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a[Duranteas] guidebook is a perfect walking-tour accompaniment to help New Yorkers and visitors find, identify and better appreciate statues famous and obscure (honoring, among others, the afather of gynecologya and the general who had an unremarkable military and business career but composed taps, the bugle call). . . . Durante winsomely places 54 monuments in historical and artistic perspective. We learn that a trumpet is an allegory for announcing fame, that the monument to Admiral Farragut in Madison Square Park altered the course of American sculpture, that the figure with the winged hat atop Grand Central Terminal is Mercury and that the statue of Atlas at Rockefeller Center was reviled when it was unveiled in 1937 because it supposedly resembled Mussolini. Letas hope Ms. Durante follows up in the other four boroughs.a
--"The New York Times"

aOutdoor Monuments of Manhattan is a primer on getting to know our city's monuments. . . . Each entry has a uniform structure. It contains a photo, vital stats (year dedicated, size, materials), an aAbout the Sculpturea section, and an aAbout the Subjecta section, as well as a carefully chosen boxed quotation culled from an old book or newspaper that pertains to the subject. . . . Outdoor Monuments of Manhattan is well written, well researched, well thought-out, funny, and often refreshingly original, and will help any interested New Yorker know about the wondrous monuments that dot the city.a
--"New York Sun"

aAnyone whose curiosity has ever been piqued by the peculiar mixture of historical statues that ornament the grounds of Central Park will find Outdoor Monuments byDianne Durante a satisfying read. . . . The entries provide background on each workas origin, explaining, for example, how a statue of the medieval Polish king Jagiello came to be in New York alongside more predictable allegorical and American patriotic figures. A brief history of the subject is also provided, including enough lively anecdotes and obscure facts to entice all readers.a
--"Sculpture Magazine"

a[Durante] tackles her task in the manner of a walking tour. . . . The language of the book is friendly and chatty, as if the author were in front of you, conducting an on-site lecture. . . . The purpose of the book is to encourage people to go and see the wealth of outdoor sculpture in Manhattan, and the book treats this purpose with the enthusiasm the subjects deserve.a
--"The Art Book"

Stop, look, and discover--the streets and parks of Manhattan are filled with beautiful historic monuments that will entertain, stimulate, and inspire you. Among the 54 monuments in this volume are major figures in American history: Washington, Lincoln, Lafayette, Horace Greeley, and Gertrude Stein; more obscure figures: Daniel Butterfield, J. Marion Sims, and King Jagiello; as well as the icons of New York: Atlas, Prometheus, and the Firemen's Memorial. The monuments represent the work of some of America's best sculptors: Augustus Saint Gaudens' Farragut and Sherman, Daniel Chester French's Four Continents, and Anna Hyatt Huntington's Jose Marti and Joan of Arc.

Each monument, illustrated with black-and-white photographs, is located on a map of Manhattan and includes easy-to-follow directions. All the sculptures are considered both as historical mementos and as art. We learn offurious General Sherman court-martialing a civilian journalist, and also of exasperated Saint Gaudens' proposing a hook-and-spring device for improving his assistants' artistic acuity as they help model Sherman. We discover how Lincoln dealt with a vociferous Confederate politician from Ohio, and why the Lincoln in Union Square doesn't rank as a top-notch Lincoln portrait. Sidebars reveal other aspects of the figure or event commemorated, using personal quotes, poems, excerpts from nineteenth-century periodicals ("New York Times," "Harper's Weekly"), and writers ranging from Aeschylus, Washington Irving, and Frederic-Auguste Bartholdi to Mark Twain and Henryk Sienkiewicz.

As a historical account, Outdoor Monuments of Manhattan: A Historical Guide is a fascinating look at figures and events that changed New York, the United States and the world. As an aesthetic handbook it provides a compact method for studying sculpture, inspired by Ayn Rand's writings on art. For residents and tourists, and historians and students, who want to spend more time viewing and appreciating sculpture and New York history, this is the start of a unique voyage of discovery.

During the Cold War military and civil defence bunkers were an evocative materialisation of deadly military stand-off. They were also a symbol of a deeply affective, pervasive anxiety about the prospect of world-destroying nuclear war. But following the sudden fall of the Berlin Wall in 1989 these sites were swiftly abandoned, and exposed to both material and semantic ruination. This volume investigates the uses and meanings now projected onto these seeming blank, derelict spaces. It explores how engagements with bunker ruins provide fertile ground for the study of improvised meaning making, place-attachment, hobby practices, social materiality and trauma studies. With its commentators ranging across the arts and humanities and the social sciences, this multi-disciplinary collection sets a concern with the phenomenological qualities of these places as contemporary ruins - and of their strange affective affordances - alongside scholarship examining how these places embody, and/or otherwise connect with their Cold War originations and purpose both materially and through memory and trauma. Each contribution reflexively considers the process of engaging with these places - and whether via the archive or direct sensory immersion. In doing so the book broadens the bunker's contemporary signification and contributes to theoretically informed analysis of ruination, place attachment, meaning making, and material culture.

The commemorative tradition in early American art is given sustained consideration for the first time in Sally Webster's study of public monuments and the construction of an American patronymic tradition. Until now, no attempt has been made to create a coherent early history of the carved symbolic language of American liberty and independence. Establishing as the basis of her discussion the fledgling nation's first monument, Jean-Jacques Caffieri's Monument to General Richard Montgomery (commissioned in January of 1776), Webster builds on the themes of commemoration and national patrimony, ultimately positing that like its instruments of government, America drew from the Enlightenment and its reverence for the classical past. Webster's study is grounded in the political and social worlds of New York City, moving chronologically from the 1760s to the 1790s, with a concluding chapter considering the monument, which lies just east of Ground Zero, against the backdrop of 9/11. It is an original contribution to historical scholarship in fields ranging from early American art, sculpture, New York history, and the Revolutionary era. A chapter is devoted to the exceptional role of Benjamin Franklin in the commissioning and design of the monument. Webster's study provides a new focus on New York City as the 18th-century city in which the European tradition of public commemoration was reconstituted as monuments to liberty's heroes.

Even before the upheaval of the Revolution, France sought a new formal language for a regenerated nation. Nowhere is this clearer than in its tombs, some among its most famous modern sculpture-rarely discussed as funerary projects. Unlike other art-historical studies of tombs, this one frames sculptural examples within the full spectrum of the material funerary arts of the period, along with architecture and landscape. This book further widens the standard scope to shed new and needed light on the interplay of the funerary arts, tomb cult, and the mentalities that shaped them in France, over a period famous for profound and often violent change. Suzanne Glover Lindsay also brings the abundant recent work on the body to the funerary arts and tomb cult for the first time, confronting cultural and aesthetic issues through her examination of a celebrated sculptural type, the recumbent effigy of the deceased in death. Using many unfamiliar period sources, this study reinterprets several famous tombs and funerals and introduces significant enterprises that are little known today to suggest the prominent place held by tomb cult in nineteenth-century France. Images of the tombs complement the text to underline sculpture's unique formal power in funerary mode.

A Graveyard Preservation Primer has proven itself to be a time-tested resource for those who are seeking information regarding the protection and preservation of historic graveyards. It was first written to help stewards of early burial grounds responsibly and effectively preserve their graveyards. Much information found in the first edition of the book remains valid today. Still, much has changed in the twenty-five years since its first publication, and the new edition reflects these changes. Attitudes and the understanding of historic graveyards as an important cultural resource have grown and developed over the years. Likewise, changes in treatments have also taken place. Perhaps the most dramatic change in burial ground preservation is in the world of technology. Changes in computers and the way we use them have also changed preservation practices in historic graveyards. Discussion of technological changes in the new edition includes those in mapping, surveying, photography, archaeology, and other areas of evaluation and planning. Consideration is given, too, to maintenance and conservation treatments, including both traditional and newer treatments for stone, concrete, and metals. Metals were not discussed in the earlier editions, and protection and preservation of the landscape as it relates to graveyards is an expanded focus of this book. The historic preservation of cemeteries and burial grounds is an aspect within the discipline of historic preservation that is unknown to many. Those whose responsibility is the care of these historic sites may be unfamiliar with appropriate approaches to such areas as documentation, planning, maintenance, and conservation. Unwitting personnel can do irreparable harm to these important cultural resources. The Primer is an effort to protect historic cultural resources by breaching the gap between maintenance staff, cemetery boards, friends' groups, and graveyard preservation professionals by offering readily available, responsible information regarding graveyard protection and preservation. It is also designed to assist those who would undertake a preservation project in the reclaiming of a neglected or abandoned historic cemetery. The book is generously illustrated with diagrams and photos illustrating procedures and gravemarker and graveyard forms, styles, and materials. The appendix section is completely updated and expanded, offering a worthwhile resource in itself.

"City of Refuge" is artist Krzysztof Wodiczko's ambitious proposal to create a literal memorial for the 9/11 attacks, fusing politics and passion and showing a unique commitment to resistance.
"City of Refuge: A 9/11 Memorial" is a fascinating insight into Krzysztof Wodiczko's practice, the political and personal concepts pushing his project forward, and the idea of social responsibility infused in his work. It is a proposal parallel to the World Trade Center Memorial but with the aim of provoking a more active and critical commemoration of the September 11 terrorist attacks, understood in their historical and political context, and in the light of their domestic and international fallout.
Drawing his main argument from the ethical philosophy of Emmanuel Levinas, Wodiczko imagines a memorial that is at once utopian and continuous with the concrete realities of the post-9/11 climate of fear permeating the Western world. It is a passionate attempt at readdressing the narratives of closure, hostility and terror, through a memorial that encourages open, critical and democratic discourse. The resulting "City of Refuge" is a memorial in action: on one hand an ongoing critique of a passive remembering of the attack and an investigation into the deeper causes of 'terror', and on the other a visionary and ambitious public art project in New York, reckoning with the catastrophe and its political implications in terms of a 'cosmopolitan democracy'.
New and unpublished hand-drawn sketches and digital montages animate the text, creating a vivid picture of memory at work. Wodiczko's project is complemented by a concentration on learning and proactive programs of engagement, encouraging new and informed practical initiatives, paving the way to a less unjust world. The book is supported by text from leading scholars in a variety of disciplines: Mark Jarzombek, Daniel Bertrand Monk, Lisa Saltzman, Kirk Savage, Andrew Shanken and Mechtild Widrich. Their contributions constitute a forum published alongside Wodiczko's text, ensuring an engaging and timely debate.

Funeral monuments are fascinating and diverse cultural relics that continue to captivate visitors to English churches, yet we still know relatively little about the messages they attempt to convey across the centuries. This book is a study of the material culture of memory in sixteenth and seventeenth-century England. By interpreting the images and inscriptions on monuments to the dead, it explores how early modern people wanted to be remembered - their social vision, cultural ideals, religious beliefs and political values. Arguing that early modern English monuments were not simply formulaic statements about death and memory, Dr Sherlock instead reveals them to be deliberately crafted messages to future generations. Through careful reading of monuments he shows that much can be learned about how men and women conceived of the world around them and shifting concepts of gender, social order and the place of humans within the universe. In post-Reformation England, the dead became superior to the living, as monuments trumpeted their fame and their confidence in the resurrection. This study aims to stimulate historians to attempt to reconstruct and engage with the world view of past generations through the unique and under-utilised medium of funeral monuments. In so doing it is hoped that more light may be shed on how memory was created, controlled and contested in pre-modern society, and encourage the on-going debate about the ways in which understandings of the past shape the present and future.

Commentary on memorials to the Holocaust has been plagued with a sense of "monument fatigue", a feeling that landscape settings and national spaces provide little opportunity for meaningful engagement between present visitors and past victims. This book examines the Holocaust via three sites of murder by the Nazis: the former concentration camp at Buchenwald, Germany; the mass grave at Babi Yar, Ukraine; and the razed village of Lidice, Czech Republic. Bringing together recent scholarship from cultural memory and cultural geography, the author focuses on the way these violent histories are remembered, allowing these sites to emerge as dynamic transcultural landscapes of encounter in which difficult pasts can be represented and comprehended in the present. This leads to an examination of the role of the environment, or, more particularly, the ways in which the natural environment, co-opted in the process of killing, becomes a medium for remembrance.

The second half of the nineteenth century witnessed a new phenomenon in public monuments and civic ornamentation. Whereas in former times public statuary had customarily been reserved for 'warriors and statesmen, kings and rulers of men', a new trend was emerging for towns to commemorate their own citizens. As the subjects immortalised in stone and bronze broadened beyond the traditional ruling classes to include radicals and reformers, it necessitated a corresponding widening of the language and understanding of public statuary. Contested Sites explores the role of these commemorations in radical public life in Britain. Despite recent advances in the understanding of the importance of symbols in public discourse, political monuments have received little attention from historians. This is to be regretted, for commemorations are statements of public identity and memory that have their politics; they are 'embedded in complex class, gender and power relations that determine what is remembered (or forgotten)'. Examining monuments, plaques and tombstones commemorating a variety of popular movements and reforming individuals, the contributions in Contested Sites reveal the relations that went into the making of public memory in modern Britain and its radical tradition.

Just as modern societies interpret ancient monuments and incorporate them in their political and cultural life, so people in the past often re-used their own monuments and places. Illustrated with plates and photographs and including articles by international specialists, this book should appeal to graduates, academics and anyone curious about the re-use of ancient monuments right up to the present day.

The Neolithic period, when agriculture began and many monuments - including Stonehenge - were constructed, is an era fraught with paradoxes and ambiguities. Students of prehistory have long found the highly theoretical interpretations of the period perplexing and contradictory. Starting in the Mesolithic and carrying his analysis through to the late Bronze Age, Richard Bradley sheds light on this complex period and the changing consciousness of these prehistoric peoples. The book studies the importance of monuments tracing their history from their first creation to over 6000 years later. Part one discusses how monuments first developed and their role in developing a new sense of time and space among the inhabitants of prehistoric Europe. Other features of the prehistoric landscape - such as mounds and enclosures - across continental Europe are also examined. Part two studies how such monuments were modified and reinterpreted to suit the changing needs of society through a series of detailed case studies.

The Neolithic period, when agriculture began and many monuments - including Stonehenge - were constructed, is an era fraught with paradoxes and ambiguities. Students of prehistory have long found the highly theoretical interpretations of the period perplexing and contradictory. Starting in the Mesolithic and carrying his analysis through to the late Bronze Age, Richard Bradley sheds light on this complex period and the changing consciousness of these prehistoric peoples. The book studies the importance of monuments tracing their history from their first creation to over 60000 years later. Part one discusses how monuments first developed and their role in developing a new sense of time and space among the inhabitants of prehistoric Europe. Other features of the prehistoric landscape - such as mounds and enclosures - across continental Europe are also examined. Part two studies how such monuments were modified and reinterpreted to suit the changing needs of society through a series of detailed case studies.

Historic sites celebrate defining moments in history, memorialize important events and people, and contribute to the character of the locations where they are situated. Heritage designation, both globally and nationally, is an inherently contested issue. As detailed in this volume, concerns of politics and identity, criteria for designation, impacts on communities and sites, and challenges to management planning are central to any understanding of the process by which heritage sites are created, developed, and maintained. The idea for this volume originated at a symposium hosted by the Savannah College of Art and Design. Contributors address such topics as the need to revamp criteria for designation, the effect historic site recognition has on local communities, the challenges encountered in maintaining a site, and issues linked to specific political climates or actions and group identity. The contributors constitute an international cast of leading scholars, employees, and policy-makers, all of whom have had extensive experience with World Heritage and National Register site stewardship. The work will be an invaluable reference for historians, architects, and those committed to the preservation of national monuments.

The studies included in this volume supplement the work already published by the author on the imperial cult in the Roman West, focussing on the monuments of two cities in Roman Spain, Augusta Emerita (now Merida) and Tarraco (now Tarragona). The introduction gives the general background and context of the four following studies and argues in favour of proactive initiative from the centre. The core of the book is a study of the provincial forum at Augusta Emerita. It opens with a historiographic survey followed by discussion of the plaza (location, portico, "Arco de Trajano"), then surveys other structures and their general architectonic significance. Discussion of the hexastyle temple at the centre of the precinct considers its date of construction and the influence of the provincial governor, L. Fulcinius Trio, in copying the Aedes Concordiae at Rome. Two long sections assigned to analysis of inscriptions and the significance of the provincial centre of Lusitania complete the study. Discussion of the "Temple of Augustus" in Tarragona, in Chapter 3, begins with a historiography of the temple followed by an account of its discovery by ground-probing radar and electric resistivity tomography. After arguing that the temple was provincial ab initio - rather than first municipal then provincial - discussion moves to present opinion on the successive stages of the construction and design of the temple with a final chapter on the significance of the Temple of Hispania Citerior. Two final studies consider the numismatic evidence for an Ara Providentiae at Augusta Emerita, its counterpart in Rome, and the inferred presence of a templum minus at Augusta Emerita with its enigmatic portrayal of Agrippa at sacrifice fifty years after his death. As for the location of this copy of a Roman prototype, analysis focuses on the evidence for a supposed temple in the forum adiectum of the colonial forum and considers the iconographic recomposition of the monument, arguing against current misconception of central details.

Throughout history people have perpetuated the memory of the dead by constructing stone monuments. The majority of early tombs honour great men, but by the 17th and 18th centuries the humble as well as the rich and powerful sought to express their love and grief by the erection of a suitably inscribed and decorated memorial, made by a local craftsman from native stone. Frederick Burgess describes the origin and development of the churchyard and analyses the different types of monument and ornamentation of each period. He examines the symbolism and lettering and concludes with a section about stonemasons themselves, their training and their methods. He also includes an appendix on epitaphs. This book is an invaluable guide to the historian, the antiquarian, the art historian, and the clergy. Above all, the general reader will find it of absorbing interest, as will those who enjoy exploring the countryside and visiting ancient churches.

The classic guide to one of America's architectural treasures-now with magnificent new color photos and a foreword by Princeton's dean of religious life Like the medieval English cathedrals that inspired it, the Princeton University Chapel is an architectural achievement designed to evoke wonder, awe, and reflection. Richard Stillwell's The Chapel of Princeton University is the essential illustrated guide to this magnificent architectural and cultural landmark. Now with new color photos throughout, The Chapel of Princeton University traces the history of the chapel and describes its architecture, sculpture, woodwork, and furnishings. Stillwell knew the building from its planning stages through its construction, dedication, and long use. In this book, he offers unique insights into the vision of architect Ralph Adams Cram and the artistry of Charles J. Connick, who designed the chapel's breathtaking cycle of stained-glass windows. Stillwell's thoroughly researched account of the glorious stone, wood, and glasswork gives readers and visitors an opportunity to enjoy the chapel as both an aesthetically beautiful structure and a moving religious statement. Stillwell reveals how the building's composition is meant to provide spiritual access to as many seekers as possible and instill in them an extraordinary message of hope. Featuring a foreword by Alison Boden, Princeton's dean of religious life, The Chapel of Princeton University is a guided tour of an inspiring structure that has served as the spiritual home to one of America's leading universities.

Why is it easy to hate and difficult to love? When societies fracture into warring tribes, we demonise those who oppose us. We tear down our statues, forgetting that what begins with the destruction of statues, often leads to the killing of people. Blending history, philosophy and psychology, A History of Love and Hate in 21 Statues is a compelling exploration of identity and power. This remarkable book spans every continent, religion and era, through the creation and destruction of 21 statues from Hatshepsut and the Buddhas of Bamiyan to Mendelssohn, Edward Colston and Frederick Douglass. The 21 statues are Hatshepsut (Ancient Egypt), Nero (Suffolk, UK), Athena (Syria), Buddhas of Bamiyan (Afghanistan), Hecate (Constantinople), Our Lady of Caversham (near Reading, UK), Huitzilopochtli (Mexico), Confucius (China), Louis XV (France), Mendelssohn (Germany), The Confederate Monument (US), Sir John A. Macdonald (Canada), Christopher Columbus (Venezuela), Edward Colston (Bristol, UK), Cecil Rhodes (South Africa), George Washington (US), Stalin (Hungary), Yagan (Australia), Saddam Hussein (Iraq), B. R. Ambedkar (India) and Frederick Douglass (US).

Since unification, eastern Germany has witnessed a rapidly changing memorial landscape, as the fate of former socialist monuments has been hotly debated and new commemorative projects have met with fierce controversy. Memorializing the GDR provides the first in-depth study of this contested arena of public memory, investigating the individuals and groups devoted to the creation or destruction of memorials as well as their broader aesthetic, political, and historical contexts. Emphasizing the interrelationship of built environment, memory and identity, it brings to light the conflicting memories of recent German history, as well as the nuances of national and regional constructions of identity.

Ten years in the making, this informative guide to a dozen Los Angeles cemeteries locates the 400 most interesting gravesites in Southern California. Over 270 color photos, informative text, and driving directions guide readers to the graves of L.A.'s most famous and influential citizens. Included are early film stars Rudolph Valentino, Douglas Fairbanks, and Florence Lawrence; along with Cecil B. DeMille and Jesse Lasky. It includes the graves of former slave turned philanthropist Biddy Mason and comic legends Jack Benny, Eddie Cantor, Milton Berle, and George Jessel; even the area's most visited grave, Marilyn Monroe's, is featured. The text includes biographies for each star and where bodies are buried that are not in cemeteries! All who are passionate about history and the movies will treasure this book.

"The wonderful cathedral of Notre-Dame de Paris, one of the greatest achievements of European civilization, was on fire. The sight dazed and disturbed us profoundly. I was on the edge of tears. Something priceless was dying in front of our eyes. The feeling was bewildering, as if the earth was shaking." -Ken Follett "[A] treasure of a book." -The New Yorker In this short, spellbinding book, international bestselling author Ken Follett describes the emotions that gripped him when he learned about the fire that threatened to destroy one of the greatest cathedrals in the world-the Notre-Dame de Paris. Follett then tells the story of the cathedral, from its construction to the role it has played across time and history, and he reveals the influence that the Notre-Dame had upon cathedrals around the world and on the writing of one of Follett's most famous and beloved novels, The Pillars of the Earth. Ken Follett will donate his proceeds from this book to the charity La Fondation du Patrimoine.

Hoeweler + Yoon Architecture, founded in 2001 and based in Boston, gained early praise for ephemeral and interactive public projects and is recognised today for striking works that combine conceptual speculation and technological sophistication. The firm's impressive body of work has expanded the scope of design beyond traditional disciplinary boundaries and has won them numerous national and international awards. Verify in Field is Hoeweler + Yoon Architecture's second book. Its title derives from a notational convention on architectural drawings to indicate that the information is subject to unknown conditions in the field. The book highlights verification as an intergral part of the design process and demonstrates it as a productive tool to test ideas and act on the world. For both disciplinary and contractual reasons, the instruments of design - drawings, models, and prototypes - operate on the world at a distance. Techniques of prototyping, measurement, feedback, negotiation, and intervention inform the diverse output of the studio. Verify in Field features recent designs by Hoeweler + Yoon architecture, including such projects as the Memorial to Enslaved Laborers at the University of Virginia; a floating outdoor classroom in Philadelphia; the MIT Museum; and a pedestrian bridge in Shanghai's Expo Park. The book also examines the discipline's pressing questions, as they relate to verification, uncertainty, and design agency, in a series of essays by Eric Hoeweler and J. Meejin Yoon on topics that include means and methods, the public realm, energy and environments, the construction detail, and social media. These themes are echoed in conversations with collaborators, historians, and theorists: Adam Greenfield, Nader Tehrani, Kate Orff, Daniel Barber, and Ana Miljacki.