Images of the Illustrious is an introduction and a guide to the numismatic scholarship of the Renaissance--the coin collections and illustrated coin-books produced by humanists and artists of the sixteenth century. Ancient Greek and Roman coins were the most abundant and portable remains of antiquity throughout Renaissance Europe, and were avidly collected as treasures, studied as documents, exchanged as gifts, admired as art, venerated as relics, and cherished as talismans of antique virtue. The ubiquitous presence of these coins, the author argues, made the lost world of the ancients accessible, comprehensible, and concrete to all literate Europeans, and encouraged an attitude toward history as a series of discontinuous scenes and events, driven by the ambitious and self-seeking individuals whose striking faces appear on the coins. Illustrated with many examples of the elegant art of the Renaissance coin-books,Images of the Illustrious ends with a comprehensive descriptive bibliography of the sixteenth-century numismatists and their books.

Considers five documentary sequences or narratives: the antebellum portraits of Mathew Brady and others; the Civil War albums of Alexander Gardner, George Barnard and A.J. Russell; the Western survey and landscape photographs of Timothy O'Sullivan, A.J. Russell, and Carleton Watkins; and social photographs and texts by Alfred Stieglitz and Lewis Hine; as well as documentaries inspired by the Depression, esp. Walker Evans's American Photographs.

Susan Williams recovers the literary and cultural significance of early photography in an important rereading of American fiction in the decades preceding the Civil War. The rise of photography occurred simultaneously with the rapid expansion of magazine publication in America, and Williams analyzes the particular role that periodicals such as Godey's Lady's Book, Burton's Gentleman's Magazine, and Atkinson's Casket played in defining how photography was received. At the center of the book are readings of a stunning array of fiction by forgotten and canonical writers alike, including Edgar Allan Poe, Louisa May Alcott, and Sarah Hale, as well as extended interpretations of Nathaniel Hawthorne's House of the Seven Gables and The Marble Faun and Herman Melville's Pierre. In a concluding section, Williams offers a view of the fictional portrait in the later nineteenth century, when the proliferation of illustrated books once again transformed the relation between word and image in American culture.

This revisionary study provides a new interpretation of objects and images commissioned by Louis XIV (1638–1715) to document his reign for posterity. Robert Wellington uncovers a numismatic sensibility throughout the iconography of Louis XIV. He looks beyond the standard political reading of the works of art made to document the Sun King’s history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand siècle.

The issue of leadership is crucial to Polybius’ desire to explain the rise of Rome over almost the entire known world and provide benefit and utility to readers who may have to assume positions of responsibility. This book focuses on descriptions of leadership behaviors in the Histories, aiming to identify regularly recurring patterns, motifs, and themes in the relevant passages, which could, precisely because of their persistence, heighten our sensitivity to the subtleties of Polybius’ treatment of the subject. Given that the interest in leadership permeates Polybius’ work and engages with his main thematic concerns, this study brings the reader face-to-face with questions of power and control, identity and nationality, the role of fortune, narrative strategies, thereby providing a basis for reading the Histories more generally. At the same time, a major concern throughout the book is with the ways Polybius’ representation of leadership seems to have been influenced by literary depictions of the conquests of Alexander the Great. Polybius’ interplay with his literary context and tradition deepens our understanding of what he is trying to accomplish in the narrative and how he is interacting with the expectations of his audiences.