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List of papers contained in v. 1-9 is given in National Academy of Sciences. Proceedings... Index... 1915-24, 1926.
Reprint of the original, first published in 1877.
Prior to the nineteenth century, few Americans knew anything more of Egyptian culture than what could be gained from studying the biblical Exodus. Napoleon’s invasion of Egypt at the end of the eighteenth century, however, initiated a cultural breakthrough for Americans as representations of Egyptian culture flooded western museums and publications, sparking a growing interest in all things Egyptian that was coined Egyptomania. As Egyptomania swept over the West, a relatively young America began assimilating Egyptian culture into its own national identity, creating a hybrid national heritage that would vastly affect the memorial landscape of the nineteenth and twentieth centuries. Far more than a study of Egyptian revivalism, this book examines the Egyptian style of commemoration from the rural cemetery to national obelisks to the Sphinx at Mount Auburn Cemetery. Giguere argues that Americans adopted Egyptian forms of commemoration as readily as other neoclassical styles such as Greek revivalism, noting that the American landscape is littered with monuments that define the Egyptian style’s importance to American national identity. Of particular interest is perhaps America’s greatest commemorative obelisk: the Washington Monument. Standing at 555 feet high and constructed entirely of stone—making it the tallest obelisk in the world—the Washington Monument represents the pinnacle of Egyptian architecture’s influence on America’s desire to memorialize its national heroes by employing monumental forms associated with solidity and timelessness. Construction on the monument began in 1848, but controversy over its design, which at one point included a Greek colonnade surrounding the obelisk, and the American Civil War halted construction until 1877. Interestingly, Americans saw the completion of the Washington Monument after the Civil War as a mending of the nation itself, melding Egyptian commemoration with the reconstruction of America. As the twentieth century saw the rise of additional commemorative obelisks, the Egyptian Revival became ensconced in American national identity. Egyptian-style architecture has been used as a form of commemoration in memorials for World War I and II, the civil rights movement, and even as recently as the 9/11 remembrances. Giguere places the Egyptian style in a historical context that demonstrates how Americans actively sought to forge a national identity reminiscent of Egyptian culture that has endured to the present day.
The colorful story behind one of America's greatest monuments and of the ancient obelisks of Egypt, now scattered around the world. Conceived soon after the American Revolution ended, the great monument to George Washington was not finally completed until almost a century later; the great obelisk was finished in 1884, and remains the tallest stone structure in the world at 555 feet. The story behind its construction is a largely untold and intriguing piece of American history, which acclaimed historian John Steele Gordon relates with verve, connecting it to the colorful saga of the ancient obelisks of Egypt. Nobody knows how many obelisks were crafted in ancient Egypt, or even exactly how they were created and erected since they are made out of hard granite and few known tools of the time were strong enough to work granite. Generally placed in pairs at the entrances to temples, they have in modern times been ingeniously transported around the world to Istanbul, Paris, London, New York, and many other locations. Their stories illuminate that of the Washington Monument, once again open to the public following earthquake damage, and offer a new appreciation for perhaps the most iconic memorial in the country.
In this groundbreaking anthology, twenty-two artists, architects, historians, critics, curators, and philosophers explore the role of public art in creating a national identity, contending that each work can only be understood by analyzing the context in which it is commissioned, built, and received. They emphasize the historical continuum between traditional works such as Mount Rushmore, the Washington Monument, and the New York Public Library lions, in addition to contemporary memorials such as the Vietnam Veterans Memorial and the Names Project AIDS Quilt. They discuss the influence of patronage on form and content, isolate the factors that precipitate controversy, and show how public art overtly and covertly conveys civic values and national culture. Complete with an updated introduction, Critical Issues in Public Art shows how monuments, murals, memorials, and sculptures in public places are complex cultural achievements that must speak to increasingly diverse groups.