From postcards and paintings to photography and film, tourism and visual culture have a long-standing history of mutual entanglement. For centuries art has inspired many an intrepid traveller, and tourism provides an insatiable market for indigenous art, 'authentic' or otherwise.
This book explores the complex association between tourism and visual culture throughout history and across cultures. How has tourism been linked to images of colonial expansion? Why are we so intrigued by 'lost' places, such as Tutankhamun's tomb or Machu Picchu, South America's lost city of the Incas? What is the relationship between art, tourism and landscape preference? What role did commercial tourist photographers play in the imagination of Victorian Britain? Drawing upon examples from across the globe, this exciting new contribution to a popular subject illustrates how tourism and visual culture intersect with one another and in the process become contested ground.

Malice Aforethought is the story of murder-one-the premeditated, cold-blooded killing and obliteration of the name and life-story of the world's greatest writing genius, William Shakespeare. This shameful tale has finally been unraveled, slowly but inexorably, piece by dramatic piece, during the last century. Whom did Shakespeare offend so grievously that he had to be eradicated forever from the rolls of life? Or was he only embroiled in high-stakes drama and malevolence by ill-fortune? Using well-known sleuthing techniques, the Great Shakespeare Hoax has been solved, the true genius identified and the diabolical perpetrators revealed. Their disgraceful deception, coerced on a gullible world, has been eminently successful for four centuries but no longer. The dastardly deed of filching and squelching Shakespeare's name, the immediate jewel of his soul, was a wanton act of assassination with malice aforethought, malum in se, malevolent by its very nature. The despicable act was motivated solely for reasons of endless appetite for power and wealth by individuals at the highest level of English government. Remarkably, a cover-up of the truth still continues today in the United States and England.

This compendium of primary sources examines British architectural history from the accession of King George III in 1760 to the outbreak if the First World War in 1914. The collection of two volumes contains a mixture of architectural treatises, biographical material on architects, works on different types of building, and contemporary descriptions of individual buildings. This title will be of great interest to students of Art History and Architecture.

"" I have no pain now, mother dear, But, oh, I am so dry! Connect me to a brewery and leave me there to die.""
Breweries were large and striking buildings whose towering presence was often reinforced by their occupation of sites in the middle of towns. They were the flagships of a major industry and generators of some of the great business fortunes. Designing their breweries for architectural grandeur as well as for their function, brewers were well aware of the marketing value of their buildings and used them as advertisements. What is surprising is that so little attention has been paid to breweries, in contrast to other great industrial buildings such as mills and warehouses. Lavishly illustrated, "British Breweries" covers the whole of their history, from the country house brewhouses of the eighteenth century to the great breweries of Georgian and Victorian England, and to widespread disappearance in the twentieth century.

Traditionally sight has been the only sense with a ticket to enter the museum. The same is true of histories of art, in which artworks are often presented as purely visual objects. In The Museum of the Senses Constance Classen offers a new way of approaching the history of art through the senses, revealing how people used to handle, smell and even taste collection pieces. Topics range from the tactile power of relics to the sensuous allure of cabinets of curiosities, and from the feel of a Rembrandt to the scent of Monet's garden. The book concludes with a discussion of how contemporary museums are stimulating the senses through interactive and multimedia displays. Classen, a leading authority on the cultural history of the senses, has produced a fascinating study of sensual and emotional responses to artefacts from the middle ages to the present. The Museum of the Senses is an important read for anyone interested in the history of art as well as for students and researchers in cultural studies and museum studies.