"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? -- .

The first ever spomenik guidebook, with over 75 examples alongside map references and information on why they exist and who built them. Spomenik' the Serbo-Croat/Slovenian word for 'monument' - refers to a series of memorials built in Tito's Republic of Yugoslavia from the 1960s-1990s, marking the horror of the occupation and the defeat of Axis forces during World War II. Hundreds were built across the country, from coastal resorts to remote mountains. Through these imaginative forms of concrete and steel, a classless, forward-looking, socialist society, free of ethnic tensions, was envisaged. Instead of looking to the ideologically aligned Soviet Union for artistic inspiration, Tito turned to the west and works of abstract expressionism and minimalism. As a result, Yugoslavia was able to develop its own distinct identity through these brutal monuments, which were used as political tools to articulate Tito's personal vision of a new tomorrow. Today, following the breakup of the country and the subsequent Yugoslav Wars of the 1990s, some have been destroyed or abandoned. Many have suffered the consequences of ethnic tensions - once viewed as symbols of hope they are now the focus of resentment and anger. This book brings together the largest collection of spomeniks published to date. Each has been extensively photographed and researched by the author, to make this book the most comprehensive survey of this obscure and fascinating architectural phenomenon. A fold-out map on the reverse of the dust jacket shows the exact location of each spomenik using GPS coordinates.

English Church Monuments in the Middle Ages offers a comprehensive survey of English church monuments from the pre-Conquest period to the early sixteenth century. Ground-breaking in its treatment of the subject in an historical context, it explores medieval monuments both in terms of their social meaning and the role that they played in the religious strategies of the commemorated.
Attention is given to the production of monuments, the pattern of their geographical distribution, the evolution of monument types, and the role of design in communicating the monument's message. A major theme is the self-representation of the commemorated as reflected in the main classes of effigy-those of the clergy, the knights and esquires, and the lesser landowner or burgess class, while the effigial monuments of women are examined from the perspective of the construction of gender.
While seeking to use monuments as windows onto the experiences and lives of the commemorated, it also exploits documentary sources to show what they can tell us about the influences that helped shape the monuments. An innovative chapter looks at the construction of identity in inscriptions, showing how the liturgical role of the monument limited the opportunities for expressions of self. Nigel Saul seeks to place monuments at the very centre of medieval studies, highlighting their importance not only for the history of sculpture and design, but also for social and religious history more generally.

Here lyes Buried the Body of Martha Peronneau...Departed this life December ye 14th 1746 aged 13 Years. Such an inscription was typical of 18th century grave markers in Charleston, South Carolina. Many epitaphs went on to reveal much more about the deceased: personality, religious beliefs, career accomplishments and social position. Attention to social matters was a natural part of life in Charleston, where descendants of the city's 17th century British founders sought to recreate the class-conscious culture of aristocratic England. The merging of this culture with influences from French Huguenots, German Lutherans, Scottish Presbyterians and Spanish Jews led to funeral practices unique in the American colonies. Focusing on pieces created between 1695 and 1802, this volume offers a detailed examination of the tombstones and grave markers from 18th century Charleston. It not discusses only the general trends and the symbolism of the period's gravestone art - such as skulls, portraits, ascending souls, and stylized vegetation - but also examines specific instances of these popular motifs. Tombstones from Charleston's oldest and most significant churches, including the Circular Congregational Church, St. Phillip's Anglican Church, the French Huguenot Church and the First (Scots) Presbyterian Church, are explored in detail. The work looks at how Charleston gravestones differed from funerary art elsewhere in the American colonies, and reveals them to be some of the earliest examples of American sculpture. A guide to colonial gravestone symbols and a glossary of relevant Latin terms are also included.

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.

In medieval Edinburgh the dead were buried in the city's churchyards, with internment in the church reserved for the wealthy, but in the post-Reformation years both rich and poor were buried in the grounds of the churches. By the nineteenth century the city centre churchyards were overcrowded and new outer town cemeteries created, which were no longer controlled by the town but by independent cemetery companies. In this book local historian Charlotte Golledge takes readers on a tour through the history of Edinburgh's burial grounds. She covers the individual history of the graveyards of St Cuthbert's, Greyfriars Kirkyard, Canongate Kirkyard, Old Calton Burial Ground, Buccleuch Parish Chapel Yard, St John's Churchyard, New Calton Burial Ground, the Jewish cemeteries, East Preston Burial Ground, Warriston Cemetery, Dalry Cemetery, Dean Cemetery, Rosebank Cemetery, The Grange and Piershill Cemetery. The story includes the notable events, burials and grave markers at each burial ground as well as the changes in how the people of Edinburgh buried their dead and mourned their loved ones over the years as the new profession of the undertakers took over the role of the church for the new cemeteries. She also unearths evidence of the lost burial grounds of Edinburgh that have been moved, built over or rediscovered. This fascinating portrait of life and death in Edinburgh over the centuries will appeal to both residents and visitors to the Scottish capital.

This book is the first major study of the themes which were used in the decoration of sarcophagi made for children in Rome and Ostia from the late first to early fourth century AD. It provides a selective catalogue of examples of each type, followed by discussion of how these fit into the general pattern. This allows certain themes to be identified which are virtually exclusive to children's sarcophagi. The second part of the book discusses the choice of subjects and how these reflect the standing of children in Roman society: to what extent, for instance, was childhood shown as a differentiated stage in life, or was it dominated by aspirations of the adult world? How is the death of a child treated in art? There are separate sections on the role of workshops and customers in the development of child specific imagery, and on material from the early Christian era, providing some interesting distinctions resulting from differing attitudes towards children and beliefs about life and death.

This book introduces the reader to the statues, busts, and memorial plaques of scientists, explorers, medicine men and women, and inventors found in the bustling capital of the United Kingdom, London. The former capital of the British Empire, London remains a world center of trade, navigation, finance and many more. It is also a hub of science, the seat of the Royal Society, Royal Institution, Science Museum, British Museum, Natural History Museum, and of great institutions of higher education. The historical figures depicted in these memorials are responsible for creating great institutions, milestone discoveries, contributions to the scientific and technological revolutions, fighting against epidemics, advancing medicine, and contributing to the progress seen during the past four hundred years. This is a guidebook for the visitor and the Londoner alike. It presents memorials that everybody is familiar with and others that the authors discovered during their years of painstaking research. The 750 images and the text, interlarded with anecdotes, is both informative and entertaining.

Jenny Edkins explores how we remember traumatic events such as wars, famines, genocides and terrorism. She argues that remembrance does not have to be nationalistic but can instead challenge the political systems that produced the violence. Using examples from the World Wars, Vietnam, the Holocaust, Kosovo and September 11th, Edkins analyzes the practices of memory rituals through memorials, museums and remembrance ceremonies. This wide-ranging study embraces literature, history, politics and international relations, in an original contribution to the study of memory.

The role of cultural memory in American identity Terrorism in American Memory argues that the terrorist attacks of 9/11 and all that followed in its wake were the primary force shaping United States politics and culture in the post-9/11 era. Marita Sturken maintains that during the past two decades, when the country was subjected to terrorist attacks and promulgated ongoing wars of aggression, we have veered into increasingly polarized factions and been extraordinarily preoccupied with memorialization and the politics of memory. The post-9/11 era began with a hunger for memorialization and it ended with massive protests over police brutality that demanded the destruction of historical monuments honoring racist historical figures. Sturken argues that memory is both the battleground and the site for negotiations of national identity because it is a field through which the past is experienced in the present. The paradox of these last two decades is that it gave rise to an era of intensely nationalistic politics in response to global terrorism at the same time that it released the containment of the ghosts of terrorism embedded within US history. And within that disruption, new stories emerged, new memories were unearthed, and the story of the nation is being rewritten. For these reasons, this book argues that the post-9/11 era has come to an end, and we are now in a new still undefined era with new priorities and national demands. An era preoccupied with memory thus begins with the memorial projects of 9/11 and ends with the radical intervention of the National Memorial for Peace and Justice, informally known as the Lynching Memorial, in Montgomery, Alabama, a project that, unlike the nationalistic 9/11 Memorial and Museum in New York, dramatically rewrites the national script of American history. Woven within analyses of memorialization, memorials, memory museums, art projects on memory, and architectural projects is a discussion about design and architecture, the increased creation of memorials as experiences, and the role of architecture as national symbolism and renewal. Terrorism in American Memory sheds light on the struggles over who is memorialized, who is forgotten, and what that politics of memory reveals about the United States as an imaginary and a nation.

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.

This is the seventeenth volume in the series the Public Sculpture of Britain, part of the PMSA National Recording Project, which will eventually cover the whole of the country. The introduction considers the ways in which the rural and urban landscapes of Sussex, from market town, rural village and country estate, to city, major seaside resort and new town development, are reflected in the county's public sculptures. The historical period covered ranges from the allegedly pre-historic (the Long Man of Wilmington) to the present day (the most recent entry is Maggi Hambling's The Resurrection Spirit, 2013). There is a high proportion of nineteenth- century sculptures, including significant works by John Flaxman, Michael Rysbrack, Frances Chantrey and John Edward Carew; the 'statuemania' that characterised the last part of this century is well illustrated by Thomas Brock's imposing statue celebrating Queen Victoria's Diamond Jubilee on Hove seafront. The achievements of major twentieth and twenty-first century sculptors are represented by Elisabeth Frink and William Pye among others. Many works from this period are the result of public art initiatives by local councils, often as part of more wide-ranging regeneration schemes for Sussex towns. The patronage of health authorities, influenced by new thinking about the calming and healing qualities of art in public places has also benefitted both local sculptors and those based elsewhere in the country. Each individual work is catalogued, with precise details of location, condition and history, including commissioning, opening ceremonies and re-siting. Most are individually illustrated in black and white. Biographies of local and less well-known sculptors, together with a selected bibliography are included at the end of the volume.

This is a book for people who are interested in statues . . . and for people who aren't. It explores those immortalised in marble and bronze - and what the rest of us think about them. As Roger Lytollis travels Britain he encounters a man at Liverpool's Beatles statue convinced that Rod Stewart was in the Fab Four. In Edinburgh he walks into a row over Greyfriars Bobby's nose and in Glasgow learns why the Duke of Wellington wears a traffic cone on his head. London brings a controversial nude statue and some hard truths about racism. Elsewhere, Roger sees people dancing with Eric Morecambe, finds a statue being the backdrop to a marriage proposal and, everywhere he goes, pigeons. Always pigeons . . . On a Pedestal is the first book to examine public statues around the nation. It looks at their emergence into our culture wars; the trend for portraying musicians, sports stars and comedians rather than monarchs, politicians and generals; the amazing tales of many of those commemorated on our streets. It also features interviews with sculptors, including Sir Antony Gormley, telling the stories behind some of our most popular modern statues. Part history book, part travelogue, On a Pedestal brings statues to life. Informative and entertaining, it's a book that - ultimately - is more about blood than bronze.

The streets and public spaces of London are rich with statues and monuments commemorating the city's great figures and events - from Nelson's Column in Trafalgar Square and Sir Christopher Wren's Great Fire Monument to the charming Peter Pan statue in Kensington Gardens. Executed in stone, bronze and a range of other materials, London's statues and monuments include work by some of the world's greatest sculptors, such as Edwin Lutyens and Sir Christopher Wren. This newly revised book takes account of the many new statues erected between 2012 and 2017, including those of Mary Seacole at St Thomas' Hospital and Amy Winehouse in Camden, and is a fully illustrated guide to the works and their stories: sometimes surprising and occasionally controversial, but always fascinating.

The book combines photography and written text to analyse the role of memorials and commemoration sites in the construction of antagonistic nationalism. Taking Cypriot memorializations as a case study, the book shows how these memorials often support, but sometimes also undermine, the discursive-material assemblage of nationalism.