When Charles Henry Cooper (1808 66) undertook to revise the text of the 1841 Memorials of Cambridge, illustrated by the engraver John Le Keux (1783 1846), he was under the impression that 'only a slight amount of labour' would be imposed on him. However, this three-volume work was altered and modified so extensively that it may be considered as entirely re-written. Containing over 250 photographs, engravings and etchings, Volumes 1 and 2 of the work are a comprehensive guide to the Cambridge colleges, while Volume 3 is almost entirely concerned with the history of other landmarks throughout the city, such as the Fitzwilliam Museum, the Guildhall and the Botanic Garden. It was published in 1860, just six years before Cooper's death, and stands as a detailed and fully illustrated guide to Cambridge at that time. Volume 1, dealing with the colleges in order of their foundation, covers Peterhouse to Jesus.

When Charles Henry Cooper (1808 66) undertook to revise the text of the 1841 Memorials of Cambridge, illustrated by the engraver John Le Keux (1783 1846), he was under the impression that 'only a slight amount of labour' would be imposed on him. However, this three-volume work was altered and modified so extensively that it may be considered as entirely re-written. Containing over 250 photographs, engravings and etchings, Volumes 1 and 2 of the work are a comprehensive guide to the Cambridge colleges, while Volume 3 is almost entirely concerned with the history of other landmarks throughout the city, such as the Fitzwilliam Museum, the Guildhall and the Botanic Garden. It was published in 1860, just six years before Cooper's death, and stands as a detailed and fully illustrated guide to Cambridge at that time. Volume 2, dealing with the colleges in order of their foundation, covers Christ's to Emmanuel.

When Charles Henry Cooper (1808 66) undertook to revise the text of the 1841 Memorials of Cambridge, illustrated by the engraver John Le Keux (1783 1846), he was under the impression that 'only a slight amount of labour' would be imposed on him. However, this three-volume work was altered and modified so extensively that it may be considered as entirely re-written. Containing over 250 photographs, engravings and etchings, Volumes 1 and 2 of the work are a comprehensive guide to the Cambridge colleges, while Volume 3 is almost entirely concerned with the history of other landmarks throughout the city, such as the Fitzwilliam Museum, the Guildhall and the Botanic Garden. It was published in 1860, just six years before Cooper's death, and stands as a detailed and fully illustrated guide to Cambridge at that time. Volume 3 covers Sidney Sussex and Downing, the university offices, churches and other important buildings.

First published in 1940, this was the first comprehensive book about British alabaster tombs. Originating from an article by the same writer in the Archaeological Journal for 1923, it provides a detailed account of the surviving alabaster monuments, from the earliest examples of around 1330 through to those created at the time of the Reformation. The text contains 305 photographic images of alabaster tombs taken from around the country, together with a list of effigies explaining their relative origins and significance. This is a highly rigorous study that will be of value to anyone with an interest in religious art and British history.

In this book, Brenda Longfellow examines one of the features of Roman Imperial cities, the monumental civic fountain. Built in cities throughout the Roman Empire during the first through third centuries AD, these fountains were imposing in size, frequently adorned with grand sculptures, and often placed in highly trafficked areas. Over twenty-five of these urban complexes can be associated with emperors. Dr Longfellow situates each of these examples within its urban environment and investigates the edifice as a product of an individual patron and a particular historical and geographical context. She also considers the role of civic patronage in fostering a dialogue between imperial and provincial elites with the local urban environment. Tracing the development of the genre across the empire, she illuminates the motives and ideologies of imperial and local benefactors in Rome and the provinces and explores the complex interplay of imperial power, patronage, and the local urban environment.

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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.

Drawing on material from Europe, America and the Middle East, leading scholars of twentieth century history address the issue of how wars, and the loss of life in wars, have been remembered collectively in the aftermath of conflicts such as the First and Second World Wars, the Spanish Civil War and the Algerian War. However, rather than focus on whole societies or ruling groups alone, this volume adopts a "social agency" approach to highlight the behavior of small groups and individuals who do the work of remembrance.

The aim of this book is to explore the significance of the concept of 'monument' in the context of the Achaemenid Empire (550-330 BC), with particular reference to the Royal Ensemble of Persepolis, founded by Darius I and built together with his son Xerxes. While Persepolis was built as an 'intentional monument', it had already become an 'historic monument' during the Achaemenid period. It maintained its symbolic significance in the following centuries even after its destruction by Alexander of Macedonia in 330 BC. The purpose of building Persepolis was to establish a symbol and a common reference for the peoples of the Empire with the Achaemenid Dynasty, transmitting significant messages and values such as peace, stability, grandeur and praise for the dynastic figure of the king as the protector of values and fighting falsehood. While previous research on Achaemenid heritage has mainly been on archaeological and art-historical aspects of Persepolis, the present work focuses on the architecture and design of Persepolis. It is supported by studies in the fields of archaeology, history and art history, as well as by direct survey of the site. The morphological analysis of Persepolis, including the study of the proportions of the elevations, and the verification of a planning grid for the layout of the entire ensemble demonstrate the univocal will by Darius to plan Persepolis following a precise initial scheme. The study shows how the inscriptions, bas-reliefs and the innovative architectural language together express the symbolism, values and political messages of the Achaemenid Dynasty, exhibiting influence from different lands in a new architectural language and in the plan of the entire site.

One of the most visited sites in Italy, the Roman Forum is also one of the best-known wonders of the Roman world. Though a highpoint on the tourist route around Rome, for many visitors the site can be a baffling disappointment. Several of the monuments turn out to be nineteenth- or twentieth-century reconstructions, while the rubble and the holes made by archaeologists have an unclear relationship to the standing remains, and, to all but the most skilled Romanists, the Forum is an unfortunate mess.

David Watkin sheds completely new light on the Forum, examining the roles of the ancient remains while revealing what exactly the standing structures embody--including the rarely studied medieval, Renaissance, and Baroque churches, as well as the nearby monuments that have important histories of their own. Watkin asks the reader to look through the veneer of archaeology to rediscover the site as it was famous for centuries. This involves offering a remarkable and engaging new vision of a well-visited, if often misunderstood, wonder. It will be enjoyed by readers at home and serve as a guide in the Forum.

The Acropolis in Athens has captured the imaginations of readers, writers and travellers for centuries and every year draws crowds from all over the world. One of the world's most famous heritage sites, it has long been a national monument of Greece and a potent symbol of western civilization. But the Acropolis is typically viewed in the context of 5th-century-BC Athenian society, while the multiple local and international meanings and identities that the site shapes today are overlooked.
This book looks at the meaning of the Acropolis in contemporary Greece. How are global ideas adopted and adapted by local cultures? How do Greeks deal with the national and international features of their ancient classical heritage? How do the global cultural constructions surrounding the Acropolis become part of local practices which project Greek cultural difference?
The author examines this historic site as a powerful agent for negotiations of power on an international level. Drawing from a wide range of sources as well as original fieldwork, this handsomely illustrated book will make compelling reading for anyone interested in heritage issues, archaeology, anthropology material culture studies, and tourism.

The Acropolis in Athens has captured the imaginations of readers, writers and travellers for centuries and every year draws crowds from all over the world. One of the world's most famous heritage sites, it has long been a national monument of Greece and a potent symbol of western civilization. But the Acropolis is typically viewed in the context of 5th-century-BC Athenian society, while the multiple local and international meanings and identities that the site shapes today are overlooked.
This book looks at the meaning of the Acropolis in contemporary Greece. How are global ideas adopted and adapted by local cultures? How do Greeks deal with the national and international features of their ancient classical heritage? How do the global cultural constructions surrounding the Acropolis become part of local practices which project Greek cultural difference?
The author examines this historic site as a powerful agent for negotiations of power on an international level. Drawing from a wide range of sources as well as original fieldwork, this handsomely illustrated book will make compelling reading for anyone interested in heritage issues, archaeology, anthropology material culture studies, and tourism.

Monumental cares rethinks monument debates, site specificity and art activism in light of problems that strike us as monumental or overwhelming, such as war, migration and the climate crisis. The book shows how artists address these issues, from Chicago and Berlin to Oslo, Bucharest and Hong Kong, in media ranging from marble and glass to postcards, graffiti and re-enactment. A multidirectional theory of site does justice to specific places but also to how far-away audiences see them. What emerges is a new ethics of care in public art, combined with a passionate engagement with reality harking back to the realist aesthetics of the nineteenth century. Familiar questions can be answered anew: what to do with monuments, particularly when they are the products of terror and require removal, modification or recontextualisation? And can art address the monumental concerns of our present? -- .

"The behind-the-scenes story of the world's most famous palace, painting a picture of the way its residents truly lived and examining the palace's legacy, from French history through today
"

The story of Versailles is one of historical drama, under the last three kings of France's old regime, mixed with the high camp and glamour of the European courts, all in an iconic home for the French arts. The palace itself has been radically altered since 1789, and the court was long ago swept away. "Versailles" sets out to rediscover what is now a vanished world: a great center of power, seat of royal government, and, for thousands, a home both grand and squalid, bound by social codes almost incomprehensible to us today.""

Using eyewitness testimony as well as the latest historical research, Spawforth offers the first full account of Versailles in English in over thirty years. Blowing away the myths of Versailles, he analyses afresh the politics behind the Sun King's construction of the palace and shows how Versailles worked as the seat of a royal court. He probes the conventional picture of a "perpetual house party" of courtiers and gives full weight to the darker side: not just the mounting discomfort of the aging buildings but also the intrigue and status anxiety of its aristocrats. The book brings out clearly the fateful consequences for the French monarchy of its relocation to Versailles and also examines the changing place of Versailles in France's national identity since 1789.

Many books have told the stories of the royals and artists living in Versailles, but this is the first to turn its focus on the palace itself---from architecture and politics to scandal and restoration.

The ancient Egyptian tomb evolved rapidly over a period of about 2,500 years, from a simple backfilled pit to an enormous stone pyramid with complex security arrangements. Much of this development was arguably driven by the ever-present threat of tomb robbery, which compelled tomb builders to introduce special architectural measures to prevent it. However, until now most scholarly Egyptological discussions of tomb security have tended to be brief and usually included only as part of a larger work, the topic instead being the subject of lurid speculation and fantasy in novels, the popular press, and cinema. In Securing Eternity, Reg Clark traces in detail the development of the Egyptian royal and private tombs from the Predynastic Period to the early Fourth Dynasty. In doing so, he demonstrates that many of the familiar architectural elements of the Egyptian tomb that we take for granted today in fact originated from security features to protect the tomb, rather than from monumental or religious considerations. Richly illustrated with more than 150 photographs and tomb plans, this unique study will be of interest to students, specialists, and general readers alike.

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.

"The Tower is also present to the entire world... a universal symbol of Paris... from the Midwest to Australia, there is no journey to France which isn't made, somehow, in the Tower's name." - Roland Barthes When Gustave Eiffel completed his wrought iron tower on Paris's Champ de Mars for the World's Fair in 1889, he laid claim to the tallest structure in the world. Though the Chrysler Building would, 41 years later, scrape an even higher sky, the Eiffel Tower lost none of its lofty wonder: originally granted just a 20-year permit, the Tower became a permanent and mesmerizing fixture on the Parisian skyline. Commanding by day, twinkling by night, it has mesmerized Francophiles and lovers, writers, artists, and dreamers from all over the world, welcoming around seven million visitors every single year. Based on an original, limited edition folio by Gustave Eiffel himself, this fresh TASCHEN edition explores the concept and construction of this remarkable building. Step by step, one latticework layer after another, Eiffel's iconic design evolves over double-page plates, meticulous drawings, and on-site photographs, including new images and even more historical context. The result is at once a gem of vintage architecture and a unique insight into the idea behind an icon.

What are monuments for? and why are the inscriptions so often in Latin? What on earth is the point of communicating in a language so few understand? Peter Kruschwitz, a Classics scholar and specialist in the Latin language and its history uses these questions as his starting point in The Writing on the Wall: Decoding Reading's Latin Inscriptions. In it he reveals a fascinating range of texts chosen from the wealth of Reading's Latin inscriptions. Starting from the statue of King Edward VII outside the station, the reader embarks upon a journey of discovery through the remarkable and chequered history of this town, uncovering some of Reading's hidden treasures and recalling the individuals whoa have made the town what it is today. Whom or what should we remember? And why? Knowledge, true or false, that passes on from one generation to another, forms part of a tradition, of a legacy. We need to understand that legacy in order to preserve and appreciate the rich heritage we have been left.

Monumental cares rethinks monument debates, site specificity and art activism in light of problems that strike us as monumental or overwhelming, such as war, migration and the climate crisis. The book shows how artists address these issues, from Chicago and Berlin to Oslo, Bucharest and Hong Kong, in media ranging from marble and glass to postcards, graffiti and re-enactment. A multidirectional theory of site does justice to specific places but also to how far-away audiences see them. What emerges is a new ethics of care in public art, combined with a passionate engagement with reality harking back to the realist aesthetics of the nineteenth century. Familiar questions can be answered anew: what to do with monuments, particularly when they are the products of terror and require removal, modification or recontextualisation? And can art address the monumental concerns of our present? -- .