How can one study the absence of knowledge, the voids, the conscious and unconscious unknowns through history? Investigations into late medieval and early modern practices of measuring, of risk calculation, of ignorance within financial administrations, of conceiving the docta ignorantia as well as the silence of the illiterate are combined with contributions regarding knowledge gaps within identification procedures and political decision-making, with the emergence of consciously delimited blanks on geographical maps, with ignorance as a factor embedded in iconographic programs, in translation processes and the semantic potentials of reading. Based on thorough archival analysis, these selected contributions from conferences at Harvard and Paris are tightly framed by new theoretical elaborations that have implications beyond these cases and epochal focus. Contributors: Giovanni Ceccarelli, Taylor Cowdery, Lucile Haguet, John T. Hamilton, Lucian Hölscher, Moritz Isenmann, Adam J. Kosto, Marie-Laure Legay, Andrew McKenzie-McHarg, Fabrice Micallef, William T. O ́Reilly, Eleonora Rohland, Mathias Schmoeckel, Daniel L. Smail, Govind P. Sreenivasan, and Cornel Zwierlein.

In tracing the history of the anti-mercantilist movement, the author shows that many of the ideas and attitudes associated with eighteenth century philosophes were first formulated in the anti-mercantilist criticism. Originally published in 1965. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Introduction. The colonial Cul de Sac -- Province and colony -- Production and investment -- Humanity and interest -- War and profit -- Husband and wife -- Revolution and cultivation -- Evacuation and indemnity -- Epilogue

The control of competition is designed, at best, to reconcile socioeconomic stability with innovation, and at worst, to keep competitors out of the market. In this respect, the nineteenth century was no more liberal than the eighteenth century. Even during the presumed liberal nineteenth century, legal regulation played a major role in the economy, and the industrial revolution was based on market institutions and organisations formed during the second half of the seventeenth century. If indeed there is a break in the history of capitalism, it should be situated at the turn of the nineteenth and twentieth centuries, with the irruption of mass production, consumption and the welfare state, which introduced new forms of regulation. This book provides a new intellectual, economic and legal history of capitalism from the eighteenth century to the early twentieth century. It analyzes the interaction between economic practices and legal constructions in France and compares the French case with other Western countries during this period, such as the United Kingdom, the United States, Germany and Italy.

A comprehensive survey of the work of this most influential Florentine artist and teacher Andrea del Verrocchio (c. 1435–1488) was one of the most versatile and inventive artists of the Italian Renaissance. He created art across media, from his spectacular sculptures and paintings to his work in goldsmithing, architecture, and engineering. His expressive, confident drawings provide a key point of contact between sculpture and painting. He led a vibrant workshop where he taught young artists who later became some of the greatest painters of the period, including Leonardo da Vinci, Sandro Botticelli, Lorenzo di Credi, and Domenico Ghirlandaio. This beautifully illustrated book presents a comprehensive survey of Verrocchio's art, spanning his entire career and featuring some fifty sculptures, paintings, and drawings, in addition to works he created with his students. Through incisive scholarly essays, in-depth catalog entries, and breathtaking illustrations, this volume draws on the latest research in art history to show why Verrocchio was one of the most innovative and influential of all Florentine artists. Published in association with the National Gallery of Art, Washington, DC