 

Holderlin(autumnal accent):

1770-1843, German poet & philosopher, key figure of German Romanticism, particularly due to his early association with & philosophical influence on Hegel & Schelling & his contributions to German Idealism.  As a young man he attended the Protestant seminary Tübinger Stift; here he became friends with Hegel & Schelling.  He graduated in 1793 but decided against a career in the Lutheran Church.  In 1795 he attended the University of Jena where he interacted with Fichte and Novalis, before resuming his career as a tutor.  He struggled against poverty & mental illness.  Like Goethe & Schiller he was an admirer of Greek mythology & poets & melded Christian and Hellenic themes in his works.

 

Nietzsche's Dionysus Dithyrambs (autumnal accent):

collection of 9 poems written 1888 by Nietzsche (under the nom de plume of Dionysos); the first 6 published in the 1891 edition of Also sprach Zarathustra; the other 3 are compositions drawn from those found in Also sprach Zarathustra only slightly altered.  [The dithyramb was an ancient Greek hymn sung and danced in honour of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god.]

 

Baudelaire (autumnal accent):

1821-67, French poet, essayist, art critic & first translator of Edgar Allan Poe.  His most famous work, a book of lyric poetry, The Flowers of Evil (1857), expresses the changing nature of beauty in a modern & rapidly industrializing Paris mid-19th century. This is perhaps the most important and influential poetry collection published in Europe in the 19th century.  It became a byword for depravity, morbidity, and obscenity, and the legend of Baudelaire as the doomed dissident and pornographic poet was born.  His original style of prose-poetry influenced a generation of poets including Paul Verlaine, Arthur Rimbaud and Stéphane Mallarmé, among many others.  He coined the term "modernity" to designate the fleeting, ephemeral experience of life in an urban metropolis, and the responsibility of artistic expression to capture that experience.

 

Verlaine (autumnal accent):

1844-96, French poet associated with the Decadent movement, considered one of the greatest representatives of the fin de siècle in international & French poetry.  Fin de siècle French poetry was characterized as "decadent" for its lurid content or moral vision.  With the publication of Jean Moréas' Symbolist Manifesto in 1886, the term symbolism came to be applied to this literary environment.  Verlaine (along with Mallarmé, Rimbaud, Paul Valéry, Albert Samain) were referred to as "Symbolists."  These poets often shared themes that parallel Schopenhauer's aesthetics & notions of will, fatality & unconscious forces, and used themes of sex (such as prostitutes), the city, irrational phenomena (delirium, dreams, narcotics, alcohol), and sometimes a vaguely medieval setting.  In poetry, the symbolist approahc (as typified by Verlaine) was to use suggestion rathr than statement, to evoke moods & feelings through the magic of words, repeated sounds & the cadence of verse (musicality) and metrical innovation.

 

George (autumnal accent): 

1868-1933, Stefan, German symbolist poet & translator of Dante, Shakespeare & Baudelaire; he began to publish poetry during the 1890s.  He initiated and edited a literary magazine named Leavers for the art & was the main person of the literary and academic group known as the George- -Circle, a body which promoted cultural interests mystical & political themes.  George’s writings were identified with the Conservative Revolutionary philosophy.  At the start of the World War, he foretold defeat; in 1916 he penned the pessimistic poem "Der Krieg" ("The War").  He despised the culture of Weimar.  He wished to create a new, noble German culture, and offered "form", regarded as a mental discipline.  His poetry was discovered by the Nazis; his concepts of "the thousand year Reich" and "fire of the blood" were adopted & incorporated into the party's propaganda.   However George would come to detest their racial theories, especially the notion of the “Nordic superman”.

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Droem (autumnal accent):

1880-1947, the pen name of Adolf Weigel, a German poet, mystic & writer.  Spengler, his childhood friend brought him in contact with the Munich publisher CH Beck who was impressed by his lyrical poetry.  In 1920 Beck published his first volume of poetry songs under the pseudonym Ernst Droem.  A second set of poems was published  in 1921.  A third set called Good Moon appeared in 1922.  A final collection called Eternal Eleusis was published in 1933.  Following the Nazi seizure of power Ernst Droem, like so many other writers of his time, was banned from publishing.

 

Park of Versailles: * see EndNote<E>

Created by André Le Nôtre 1662- 1700, the finest example of the French formal garden, originally designed to be viewed from the terrace on the west side of the palace, creating the grand perspective that reached to the horizon, illustrating the king's complete dominance over nature.  The largest gardens in Europe covering 15,000 hectares, laid out on an east–west axis which followed the course of the sun: the sun rose over the Court of Honor, lit the Marble Court, crossed the Chateau and lit the bedroom of the King, and set at the end of the Grand Canal, reflected in the mirrors of the Hall of Mirrors.  The garden itself was full of surprises – fountains, small gardens filled with statuary, which provided a more human scale and intimate spaces.  The central symbol of the Garden was the sun; (emblem of Louis XIV), illustrated by the statue of Apollo in the central fountain.  The views and perspectives, to and from the palace, continued to infinity.  The king ruled nature, recreating in the garden his domination of his territories as well as over the court and his subjects.

 

prepotent:

preeminent in power, authority, or influence; predominant:

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