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Hagia Sophia, what the Byzantines called the Great Church, has had many lives: imperial monument built by Justinian in 532–37 immediately following and in response to serious urban rioting; cathedral of the capital of the Byzantine Empire, principal setting for religious and political ceremonies to the end of the empire; Jami or chief mosque of the capital of the Ottoman Empire, ceremonial setting adjacent to another imperial palace, now that of the Sultan; and today, a state museum and major tourist attraction. Twice during the past 150 years, the grand medieval and early modern church/mosque met modernity. In 1847–49, and… Full Review

Two recent collection catalogues, both investigating early modern European paintings, provide an index of the state of the art for scholarship on individual museum objects. Both are splendidly produced and result from years of patient research. Both admirably adduce the latest technical investigation from the conservation laboratory and integrate it with other findings. In one case, London's National Gallery, the credited single curatorial author, Lorne Campbell, clearly builds on the splendid precedent of the former curator, Martin Davies (to whose memory the catalogue is dedicated). In the other case, a previously unsystematic and diverse but important collection has finally received… Full Review

How We Became Posthuman is at root a book about what it is to be human during our time of rapid and jarring technological change, a book about how selfhood and philosophies have been transformed in the wake of the societal and technological revolutions brought about by computers, artificial intelligence, and virtual reality. Everywhere, such phenomena as the Internet, the digitization of money, and the mapping of the genome are seen as destabilizing physicality and setting the stage for the posthuman era. Paradigmatic shifts in the conception of selfhood, society, and knowledge are shown to have broken… Full Review

It is inconceivable that the Albert Memorial in London and the illustrations to the novels of Charles Dickens novels might have been the work of the same man. But while such a state of affairs was unimaginable in England, it was perfectly plausible in nineteenth-century America, as the peculiar career of Hammatt Billings demonstrates. For Billings not only provided the celebrated illustrations for Uncle Tom's Cabin, but also designed the National Monument to the Forefathers at Plymouth, America's most ambitious piece of public sculpture prior to the Statue of Liberty. But if Billings did not observe the boundaries between the… Full Review

Those attempting to keep up with, let alone understand, the changing contexts of Dürer's art are faced with a Sisyphean challenge. Over the years, the artist has been extolled as, among other things, the most German of artists, a leader of the frühbürgerliche Revolution, a proto-Nazi, and a hippie. Hallowed by Protestants and Catholics alike—and with no less enthusiasm, I should add, by those espousing the cults of artistic genius and a disinterested Kantian aesthetic—he has also been adopted (or rather co-opted) by such disparate groups as Weimar Demokraten and National Socialists for what they perceived to be his sympathetic… Full Review

The emphasis of this selection of critical writings by Michael Fried is upon his work between 1963 and 1966, the reasons he gives for this both explaining and, to a certain extent, justifying the compilation of this collection. Sensitive to what he describes as his peers' tendency to conflate his views from these distinct periods in his intellectual life, Fried uses the lengthy introduction prefacing the selection to explain the development of his thought from the late 1950s to the present and, relatedly, to clarify the relationship between his earlier critical and later art-historical work. Fried's… Full Review

Anthony Snodgrass has written a little book on a large subject. Just 8 1/2 x 6 x 9/16 inches and 186 pages including index, Homer and the Artists: Text and Picture in Early Greek Art takes within its compass such vexed dilemmas as the introduction of writing to Greece, the dates of the Iliad and Odyssey, the relation of Homer’s poems to lost epics of the Trojan cycle, the great bard’s standing in the cultural contexts of the eighth through mid-sixth centuries b.c., indeed, the very meaning of the word "Homeric" itself. And all this but serves as necessary framework… Full Review

How can paintings inform us of past cultural practices? By interrogating paintings produced at the Mughal court, Bonnie Wade reconstructs musical practices prevalent at the medieval royal courts of North India. Although Wade's project began as an ethnomusicological enquiry eager to mine more than textual sources, her study ends up problematizing what meanings Mughal paintings had for past as well as present viewers. For historians of South Asian visual culture, Wade's innovative study therefore signals a sharp turn away from the "dating game" that has dominated the field of Mughal painting history. Instead it situates these paintings within the cultural… Full Review

Madeline Caviness introduces this volume herself by explaining her "penchant for re-joining fragments and reconstructing programs." While that description narrowly summarizes the content of many of the articles, it hardly does them justice. The anthology comprises fifteen articles written by Caviness between 1962 and 1993, bringing together contributions to festschriften, catalogues and conferences that might not otherwise be readily accessible (in this review, the articles will be referred to by Roman numerals I-XV, as they are in the book). It is also clear that the practice of looking long and hard at paintings on glass gave Caviness insights into subjects… Full Review

In the autumn of 1816 the twenty-five year old Gericault set off for Italy, where he spent the next year in Rome—except for an initial month in Florence and a two-month excursion to Naples in the spring of 1817. In this abundantly illustrated monograph, Wheelock Whitney explores the Italian journey in the context of Gericault's short career, and shows that this least studied period of Gericault's work was a crucial stage—the year in which the artist "came of age" (1). The significance of the Italian visit has long been debated. His earliest nineteenth-century biographers generally dismissed… Full Review