Bourgeois and Aristocratic Cultural Encounters in Garden Art, 1550–1850 offers an unparalleled opportunity to discover how complex relationships between bourgeois and aristocrats have led to developments in garden art from the Renaissance into the Industrial Revolution, irrespective of stylistic differences. These essays show how garden creation has contributed to blurring social boundaries and to the ongoing redefinition of the bourgeoisie and the aristocracy. Also illustrated is the aggressive use of gardens by bourgeois in more-or-less successful attempts at subverting existing social hierarchies in renaissance Genoa and eighteenth-century Bristol, England; as well as the opposite, as demonstrated by the king of France, Louis XIV, who claimed to rule the arts, but imitated the curieux fleuristes, a group of amateurs from diverse strata of French society.

In this study, the appearance and location of shops in Amsterdam during the early modern period is linked to major changes in the urban economy, the size and socio-spatial distribution of its population, and the structure of the urban grid. Not only is there ample attention for the spatial distribution of shops across the urban landscape, but for the first time it is also accurately charted what the exterior and interior of Amsterdam shops looked like and how they changed in the course of the centuries. Partly as a result of this, it has proved possible to give an impression of the ways in which retailers and customers interacted.

The early-twentieth-century essayist Zhu Ziqing once wrote that he had only to mention the name of his hometown of Yangzhou to someone in Beijing and the person would respond, “A fine place! A fine place!” Yangzhou was indeed one of the great cities of late imperial China, and its name carries rich historical and cultural resonances. Even today Yangzhou continues to evoke images of artists, men of letters, great merchant families, scenic waterways, an urban environment of considerable grace and charm, and a history imbued with color and romance.

This book is in some ways a biography of a city that acquired a personality, even a gender, and became an actor in its own history. Yangzhou invites attention because its place in China’s cultural iconography tells us not only of one city’s vicissitudes and fortunes but also of changes in the geography of the Chinese imagination. The author examines the city’s place in the history of the late imperial era and of the meanings that accrued to Yangzhou over time. She argues that the actual construction of the city—its academies of learning, its philanthropic institutions, its gardens, its teahouses, and its brothels—underpinned the construction of a certain idea of Yangzhou.