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.

A feast of extraordinary theories and personalities centred around the mysterious standing stones of antiquity. John Michell tells the incredible story of the amazing reactions, ancient and modern, to these prehistoric relics, whether astronomical, legendary, mystical or visionary.

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.

Within the pages of this book you will see how cement structures, intended for barriers, are transformed into pictorial walls that identify military units and honor service members who gave their lives for freedom in the Gulf War. They provide an esprit de corps for their unit members who are forward deployed from their home base, post, or camp. The unit colors and insignias displayed on these walls become the thoughts and memories of the men and women who have fought, and for those who have died for freedom. Memorial walls proclaim in silence the ultimate sacrifice of service. This artwork represents Coalition Soldiers, Sailors, Airmen, Marines, Coast Guard, and D.O.D. Civilians who answered the call of freedom and deployed far from home and family. When these walls decay and are turned to rubble, this book will become a lasting legacy to those who have served in Kuwait and Iraq.

Published in association with English Heritage, this fact-filled gift book is the perfect tribute to this iconic historical landmark, the best-known prehistoric monument in the world. With a history spanning 4,500 years, the mystery that surrounds Stonehenge is still as forceful as ever. Many different theories have been put forward about who built it, when and why. Was it a place for studying the movements of the sun and moon? Was it a sacred meeting place? Was it a place of healing? The Neolithic stones attract over a million visitors a year and whatever their meaning for people today, Stonehenge is undoubtedly a spiritual and uplifting ancient landscape. In this small book full of wonders devoted to the enigmatic stones, you'll find all the facts and figures you need to know: when the henge was built and why, who built it and why it was built where it was. You'll learn about life in Neolithic times, what the Romans did for Stonehenge, famous visitors over the centuries - both real and fictional, along with tales of the stones in popular culture - from psychedelic rock music to feature films.

The first full-scale study of the medieval funerary monuments of South Wales. South Wales is an area blessed with an eclectic, but largely unknown, monumental heritage, ranging from plain cross slabs to richly carved effigial monuments on canopied tomb-chests. As a group, these monuments closely reflect theturbulent history of the southern march of Wales, its close links to the West Country and its differences from the 'native Wales' of the north-west. As individuals, they offer fascinating insights into the spiritual and secular concerns of the area's culturally diverse elites. Church Monuments in South Wales is the first full-scale study of the medieval funerary monuments of this region offering a much-needed Celtic contribution to the growingcorpus of literature on the monumental culture of late-medieval Europe, which for the British Isles has been hitherto dominated by English studies. It focuses on the social groups who commissioned and were commemorated by funerary monuments and how this distinctive memorial culture reflected their shifting fortunes, tastes and pre-occupations at a time of great social change. Rhianydd Biebrach has taught medieval history at the universities ofSwansea, Cardiff and South Wales and edited the journal Church Monuments. She currently works for Amgueddfa Cymru-National Museum Wales.

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.

During the building of the Aswan High Dam between 1960 and 1970, the Nubian Rescue Campaign, operating under the auspices of UNESCO, was an international effort to rescue those of the Nubian monuments which would be submerged once the dam was completed. The most famous monument to be thus rescued and reconstructed is the Great Temple of Ramesses II at Abu Simbel, but altogther four areas in Nubia around Lake Nasser now contain ancient monuments that were reconstructed and moved from their original positions: Abu Simbel, New Amada, New Wadi al-Sebua, and New Kalabsha. These impressive sites are becoming increasingly popular with international visitors. Dr. Jocelyn Gohary opens this compact and attractive guide, the first of its kind, with an introduction to the history and culture of Nubia during the pharaonic period. She then describes each monument in detail, providing a simple plan for each and highlighting its history, religion, and art. Also included are brief descriptions of the four temples that were transported and re-erected abroad -- the most notable being the Temple of Dendur in the Metropolitan Museum in New York.

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.

How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculpture In the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation. Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Smith, the austere structures of Donald Judd, and the desolate yet picturesque earthworks of Robert Smithson. Transforming how we understand this crucial moment in American art, he traces the intersections of postwar sculptural practice with cybernetic theory, science-fiction cinema and literature, and the political debates surrounding nuclear warfare. Slifkin identifies previously unrecognized affinities of the sculpture of the 1940s and 1950s with the minimalism and land art of the 1960s and 1970s, and acknowledges the important contributions of postwar artists who have been marginalized until now, such as Raoul Hague, Peter Grippe, and Robert Mallary. Strikingly illustrated throughout, The New Monuments and the End of Man spans the decades from Hiroshima to the Fall of Saigon, when the atomic bomb cast its shadow over American art.

This innovative study of memorial architecture investigates how design can translate memories of human loss into tangible structures, creating spaces for remembering. Using approaches from history, psychology, anthropology and sociology, Sabina Tanovic explores purposes behind creating contemporary memorials in a given location, their translation into architectural concepts, their materialisation in the face of social and political challenges, and their influence on the transmission of memory. Covering the period from the First World War to the present, she looks at memorials such as the Holocaust museums in Mechelen and Drancy, as well as memorials for the victims of terrorist attacks, to unravel the private and public role of memorial architecture and the possibilities of architecture as a form of agency in remembering and dealing with a difficult past. The result is a distinctive contribution to the literature on history and memory, and on architecture as a link to the past.

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.

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 first survey of the many redesigned and imitation historical landmarks and objects that dot the globe "John Darlington shows . . . it is not just written history that is malleable; it is also history on the ground, heritage in brick and stone, wood and metal."-Simon Jenkins, Times Literary Supplement What happens when the past-or, more specifically, a piece of cultural heritage-is fabricated? From 50 replica Eiffel Towers located around the world to Saddam Hussein's reconstructions of ancient cities, examples of forged heritage are widespread. Some are easy to dismiss as blatant frauds (the Piltdown Man), while others adhere to honest copying or respectful homage (the Parthenon in Nashville, Tennessee). This compelling book examines copies of historic buildings, faux archaeological sites, and other false artifacts, using them to explore the ethics and consequences of reconstructing the past; it also tackles the issues involved with faithful, "above-board" re-creations of ancient landmarks. John Darlington probes questions of historical authenticity, seeking the lessons that lurk when history is twisted to tell an untrue story. Amplified by stunning images, the narrative underscores how the issue of duplicating heritage is both intriguing and incredibly complex, especially in the twenty-first century-as communication and technology flourish, so too do our opportunities to be deceived.

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.

In the highly politicized memory space of postwar South Korea, many families have been deprived of their right to mourn loved ones lost in the Korean War. Only since the 1990s has the government begun to acknowledge the atrocities committed by South Korean and American troops that resulted in large numbers of civilian casualties. The Truth and Reconciliation Committee, new laws honoring victims, and construction of monuments and memorials have finally opened public spaces for mourning. In Right to Mourn, Suhi Choi explores this new context of remembering in which memories that have long been private are brought into official sites. As the generation that once carried these memories fades away, Choi poses an increasingly critical question: can a memorial communicate trauma and facilitate mourning? Through careful examination of recently built Korean War memorials (the Jeju April 3 Peace Park, the Memorial for the Gurye Victims of Yosun Killings, and the No Gun Ri Peace Park), Right to Mourn provokes readers to look at the nearly seven-decade-old war within the most updated context, and shows how suppressed trauma manifests at the transient interactions among bodies, objects, and rituals at the sites of these memorials.

A history of U.S. Civil War monuments that shows how they distort history and perpetuate white supremacy The United States began as a slave society, holding millions of Africans and their descendants in bondage, and remained so until a civil war took the lives of a half million soldiers, some once slaves themselves. Standing Soldiers, Kneeling Slaves explores how the history of slavery and its violent end was told in public spaces-specifically in the sculptural monuments that came to dominate streets, parks, and town squares in nineteenth-century America. Looking at monuments built and unbuilt, Kirk Savage shows how the greatest era of monument building in American history took place amid struggles over race, gender, and collective memory. Standing Soldiers, Kneeling Slaves probes a host of fascinating questions and remains the only sustained investigation of post-Civil War monument building as a process of national and racial definition. Featuring a new preface by the author that reflects on recent events surrounding the meaning of these monuments, and new photography and illustrations throughout, this new and expanded edition reveals how monuments exposed the myth of a "united" people, and have only become more controversial with the passage of time.