This new edition (the thirteenth) provides a comprehensive description of Sir John Soane's Museum in London's Lincoln's Inn Fields and reflects recent changes to the Museum including the immaculate recreation of the Private Apartments, the Lobby off the Breakfast Room, and the Catacombs, all of which were opened after the previous edition went to press. It will serve both as a souvenir and as the most accurate account of Sir John Soane's remarkable creation.

In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector s items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.

"Europe and the World Beyond" focuses geographically on peoples of South America and the Mediterranean as well as Africa but conceptually it emphasizes the many ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life, especially in cities and ports engaged in slave trade.

"The Eighteenth Century "features a particularly rich collection of images of Africans representing slavery s apogee and the beginnings of abolition. Old visual tropes of a master with adoring black slave gave way to depictions of Africans as victims and individuals, while at the same time the intellectual foundations of scientific racism were established.

Jacopo Sansovino was the leading sculptor and architect of sixteenth-century Venice. His position and abilities enabled him to reshape Venetian sculpture, and his influence remained dominant long after his death. This beautiful book by Bruce Boucher is the first study of Sansovino's sculpture in over fifty years and the first ever to present a catalogue raisonne of his works. Boucher begins by discussing Sansovino's career chronologically and thematically. He describes how the sculptor was trained in his native Florence and in Rome, how he established himself as a serious rival to Michelangelo, and how the Sack of Rome in 1527 forced him to flee to Venice where he enjoyed a second, even more successful career. In Venice, says Boucher, Sansovino was taken up by a small band of influential patrons, became architect of the Doge's chapel, and received important commissions from both the state and individuals. Boucher discusses in detail commissions such as the Loggetta and the colossal Mars and Neptune for the Doge's Palace, critically assesses Sansovino's artistic style, analyzes the relationship between Sansovino's sculpture and sixteenth-century paintings, describes Sansovino's workshop and the division of labor in his major commissions, and explores Sansovino's influence during his life and after his death. The text and catalogue raisonne are complemented by an appendix of documents, some of which have never been published before, that add greatly to our knowledge of the sculptor in his social and artistic context. The resulting book is a superb visual and analytical record of the work and career of one of the greatest sculptors of the High Renaissance.