By the eighteenth century Paris was one of the great
wonders of Europe, renowned for its magnificent royal monuments
and as a center for science, literature, and the arts. More so than
any other European city, Paris reflected the spirit of an age—an
age that reached its zenith with the reign of France's Sun King,
Louis XIV. No book better captures that spirit than Orest Ranum's
Paris in the Age of Absolutism, first published in 1968 and
now reissued in a revised and expanded edition.
Ranum's tour of Paris begins in the late 1500s with
a French capital city exhausted by the violence of the Wars of Religion
and proceeds through the long century that ends with the death of
Louis XIV in 1715. Henry IV (1589-1610), head of the Bourbon branch
of the royal family, laid the foundations of modern Paris, but it
was during the mature years of his grandson, Louis XIV, and during
the service of his visionary minister, Jean-Baptiste Colbert, that
a New Rome was created. By 1715 the city was far different from
what it had been in 1590. There were now large geometrical public
squares with statues of the King at their focal point. There were
arches of triumph, hospital-prisons, a new and gigantic wing on
the Louvre, handsome stone bridges, streetlights, and massive stone
quays along the Seine.
Ranum ranges widely through the streets and quarters
of Paris, attentive to the achievements of town planners, architects,
and engineers as well as to city politics, social currents, and
the spirit of religious reform. Behind it all lay the rule-creating
authoritarianism of the absolute state, which, ironically, unleashed
Parisians' creative impulses in everything from literature, painting,
and music to architecture, mathematics, and physics.
Paris in the Age of Absolutism is one of
those rare books that combines elegant prose with stunning erudition,
making it both captivating for general readers and challenging to
scholars. This new edition has been thoroughly revised and expanded
to take into account the wealth of scholarship that has appeared
since 1968. Of particular note are a new introduction and a new
chapter on women writers.
A larger format accentuates a full selection of
illustrations, many of them new to this edition.
