This absorbing book tells the story of Empress Eugenie (1826-1920), the wife of Napoleon III and the last Empress-Consort of France. Today she is remembered for her physical beauty, for her influence as a taste maker and for her glittering contribution to the second imperial court - but she outlived the Second Empire by half a century and lived in exile in England. The Empress bought the Farnborough Hill estate in 1880, following a decade of personal tragedy: the collapse of the Second Empire (1852-70), the death of Napoleon III, and the loss of her only child. The death of the Prince Imperial in 1879, aged 23, ended all hope of a Bonapartist restoration. With the imperial succession removed to another branch of the family, Eugenie resolved to create a permanent monument to her husband and son. This was her primary reason for moving to Farnborough. This book describes the little-known assemblage of art and architecture that she created there in the 1880s. Geraghty analyses the principal buildings on the imperial estate: Farnborough Hill itself, which was extensively remodelled for the court-in-exile that Eugenie maintained there from 1880 to 1920; and St Michael's Abbey, the spectacular domed mausoleum that the Empress built on an adjacent hill in 1883-88. These projects were entrusted to a French architect, Hippolyte Destailleur (1822-93), whose erudite designs situated the history of the Second Empire within the longer history of French architecture and design. Geraghty also provides the fi rst detailed account of the lost interiors of Farnborough Hill. He traces the origins of the collection back to the Second Empire, and - drawing upon historic photos, inventories, and sale catalogues - he shows how the collection was displayed in the principal rooms of the house. Primarily dynastic in purpose, the display included a major sequence of Bonaparte family portraits, including works by David, Gerard, Winterhalter, and Carpeaux. Eugenie also had an important collection of decorative arts, including Gobelins tapestries, Sevres porcelain, and royal French furniture. Composed by the Empress herself, the display at Farnborough Hill was the last manifestation of the 'Louis XVI-Imperatrice' mode of interior decoration that she had popularised in the 1850s. It was also, in its juxtaposition of modern and historic pieces, the final expression of the nouvelle sociabilite of the second imperial court. Finally, the book describes the breakup of the estate in 1927, when the house was sold to a convent school and the collection was dispersed at auction. Today, only the Mausoleum functions as Eugenie originally envisaged. Geraghty, however, recovers the totality of Eugenie's vision for Farnborough. In so doing, he describes how the Napoleonic ideal, for one final time, was made visible through art, architecture, and collecting.

A jewel of the University of Oxford, the Sheldonian Theatre stands out among the groundbreaking designs by the great British architect Sir Christopher Wren. Published to coincide with the 350th anniversary of the building's construction, this meticulously researched book takes a fresh look at the historical influences that shaped the Sheldonian's development, including the Restoration of the English monarchy and the university's commitment to episcopal religion. The book explains just how novel Wren's design was in its day, in part because the academic theater was a building type without precedent in England, and in part because the Sheldonian's classical style stood apart in its university context. The author also points to a shift in the guiding motivation behind the architecture at Oxford: from a tradition that largely perpetuated medieval forms to one that conceived classical architecture in relation to late Renaissance learning. Newly commissioned photographs showcase the theater's recently restored interior. Published for the Paul Mellon Centre for Studies in British Art