This is the fourth volume in an operational and chronological series covering the U.S. Marine Corps’ participation in the Vietnam War. This volume details the change in focus of the III Marine Amphibious Force (III MAF), which fought in South Vietnam’s northernmost corps area, I Corps. This volume, like its predecessors, concentrates on the ground war in I Corps and III MAF’s perspective of the Vietnam War as an entity. It also covers the Marine Corps participation in the advisory effort, the operations of the two Special Landing Forces of the U.S. Navy’s Seventh Fleet, and the services of Marines with the staff of the U.S. Military Assistance Command, Vietnam. There are additional chapters on supporting arms and logistics, and a discussion of the Marine role in Vietnam in relation to the overall American effort.

This is the second volume in a series of chronological histories prepared by the Marine Corps History and Museums Division to cover the entire span of Marine Corps involvement in the Vietnam War. This volume details the Marine activities during 1965, the year the war escalated and major American combat units were committed to the conflict. The narrative traces the landing of the nearly 5,000-man 9th Marine Expeditionary Brigade and its transformation into the ΙII Marine Amphibious Force, which by the end of the year contained over 38,000 Marines. During this period, the Marines established three enclaves in South Vietnam’s northernmost corps area, I Corps, and their mission expanded from defense of the Da Nang Airbase to a balanced strategy involving base defense, offensive operations, and pacification. This volume continues to treat the activities of Marine advisors to the South Vietnamese armed forces but in less detail than its predecessor volume, U.S. Marines in Vietnam, 1954-1964; The Advisory and Combat Assistance Era.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

Assessing Aid determines that the effectiveness of aid is not decided by the amount received but rather the institutional and policy environment into which it is accepted. It examines how development assistance can be more effective at reducing global poverty and gives five mainrecommendations for making aid more effective: targeting financial aid to poor countries with good policies and strong economic management; providing policy-based aid to demonstrated reformers; using simpler instruments to transfer resources to countries with sound management; focusing projects oncreating and transmitting knowledge and capacity; and rethinking the internal incentives of aid agencies.