From monumental cathedrals to simple parish churches, perhaps as many as 100,000 churches and civic buildings were constructed in Mexico during the viceregal or colonial period (1535-1821). Many of these structures remain today as witnesses to the fruitful blending of Old and New World forms and styles that created an architecture of enduring vitality.

In this profusely illustrated book, Robert J. Mullen provides a much-needed overview of Mexican colonial architecture and its attendant sculpture. Writing with just the right level of detail for students and general readers, he places the architecture in its social and economic context. He shows how buildings in the larger cities remained closer to European designs, while buildings in the pueblos often included prehispanic indigenous elements.

This book grew out of the author's twenty-five-year exploration of Mexico's architectural and sculptural heritage. Combining an enthusiast's love for the subject with a scholar's care for accuracy, it is the perfect introduction to the full range of Mexico's colonial architecture.

From Athens and Arcadia on one side of the Aegean Sea and from Ionia, Lycia, and Karia on the other, this book brings together some of the great monuments of classical antiquity --among them two of the seven wonders of the ancient world, the later temple of Artemis at Ephesos and the Mausoleum at Halikarnassos.

Drawing on the Greek and Lycian architecture and sculpture in the British Museum--a collection second to none in quality, quantity, and geographical and chronological range--this lavishly illustrated volume tells a remarkable story reaching from the archaic temple of Artemis, the Parthenon, and other temples of the Athenian Acropolis to the temple of Apollo at Bassai, the sculptured tombs of Lycia, the Mausoleum, and the temple of Athena Polias at Priene. Ian Jenkins explains each as a work of art and as a historical phenomenon, revealing how the complex personality of these buildings is bound up with the people who funded, designed, built, used, destroyed, discovered, and studied them. With 250 photographs and specially commissioned line drawings, the book comprises a monumental narrative of the art and architecture that gave form, direction, and meaning to much of Western culture.

The church of San Marco of Venice has long played a central role in Venetian political, ceremonial, and religious life. Its renowned assemblage of mosaics, sculpture, metalwork, and reliquaries are, in origin, Roman, Byzantine, Venetian, or Venetian imitation of Byzantine designs. In San Marco, Byzantium, and the Myths of Venice, the authors assess the significance of the embellishment of the church and its immediate surroundings, especially during the thirteenth and fourteenth centuries, when most of the Byzantine material was acquired, largely from Constantinople. The church and its decoration are studied in relation to Venice’s interests abroad and on mainland Italy. The authors address the diverse styles, sources, meanings, and significance of this art, both individually and as an ensemble.

Building upon developments in scholarship since Otto Demus’s masterly studies of the church, the book offers new insights into the inspiration, purposes, and mutability of San Marco and the myths that inspired and motivated Venetians.