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Somewhat late in the day, Tate Britain has got around to an exhibition about the British Empire and its legacies.
It is 50 years since Edward Thompson introduced historians to the phrase, the idea, the reality of 'the condescension of posterity'.(1) And while Thompson restricted his lens to the poor and forgotten of late 18th- and early 19th-century Britain, for a number of years a small number of historians, John Barrell notable among them (2
As Jan Rüger suggested in his 2011 review article ‘Revisiting the Anglo-German antagonism’, since 2000 almost every aspect of the history of Anglo-German relations has been reassessed and re-examined as a story not of increasing and inevitable antagonism, but of a much more complex process.
Although photography was introduced to India soon after its 1839 European invention, it was not until 1857 that the new technology proliferated in the subcontinent. In Zahid R. Chaudhary’s heavily illustrated study, focused on colonial photographic practices following the Sepoy Revolt by Indian recruits (1857–8), this proliferation is central.
One can hardly imagine that several decades ago the concept of spolia did not yet indicate a field of widespread research in the history of architecture, art and archaeology. The title of this volume with 12 essays and a fascinating introduction, points to this change in research focus, since the value of reuse of objects and materials has not always been recognized.
In his early 20th-century anti-clerical novel La Catedral, Vicente Blasco Ibáñez follows his protagonist into Toledo Cathedral’s Mozarabic Chapel for the daily celebration of what Richard Ford, in the 19th century, called ‘this peculiar ritual’: ‘As Gabriel listened to the monotonous singing of the Mozarabic priests he remembered the quarrels during the time of Alfonso VI between the
Simon Goldhill throws down the gauntlet to the entire field of classical reception studies in his new book Victorian Culture and Classical Antiquity. This flourishing sub-discipline of Classics has, in the last two decades in particular, explored a variety of theoretical and methodological approaches.
It is not surprising that a professor of religious studies reading Carlo Pietrangeli’s wonderfully informative book, The Vatican Museums: Five Centuries of History (1), would become curious about how the Vatican Museums came to be separated from the Vatican Library, and in particular about how a Museo Profano could have been created within the thoroughly relig
Playing on the title of Robert Hughes's popular history of modernist art, The Shock of the New (1980), Larry Norman recreates that moment in 17th- and 18th-century France when the classical literary texts that Renaissance humanists had treated as timeless vehicles of cultural value, and so put at the core of European education, came to many to seem shockingly ‘primitive,’ even ‘barbari
At the start of his brilliant essay ‘Venice’, first published in 1882, Henry James famously commented that there ‘was nothing new’ to be said about the city. An equally famous quotation is to be found in the first edition of Murray’s Handbook for travellers in Northern Italy published forty years earlier: ‘no one enters Venice a stranger.’ (1842, p.