History Of The Monument

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 an 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 and offer a new appreciation for perhaps the most iconic memorial in the country.

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In many societies monuments are associated with dynamic socio-economic and political processes that these societies underwent and/or instrumentalised. Due to the often large human and other resources input involved in their construction and maintenance, such constructions form an useful research target in order to investigate both their associated societies as well as the underlying processes that generated differential construction levels. Monumental constructions may physically remain the same for some time but certainly not forever. The actual meaning, too, that people associate with these may change regularly due to changing contexts in which people perceived, assessed, and interacted with such constructions.These changes of meaning may occur diachronically, geographically but also socially. Realising that such shifts may occur forces us to rethink the meaning and the roles that past technologies may play in constructing, consuming and perceiving something monumental. In fact, it is through investigating the processes, the practices of building and crafting, and selecting the specific locales in which these activities took place, that we can argue convincingly that meaning may already become formulated while the form itself is still being created. As such, meaning-making and -giving may also influence the shaping of the monument in each of its facets: spatially, materially, technologically, socially and diachronically.This volume varies widely in regional and chronological focus and forms a useful manual to studying both the acts of building and the constructions themselves across cultural contexts. A range of theoretical and practical methods are discussed, and papers illustrate that these are applicable to both small or large architectural expressions, making it useful for scholars investigating urban, architectural, landscape and human resources in archaeological and historical contexts. The ultimate goal of this book is to place architectural studies, in which people's interactions with each other and material resources are key, at the crossing of both landscape studies and material culture studies, where it belongs.

Reproduction of the original: History of the Washington National Monument by Frederick L. Harvey

Today well over two hundred museums focusing on African American history and culture can be found throughout the United States and Canada. Many of these institutions trace their roots to the 1960s and 1970s, when the struggle for racial equality inspired a movement within the black community to make the history and culture of African America more "public." This book tells the story of four of these groundbreaking museums: the DuSable Museum of African American History in Chicago (founded in 1961); the International Afro-American Museum in Detroit (1965); the Anacostia Neighborhood Museum in Washington, D.C. (1967); and the African American Museum of Philadelphia (1976). Andrea A. Burns shows how the founders of these institutions, many of whom had ties to the Black Power movement, sought to provide African Americans with a meaningful alternative to the misrepresentation or utter neglect of black history found in standard textbooks and most public history sites. Through the recovery and interpretation of artifacts, documents, and stories drawn from African American experience, they encouraged the embrace of a distinctly black identity and promoted new methods of interaction between the museum and the local community. Over time, the black museum movement induced mainstream institutions to integrate African American history and culture into their own exhibits and educational programs. This often controversial process has culminated in the creation of a National Museum of African American History and Culture, now scheduled to open in the nation's capital in 2015.

Kirk Savage explores the National Mall in Washington D.C., site of some of the most important & poignant memorials in the U.S. He shows how the idea of monument has changed over the decades, & how the 19th century concept of the monument has given way to the late 20th century idea of 'space', the monument as an experience.

"Sphinxes are legion in Egypt--what is so special about this one?... We shall take a stroll around the monument itself, scrutinizing its special features and analyzing the changes it experienced throughout its history. The evidence linked to the statue will enable us to trace its evolution... down to the worship it received in the first centuries of our own era, when Egyptians, Greeks, and Romans mingled together in devotion to this colossus, illustrious witness to a past that was already more than two millennia old."--from the IntroductionThe Great Sphinx of Giza is one of the few monuments from ancient Egypt familiar to nearly everyone. In a land where the colossal is part of the landscape, it still stands out, the largest known statue in Egypt. Originally constructed as the image of King Chephren, builder of the second of the Great Pyramids, the Sphinx later acquired new fame in the guise of the sun god Harmakhis. Major construction efforts in the New Kingdom and Roman Period transformed the monument and its environs into an impressive place of pilgrimage, visited until the end of pagan antiquity.Christiane Zivie-Coche, a distinguished Egyptologist, surveys the long history of the Great Sphinx and discusses its original appearance, its functions and religious significance, its relation to the many other Egyptian sphinxes, and the various discoveries connected with it. From votive objects deposited by the faithful and inscriptions that testify to details of worship, she reconstructs the cult of Harmakhis (in Egyptian, Har-em-akhet, or "Horus-in-the-horizon"), which arose around the monument in the second millennium. "We are faced," she writes, "with a religious phenomenon that is entirely original, though not unique: a theological reinterpretation turned an existing statue into the image of the god who had been invented on its basis."The coming of Christianity ended the Great Sphinx's religious role. The ever-present sand buried it, thus sparing it the fate that overtook the nearby pyramids, which were stripped of their stone by medieval builders. The monument remained untouched, covered by its desert blanket, until the first excavations. Zivie-Coche details the archaeological activity aimed at clearing the Sphinx and, later, at preserving it from the corrosive effects of a rising water table.

Excerpt from History of the Washington National Monument and of the Washington National Monument Society The practical construction of the Washington National Monument, in detail, as a work of great engineering skill, is a subject for separate account and technical discussion. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.