The fruits of extensive research on Benjamin Henry Latrobe’s 1808 house and furniture for William and Mary Waln begin with their impact on the aesthetic of the city itself.
Elisabeth Louise Vigée Le Brun was the most sought-after portraitist of the ancien régime. A retrospective at the Metropolitan Museum of Art rightly calls attention to her extraordinary talent rather than her gender.
The story goes that the Dutch, sailing up the Delaware River, missed the marshy entrance to its largest tributary. Upon discovering their mistake, the Europeans dubbed the waterway the Schuyl Kill, or “Hidden River.” The Dutch were soon squeezed out of Pennsylvania by the Swedes and then the English, but the name somehow stuck, showing up as the “Scool Kill River” on Thomas Holmes’s 1683 Portraiture of the City of Philadelphia, the idealized plan for William Penn’s city imagined as a grid of streets and squares set between two rivers.
Nestled along the luxuriant cliff-side banks of the Mekong River, Luang Prabang, the former royal capital of Laos, is a city of stately palaces, villas, and bungalows left from the French colonial period, as well as many golden temples (vats) alive with the Buddhist culture of their attendant monasteries. While its local textile industry is renowned, what seduces the visitor to Luang Prabang is the tranquil pace of life, where time is marked by the gongs and drums that signal the daily rituals of the monks. These begin at daybreak with Tak Bat, when the monks, from sixty-four monasteries, process down the main street, Sakkaline Road, to receive alms in the form of nourishment placed in their ample tin-lidded bowls by residents who kneel curbside.