Poetry. Translated by Julia Guez and Samantha Zighelboim. In Luis Chaves's EQUESTRIAN MONUMENTS, the stately figure of a former president, Leon CortÈs, is counterbalanced by a cast of mock-heroic or non-normative foils: a cross-dresser, a singleton, homunculus, thief, and gardener. Dialogue from The Exorcist coexists alongside lines from the Latin Kyrie, Rex, while sweeping statements about entire generations, continents, and genres find a basis in the most intimate details of home-life. The intersections are uncanny, sometimes hilarious, often sad and unsettling. Chaves's hyper-caffeinated imagination renders each image in this remarkable collection in a way that orients the reader and provides a moment's stasis and clarity before "the waves come and the waves erase it."

The striking engravings of Julien-David Le Roy's The Ruins of the Most Beautiful Monuments of Greece (1758) first revealed the architectural wonders of ancient Athens to the West. Part architectural theory, part archaeological report, part travelogue, the greatly expanded edition of 1770 -- here translated into English -- is entirely original in its understanding of the spirit of classical Greek architecture and in its influence on the direction of contemporary architectural creation. Book jacket.

This welcome volume examines the use and meaning of equestrian statues in Archaic Greece, relying not only on a full catalog of the sculptures but also on the rich comparative material in the literary and archaeological remains. Previous works have either crowded this important material into a large study of all equestrian statues everywhere or else have examined only those few that belong to the Athenian Acropolis. It has therefore been difficult to characterize the style and distribution of this sculpture, let alone examine them within their cultural milieu. Mary Ann Eaverly carries out precisely these important tasks. The first half of the volume identifies the unique characteristics of equestrian statues as a type apart from other Archaic sculpture. The author places the sculptures within their historical and cultural context and considers critical factors such as cultic activity, aristocratic symbolism, and the influence of Peisistratos. The second half of the volume is a catalog that discusses all the extant pieces individually. Archaic Greek Equestrian Sculpture will be of interest to students and scholars of Greek sculpture, the Greek artistic heritage, and the complex history of Archaic Greece.

Traces the history of the National Mall in Washington, D.C., discussing its plan and structures, and considering how the concept of memorials and memorial space has changed since the nineteenth century.

The study of Roman imperial statues has made remarkable strides in the last two decades. Yet the field's understandable focus on extant portraits has made it difficult to generalize accurately. Most notably, bronze was usually the material of choice, but its high scrap value meant that such statues were inevitably melted down, so that almost all surviving statues are of stone. By examining the much larger and more representative body of statue bases, Jakob Munk Hojte is here able to situate the statues themselves in context. This volume includes a catalogue of 2300 known statue bases from more than 800 sites within and without the Roman Empire. Moreover, since it covers a period of 250 years, it allows for the first time consistent geographic, chronological and commemorative patterns to emerge. Hojte finds among other things that imperial portrait statues are connected chiefly with urban centres; that they were raised continuously during a given reign, with a higher concentration a couple years after accession; that a primary purpose was often to advertise a donor's merits; and that they increased sixfold in frequency from Augustus to Hadrian, an increase attributable to community erections. Jakob Munk Hojte is post.doc. and research assistant at the Danish National Research Foundations Centre for Black Sea Studies.

This sweeping new assessment of Civil War monuments unveiled in the United States between the 1860s and 1930s argues that they were pivotal to a national embrace of military values. Americans' wariness of standing armies limited construction of war memorials in the early republic, Thomas J. Brown explains, and continued to influence commemoration after the Civil War. As large cities and small towns across the North and South installed an astonishing range of statues, memorial halls, and other sculptural and architectural tributes to Civil War heroes, communities debated the relationship of military service to civilian life through fund-raising campaigns, artistic designs, oratory, and ceremonial practices. Brown shows that distrust of standing armies gave way to broader enthusiasm for soldiers in the Gilded Age. Some important projects challenged the trend, but many Civil War monuments proposed new norms of discipline and vigor that lifted veterans to a favored political status and modeled racial and class hierarchies. A half century of Civil War commemoration reshaped remembrance of the American Revolution and guided American responses to World War I. Brown provides the most comprehensive overview of the American war memorial as a cultural form and reframes the national debate over Civil War monuments that remain potent presences on the civic landscape.

THE SUNDAY TIMES HISTORY BOOK OF THE YEAR 2017 'A beautiful and thoughtful exploration of the role of the horse in creating our world' James Rebanks 'Scintillating, exhilarating ... you have never read a book like it ... a new way of considering history' Observer The relationship between horses and humans is an ancient, profound and complex one. For millennia horses provided the strength and speed that humans lacked. How we travelled, farmed and fought was dictated by the needs of this extraordinary animal. And then, suddenly, in the 20th century the links were broken and the millions of horses that shared our existence almost vanished, eking out a marginal existence on race-tracks and pony clubs. Farewell to the Horse is an engaging, brilliantly written and moving discussion of what horses once meant to us. Cities, farmland, entire industries were once shaped as much by the needs of horses as humans. The intervention of horses was fundamental in countless historical events. They were sculpted, painted, cherished, admired; they were thrashed, abused and exposed to terrible danger. From the Roman Empire to the Napoleonic Empire every world-conqueror needed to be shown on a horse. Tolstoy once reckoned that he had cumulatively spent some nine years of his life on horseback. Ulrich Raulff's book, a bestseller in Germany, is a superb monument to the endlessly various creature who has so often shared and shaped our fate.