Napoleon Crossing the Alps

Artist Jacques-Louis David

Year 1801
Medium Oil on canvas
Dimensions 261 cm × 221 cm (102 1⁄3 in × 87 in)
Location Château de Malmaison, Rueil-
Malmaison

Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard

Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les
Alpes au col du Grand Saint-Bernard) is any of five versions of an oil on
canvas equestrian portrait of Napoleon Bonaparte painted by the French
artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the
King of Spain, the composition shows a strongly idealized view of the real
crossing that Napoleon and his army made across the Alps through the Great St.
Bernard Pass in May 1800.
 Departure of the Volunteers of 1792
(The Marseillaise), ca. 1835

François Rude commemorated a crucial moment in modern history through the

powerful language of classical allegory. The Departure of the Volunteers of 1792
honors France’s first citizen army, formed in response to a threatened invasion by a
Prussian/Austrian coalition intent on restoring the deposed Bourbon monarchy.
Dressed in classical armor and carrying ancient weapons, men ranging from youth
to old age rally under the command of a fierce, female warrior. Born up by wings
and wearing a Phrygian cap (worn by freed slaves in Roman times), she represents
the victorious spirit of Liberty, conceived as the embodiment of France during the
Revolution of 1789. This highly finished plaster relief—one of a few of Rude’s
models to survive—so closely resembles the final version sculpted on a colossal
scale for the Arc de Triomphe on the Champs-Elysées in Paris that it may have
served as a guide for the stone carvers.
 Liberty Leading the People
French: La Liberté guidant le peuple

Artist Eugène Delacroix

Year 1830
Medium Oil on canvas
Dimensions 260 cm × 325 cm (102.4 in × 128.0 in)
Location Louvre, Paris[1]

Liberty Leading the People (French: La Liberté guidant le peuple [la libɛʁte ɡidɑ̃ lə pœpl]) is a
painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled
King Charles X of France. A woman of the people with a Phrygian cap personifying the
concept of Liberty leads the people forward over a barricade and the bodies of the fallen, holding
the flag of the French Revolution – the tricolour, which again became France's national flag after
these events – in one hand and brandishing a bayonetted musket with the other. The figure
of Liberty is also viewed as a symbol of France and the French Republic known as Marianne
By the time Delacroix painted Liberty Leading the People, he was already the acknowledged
leader of the Romantic school in French painting.[2] Delacroix, who was born as the Age of
Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on
precise drawing that characterised the academic art of his time, and instead gave a new
prominence to freely brushed colour.
Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he
wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—
a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was
first exhibited at the official Salon of 1831.
 The Charging Chasseur

Artist Théodore Géricault

Year circa 1812
Medium Oil on canvas
Dimensions 349 cm × 266 cm (137 in × 105 in)
Location Louvre, Paris
The Charging Chasseur, or An Officer of the Imperial Horse Guards Charging is an oil
painting on canvas of about 1812 by the French painter Théodore Géricault, portraying a
mounted Napoleonic cavalry officer who is ready to attack.
The painting was Géricault's first exhibited work and it is an example of Géricault's attempt to
condense both movement and structure in its art.[1] it represents French romanticism and has a
motif similar to Jacques-Louis David's Napoleon Crossing the Alps, but non-
classical characteristics of the picture include its dramatic diagonal arrangement and vigorous
paint handling.
In The Charging Chasseur, the horse appears to be rearing away from an unseen attacker. The
turning figure on a rearing horse is derived from the large early Rubens Saint George (Museo del
Prado, 1605–07), though there the view is from the side.
Géricault would continue to move away from classicism, as exemplified in his later
masterpiece The Raft of the Medusa (1818–19).
 The Apotheosis of Homer

Artist Ingres
Year 1827
Medium oil on canvas
Dimensions 386 cm × 512 cm (152 in × 202 in)
Location Louvre, Paris

The Apotheosis of Homer is a grand 1827 painting by Jean-Auguste-Dominique Ingres, now

exhibited at the Louvre as INV 5417. The symmetrical composition depicts Homer being
crowned by a winged figure personifying Victory or the Universe. Forty-four additional figures
pay homage to the poet in a kind of classical confession of faith.

Jean-Auguste-Dominique Ingres (pronounced: aah-n Gr-ah) was Jacque-Louis David's most

famous student. And while this prolific and successful artist was indebted to his teacher, Ingres
quickly turned away from him. For his inspiration, Ingres, like David in his youth, rejected the
accepted formulas of his day and sought instead to learn directly from the ancient Greek as well
as the Italian Renaissance interpretation of this antique ideal.
Ingres exhibited Apotheosis of Homer(1827) in the annual Salon. His grandest expression of the
classical ideal, this nearly seventeen foot long canvas reworks Raphael's Vatican fresco, The
School of Athens (1509-1511) and thus pays tribute to the genius Ingres most admired.
As Raphael had done three hundred years earlier, Ingres brought together a pantheon of
luminaries. Like secular sacra-conversaziones, the Raphael and the Ingres bring together figures
that lived in different eras and places.
But while Raphael celebrated the Roman Church's High Renaissance embrace of Greek
intellectuals (philosophers, scientists, etc.), Ingres also includes artists (visual and literary).
 Psyche Revived by Cupid's Kiss
Italian: Amore e Psiche, French: Psyché ranimée par le baiser de
l'Amour

Artist Antonio Canova

Year first version 1787-1793
Type Marble
Dimension 155 cm × 168 cm (61 in × 66 in)
s
Location Louvre, Paris; Hermitage Museum, Saint
Petersburg

Psyche Revived by Cupid's Kiss (Italian: Amore e Psiche [aˈmoːre e ˈpsiːke]; French: Psyché

ranimée par le baiser de l'Amour; Russian: Аму́р и Психе́я, romanized: Amúr i Psikhéja) is
a sculpture by Italian artist Antonio Canova first commissioned in 1787 by Colonel John
Campbell. It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological
lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism.
It represents the god Cupid in the height of love and tenderness, immediately after awakening the
lifeless Psyche with a kiss. The story of Cupid and Psyche is taken from Lucius Apuleius' Latin
novel The Golden Ass,[2] and was popular in art.
Joachim Murat acquired the first or prime version (pictured) in 1800. After his death the statue
entered the Louvre Museum in Paris, France in 1824; Prince Yusupov, a Russian nobleman
acquired the 2nd version of the piece from Canova in Rome in 1796, and it later entered
the Hermitage Museum in Saint Petersburg.[5] A full-scale model for the 2nd version is in
the Metropolitan Museum of Art. 
 White House

The White House is the official residence and workplace of the president of the United States. It is located at
1600 Pennsylvania Avenue NW in Washington, D.C. and has been the residence of every U.S. president since John
Adams in 1800. The term "White House" is often used as a metonym for the president and his advisers.
The residence was designed by Irish-born architect James Hoban[2] in the neoclassical style. Hoban modelled the
building on Leinster House in Dublin, a building which today houses the Oireachtas, the Irish legislature.
Construction took place between 1792 and 1800 using Aquia Creek sandstone painted white. When Thomas
Jefferson moved into the house in 1801, he (with architect Benjamin Henry Latrobe) added low colonnades on each
wing that concealed stables and storage.[3] In 1814, during the War of 1812, the mansion was set ablaze by
the British Army in the Burning of Washington, destroying the interior and charring much of the exterior.
Reconstruction began almost immediately, and President James Monroe moved into the partially
reconstructed Executive Residence in October 1817. Exterior construction continued with the addition of the semi-
circular South portico in 1824 and the North portico in 1829.
Because of crowding within the executive mansion itself, President Theodore Roosevelt had all work offices
relocated to the newly constructed West Wing in 1901. Eight years later in 1909, President William Howard
Taft expanded the West Wing and created the first Oval Office, which was eventually moved as the section was
expanded. In the main mansion, the third-floor attic was converted to living quarters in 1927 by augmenting the
existing hip roof with long shed dormers. A newly constructed East Wing was used as a reception area for social
events; Jefferson's colonnades connected the new wings. East Wing alterations were completed in 1946, creating
additional office space. By 1948, the residence's load-bearing exterior walls and internal wood beams were found to
be close to failure. Under Harry S. Truman, the interior rooms were completely dismantled and a new internal load-
bearing steel frame constructed inside the walls. Once this work was completed, the interior rooms were rebuilt.
The modern-day White House complex includes the Executive Residence, West Wing, East Wing, the Eisenhower
Executive Office Building—the former State Department, which now houses offices for the president's staff and the
vice president—and Blair House, a guest residence. The Executive Residence is made up of six stories—the Ground
Floor, State Floor, Second Floor, and Third Floor, as well as a two-story basement. The property is a National
Heritage Site owned by the National Park Service and is part of the President's Park. In 2007, it was ranked
second[4] on the American Institute of Architects list of "America's Favorite Architecture".
 Strawberry Hill

Strawberry Hill is an affluent area of the London Borough of Richmond upon

Thames in Twickenham. It is a suburban development situated 10.4 miles (16.7 km) west south-
west of Charing Cross. It consists of a number of residential roads centred on a small
development of shops and served by Strawberry Hill railway station. The area's ACORN
demographic type is characterised as well-off professionals, larger houses, and converted flats. St
Mary's University, Twickenham, the country's oldest Roman Catholic University, is situated on
Waldegrave Road. Its sports grounds were used as a training site for the 2012 Olympics.

The nineteenth-century development is named after "Strawberry Hill", the fanciful Gothic

Revival villa designed by author Horace Walpole between 1749 and 1776. It began as a small
17th century house "little more than a cottage", with only 5 acres (20,000 m2) of land and ended
up as a "little Gothic castle" in 46 acres (190,000 m2). The original owner had named the house
"Chopped Straw Hall", but Walpole wanted it to be called something more distinctive and after
finding an old lease that described his land as "Strawberry Hill Shot", he adopted this name.
After a £9 million, two year restoration, Strawberry Hill House re-opened to the public in
October 2010.
 Lion Monument

The Lion Monument (German: Löwendenkmal), or the Lion of Lucerne, is a rock

relief in Lucerne, Switzerland, designed by Bertel Thorvaldsen and hewn in 1820–21 by Lukas
Ahorn. It commemorates the Swiss Guards who were massacred in 1792 during the French
Revolution, when revolutionaries stormed the Tuileries Palace in Paris. It is one of the most
famous monuments in Switzerland, visited annually by about 1.4 million tourists.[1] In 2006 it
was placed under Swiss monument protection.
Mark Twain praised the sculpture of a mortally wounded lion as "the most mournful and moving
piece of stone in the world."

Created to remember the hundreds of Swiss Guards who were massacred during the French
Revolution, the Lion of Lucerne was emotionally evocative enough to garner the attention of
none other than Mark Twain.
Carved directly into the wall of a former sandstone quarry in Lucerne, the titular lion statue sees
the regal beast dying from a spear wound which is marked by a shield bearing the mark of the
French monarchy. The remarkably large monument was etched from the stone in 1820 and
measures a remarkable ten meters in length and six meters in height. Above the mournful lion is
the inscription, “HELVETIORUM FIDEI AC VIRTUTI,” which is Latin for “To the loyalty and
bravery of the Swiss,” and below the lion’s niche is a list of some of the deceased officers’
names.
In his 1880 travelogue, A Tramp Abroad, American author and noted satirist Mark Twain
described the monument as “the most mournful and moving piece of stone in the world.” The
lifeless eyes of the Lion of Lucerne may not be able to cry, but the endless tragedy in its gaze
still inspires more than its share of tears.
 Theseus Slaying the Minotaur (Primary Title)
 Antoine-Louis Barye, French, 1796 - 1875 (Artist)

Date:1843
Culture:French
Category:Sculpture
Medium:bronze (atelier)
Collection:European ArtDimensions:
Overall: 17 3/4 × 11 5/8 × 6 3/8 in. (45.09 × 29.53 × 16.19 cm)
Object Number:80.34
Location:Not on view
Barye produced a number of mythological pieces in which he demonstrated his ability to
depict the human body, while also representing dramas of extreme emotion. Unlike his
animal sculptures, these scenes fit within will-established traditions of French art and were
viewed as serious and meaningful subject matter. Here, a heroic Theseus, whose stylized
body is based on archaic Greek precedents, prepares to kill the monstrous Minotaur – half-
man, half-bull. The control conveyed through Theseus’s posture and dispassionate
expression contrasts with the writhing violence of the Minotaur’s desperate attempts to
escape. The rationality of man demonstrably overpowers the brute strength of the beast.
 Insane Woman

Artist Théodore Géricault

Year 1822
Type Oil painting
Location Musée des Beaux-Arts de Lyon, Lyon

Insane Woman is an 1822 oil on canvas painting by Théodore Géricault in a series of work
Géricault did on the mentally ill. It is housed in the Musée des Beaux-Arts de Lyon, France.
Mental aberration and irrational states of mind could not fail to interest artists
against Enlightenment rationality. Géricault, like many of his contemporaries, examined the
influence of mental states on the human face and shared the belief, common in his time, that a
face more accurately revealed character, especially in madness and at the moment of death. He
made many studies of the inmates in hospitals and institutions for the criminally insane, and he
studied the heads of guillotine victims.
Géricault's Insane Woman, her mouth tense, her eyes red-rimmed with suffering, is one of
several portraits he made of the mentally ill that have a peculiar hypnotic power. These portraits
present the physical facts with astonishing authenticity, especially in contrast to earlier idealized
commissioned portraiture
 Silliman Hall

Established 1909 (1902 - Original Built)

Location Dumaguete, Negros
Oriental, Philippines
Coordinates 9.3107°N
123.3090°ECoordinates:  9.3107°N
123.3090°E
Type Local museum, ancestral house
Founder Horace B. Silliman
General information
Architectural style American architecture
Town or city Dumaguete, Negros Oriental
Country Philippines
Construction 1909 (1902 - Original Built), 1970
started (established as museum)

The Silliman Hall is a building constructed in the Stick Style of American

architecture in Dumaguete, Negros Oriental, Philippines. It was built in the early
1900s. It was converted to a museum in 1970. It is located in Dumaguete, Negros
Oriental, Philippines.
 Napoleon I on his Imperial Throne

Artist Jean Auguste Dominique Ingres

Year 1806
Medium oil on canvas
Dimensions 259 cm × 162 cm (102 in × 64 in)
Location Musée de l'Armée, Hôtel des Invalides, Paris
Napoleon I on his Imperial Throne (French: Napoléon Ier sur le trône impérial) is an 1806
portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-
Auguste-Dominique Ingres.
The painting shows Napoleon as emperor, in the costume he wore for his coronation, seated on a
circular-backed throne with armrests adorned with ivory balls. In his right hand he holds the
sceptre of Charlemagne and in his left the hand of justice. On his head is a golden laurel wreath,
similar to one worn by Caesar. He also wears an ermine hood under the great collar of
the Légion d'honneur, a gold-embroidered satin tunic and an ermine-lined purple velvet cloak
decorated with gold bees. The coronation sword is in its scabbard and held up by a silk scarf. The
subject wears white shoes embroidered in gold and resting on a cushion. The carpet under the
throne displays an imperial eagle. The signature INGRES P xit is in the bottom left, and ANNO
1806 in the bottom right.
 Self Portrait
Jacques-Louis David

 Date: 1794
 Style: Neoclassicism
 Genre: self-portrait
 Media: oil, canvas
 Tag: male-portraits, famous-people, Jacques-Louis-David
 Location: Louvre, Paris, France
 Dimensions: 81 x 64 cm
The Self-portrait is a self-portrait painted by the artist Jacques-Louis David in 1794 whilst in
prison at the hôtel des fermes for having supported the robespierristes. It was his third and last
self-portrait - the second was the 1791 Aux trois collets (Uffizi, Florence). He gave it to his
former student Jean-Baptiste Isabey and it then entered the collections of the Louvre in 1852
 National Museum of the Philippines

The National Museum of the Philippines (Filipino: Pambansang Museo ng Pilipinas) is an

umbrella government organization that oversees a number of national museums in the
Philippines including ethnographic, anthropological, archaeological and visual arts collections.
Since 1998, the National Museum has been the regulatory and enforcement agency of
the Government of the Philippines in the restoring and safeguarding of important cultural
properties, sites, and reservations throughout the Philippines.
The National Museum operates the National Museum of Fine Arts, National Museum of
Anthropology, National Museum of Natural History, and National Planetarium, all located in
the National Museum Complex in Manila. The institution also operates branch museums
throughout the country.
 La Mort de Marat

Artist Jacques-Louis David

Year 1793
Medium Oil on canvas
Dimensions 165 cm × 128 cm (65 in × 50 in)
Location Royal Museums of Fine Arts of Belgium
The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting
by Jacques-Louis David of the murdered French revolutionary leader Jean-Paul Marat. It is one
of the most famous images of the French Revolution. David was the leading French painter, as
well as a Montagnard and a member of the revolutionary Committee of General Security. The
painting shows the radical journalist lying dead in his bath on July 13, 1793, after his murder
by Charlotte Corday. Painted in the months after Marat's murder, it has been described by T. J.
Clark as the first modernist painting, for "the way it took the stuff of politics as its material, and
did not transmute it".
 Oath of the Horatii

Artist Jacques-Louis David

Year 1784
Medium Oil on canvas
Dimensions 329.8 cm × 424.8 cm (129.8 in
× 167.2 in)
Location Louvre, Paris

Oath of the Horatii (French: Le Serment des Horaces), is a large painting by the French
artist Jacques-Louis David painted in 1784 and now on display in the Louvre in Paris.[1] The
painting immediately became a huge success with critics and the public, and remains one of the
best known paintings in the Neoclassical style.
It depicts a scene from a Roman legend about a seventh-century BC dispute between two
warring cities, Rome and Alba Longa,[2] and stresses the importance of patriotism and masculine
self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to
choose three men from each city; the victor in that fight will be the victorious city. From Rome,
three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers
from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to
sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords
out for them.[3] Of the three Horatii brothers, only one shall survive the confrontation. However,
it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows
the three fighters to chase him, causing them to separate from each other, and then, in turn, kills
each Curiatii brother. Aside from the three brothers depicted, David also represents, in the
 bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii
brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the
realisation that, in any case, she will lose someone she loves.

Jean-Auguste-Dominique Ingres

Ingres ca. 1855 [1]

Born Jean-Auguste-Dominique Ingres

29 August 1780
Montauban, Languedoc, France
Died 14 January 1867 (aged 86)
Paris, France
Known for Painting, drawing
Notable work Portrait of Monsieur Bertin, 1832
The Turkish Bath, 1862
Movement Neoclassicism
Orientalism

Jean-Auguste-Dominique Ingres (/ˈæŋɡrə, ˈæ̃ɡrə/ ANG-grə, French: [ʒɑ̃n‿oɡyst dɔminik ɛ̃ɡʁ]; 29

August 1780 – 14 January 1867) was a French Neoclassical painter. Ingres was profoundly influenced by
past artistic traditions and aspired to become the guardian of academic orthodoxy against the
ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas
Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his
greatest legacy. His expressive distortions of form and space made him an important precursor of modern
art, influencing Picasso, Matisse and other modernists.
Born into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he
made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the
tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close
study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the
rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent
 paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic.
He received few commissions during this period for the history paintings he aspired to paint, but was able
to support himself and his wife as a portrait painter and draughtsman.

George Washington
Italian: Giorgio Washington

Engraving by Bertini of Canova's statue of George Washington

Year 1820
Medium marble
Location Raleigh, US
Commissioned by North Carolina
George Washington was a life-size marble statue of George Washington, done in the style of
a Roman general, by the Italian Neoclassical sculptor Antonio Canova. Commissioned by
the State of North Carolina in 1815, it was completed in 1820 and installed in the rotunda of
the North Carolina State House on December 24, 1821. The building and the statue were
destroyed by fire on June 21, 1831. This work was the only one created by Canova for the United
States.

The statue was made of Carrara marble. Washington is dressed all'antica in ancient Roman

military armor and shown seated holding a tablet in his left hand and a quill in his right hand; a
modern Cincinnatus drafting his farewell address to the nation.[1] At his feet are a sword
and baton

The statue was displayed on a separate pedestal made by Canova's student, Raimondo

Trentanove, son of Antonio Trentanove.[10] Trentanove carved four bas-reliefs into the white
marble of the pedestal, with each scene depicting an important aspect of Washington's life, as
specified by Appleton. The front relief showed the surrender of British General Charles
Cornwallis at Yorktown with Washington in victory. The second scene showed his resignation as
commander-in-chief of the Continental Army to Congress. The third one his election as President
 of the United States. And the last one showed him with a plow back at his farm at Mount
Vernon, like Cincinnatus returning to private life.[

Christus (statue)

Christus (also known as Christus Consolator) is a 19th-century Carrara

marble statue of the resurrected Jesus by Bertel Thorvaldsen. Since its completion
in 1838, the statue has been located in the Evangelical Lutheran Church in
Denmark's Church of Our Lady in Copenhagen, Denmark. In the 20th century,
images and replicas of the statue were adopted by the leaders of The Church of
Jesus Christ of Latter-day Saints (LDS Church) to emphasize the centrality of
Jesus Christ in church teachings.

horvaldsen was commissioned to sculpt statues of Jesus and the apostles for
the Church of Our Lady in Copenhagen. The statue of Jesus was completed in
1821. The Christus was not well known outside of Denmark until 1896, when an
American textbook writer wrote that the statue was "considered the most perfect
statue of Christ in the world."[1] The statue is 345 centimeter high.[2] The inscription
at the base of the sculpture reads "Kommer til mig" ("Come to me") with a
reference to the Bible verse: Matthew 11:28.
 Panthéon

General information
Type Mausoleum
Architectural style Neoclassicism
Location Paris, France
Construction started 1758 AD
Completed 1790 AD
Design and construction
Architect Jacques-Germain Soufflot
Jean-Baptiste Rondelet
The Panthéon (French: [pɑ̃.te.ɔ]̃ ; Latin: pantheon, from Greek πάνθειον (ἱερόν)
'(temple) to all the gods')[1] is a building in the Latin Quarter in Paris, France. It
originally functioned as a church dedicated to Paris patron saint Genevieve to
house the reliquary châsse containing her relics, but secularized during the French
Revolution and designated as a mausoleum containing the remains of distinguished
French citizens. It is an early example of neo-classicism, with a façade modelled
on the Pantheon in Rome, surmounted by a dome that owes some of its character
to Bramante's Tempietto. Located in the 5th arrondissement on the Montagne
Sainte-Geneviève, the Panthéon looks out over all of Paris. Designer Jacques-
Germain Soufflot had the intention of combining the lightness and brightness of
the Gothic cathedral with classical principles, but its role as a mausoleum required
the great Gothic windows to be blocked.
 British Museum

The British Museum, in the Bloomsbury area of London, United Kingdom, is a public

institution dedicated to human history, art and culture. Its permanent collection of some eight
million works is among the largest and most comprehensive in existence,[3] having been widely
sourced during the era of the British Empire. It documents the story of human culture from its
beginnings to the present.[a] It was the first public national museum in the world.[4]
The British Museum was established in 1753, largely based on the collections of
the Irish physician and scientist Sir Hans Sloane.[5] It first opened to the public in 1759,
in Montagu House, on the site of the current building. Its expansion over the following 250 years
was largely a result of expanding British colonisation and has resulted in the creation of several
branch institutions, the first being the Natural History Museum in 1881.
In 1973, the British Library Act 1972 detached the library department from the British Museum,
but it continued to host the now separated British Library in the same Reading Room and
building as the museum until 1997. The museum is a non-departmental public body sponsored
by the Department for Digital, Culture, Media and Sport, and as with all national museums in the
UK it charges no admission fee, except for loan exhibitions.[6]
Its ownership of some of its most famous objects originating in other countries is disputed and
remains the subject of international controversy, most notably in the case of the Parthenon
Marbles
 La Madeleine
French: L'église Sainte-Marie-Madeleine

L'église de la Madeleine (French pronunciation: [leɡliːz də la madəlɛn], Madeleine Church;

more formally, L'église Sainte-Marie-Madeleine; less formally, just La Madeleine) is a Roman
Catholic church occupying a commanding position in the 8th arrondissement of Paris.[2][3] The
Madeleine Church was designed in its present form as a temple to the glory of Napoleon's army.
To its south lies the Place de la Concorde, to the east is the Place Vendôme, and to the
west Saint-Augustin, Paris.

The Madeleine is built in the Neo-Classical style and was inspired by the much smaller Maison
Carrée in Nîmes, one of the best-preserved of all Roman temples. It is one of the earliest large
neo-classical buildings to imitate the whole external form of a Roman temple, rather than just the
portico front. Its fifty-two Corinthian columns, each 20 metres high, are carried around the entire
building. The pediment sculpture of the Last Judgement is by Philippe Joseph Henri Lemaire,
and the church's bronze doors bear reliefs representing the Ten Commandments. Its size is 354
feet (108 meters) long and 141 feet (43 meters) wide.[6][7]
Inside, the church has a single nave with three domes over wide arched bays, lavishly gilded in a
decor inspired as much by Roman baths as by Renaissance artists. At the rear of the church,
above the high altar, stands a statue by Charles Marochetti depicting St Mary Magdalene being
lifted up by angels which evokes the tradition concerning ecstasy which she entered in her daily
prayer while in seclusion. The half-dome above the altar is frescoed by Jules-Claude Ziegler,
entitled The History of Christianity, showing the key figures in the Christian religion with — a
sign of its Second Empire date — Napoleon occupying centre stag
 United States Capitol

General information
Architectural style American neoclassicism

Town or city Capitol Hill, Washington, D.C.

CountryUnited States
Coordinates
38°53′23.3″N 77°00′32.6″WCoordinates: 38°53′23.3″N
77°00′32.6″W

Construction started September 18, 1793

Completed 1800
Client Washington administration

Technical details
Floor count 5
Floor area 16.5 acres (6.7 ha)[1]

Design and construction

Architect William Thornton, designer

The United States Capitol, often called the Capitol Building, is the home of the United States
Congress and the seat of the legislative branch of the U.S. federal government. It is located on Capitol
Hill at the eastern end of the National Mall in Washington, D.C. Though no longer at the geographic
center of the Federal District, the Capitol forms the origin point for the District's street-numbering system
and the District's four quadrants.
The original building was completed in 1800 and was subsequently expanded, particularly with the
addition of the massive dome, and expanded chambers for the bicameral legislature, the House of
Representatives in the south wing and the Senate in the north wing. Like the principal buildings of
the executive and judicial branches, the Capitol is built in a distinctive neoclassical style and has a white
exterior. Both its east and west elevations are formally referred to as fronts, though only the east front was
intended for the reception of visitors and dignitaries.

Sainte-Geneviève Library

The Bibliothèque Sainte-Geneviève in Paris, by Henri Labrouste (built 1843-50)

Reading room of the Bibliothèque Sainte-Geneviève

Sainte-Geneviève Library (French: Bibliothèque Sainte-Geneviève) is a public
and university library located at 10, place du Panthéon, across the square from
the Panthéon, in the 5th arrondissement of Paris. It is based on the collection of
the Abbey of St Genevieve, which was founded in the 6th century by Clovis I, the
King of the Franks. The collection of the library was saved from destruction during
the French Revolution. A new reading room for the library, with an innovative iron
frame supporting the roof, was built between 1838 and 1851 by architect Henri
Labrouste. The library contains around 2 million documents, and currently is the
principal inter-university library for the different branches of University of Paris,
and is also open to the public.

Palais Garnier
 Opéra Garnier

The Palais Garnier (French: [palɛ ɡaʁnje] ( listen), Garnier Palace) or Opéra

Garnier (French: [ɔpeʁa ɡaʁnje] ( listen), Garnier Opera), is a 1,979-seat[3] opera house at
the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris
Opera from 1861 to 1875 at the behest of Emperor Napoleon III.[4] Initially referred to as "le
nouvel Opéra de Paris" (the new Paris Opera), it soon became known as the Palais Garnier,
[5] "in acknowledgment of its extraordinary opulence"[6] and the architect Charles Garnier's
plans and designs, which are representative of the Napoleon III style. It was the primary theatre
of the Paris Opera and its associated Paris Opera Ballet until 1989, when a new opera house,
the Opéra Bastille, opened at the Place de la Bastille.[7] The company now uses the Palais
Garnier mainly for ballet. The theatre has been a monument historique of France since 1923.
The opera was constructed in what Charles Garnier (1825-1898) is said to have told the Empress
Eugenie was "Napoleon III" style[17] The Napoleon III style was highly eclectic, and borrowed
from many historical sources; the opera house included elements from the Baroque, the
classicism of Palladio, and Renaissance architecture blended together.[18] These were combined
with axial symmetry and modern techniques and materials, including the use of an iron
framework, which had been pioneered in other Napoleon III buildings, including
the Bibliotheque Nationale and the markets of Les Halles.
The façade and the interior followed the Napoleon III style principle of leaving no space without
decoration.[19] Garnier used polychromy, or a variety of colors, for theatrical effect, achieved
different varieties of marble and stone, porphyry, and gilded bronze. The façade of the Opera
used seventeen different kinds of material, arranged in very elaborate multicolored marble
friezes, columns, and lavish statuary, many of which portray deities of Greek mythology

New York Public Library

 The New York Public Library (NYPL) is a public library system in New York
City. With nearly 53 million items and 92 locations, the New York Public Library
is the second largest public library in the United States (behind the Library of
Congress) and the third largest in the world (behind the British Library).[5] It is a
private, non-governmental, independently managed, nonprofit corporation
operating with both private and public financing.[6]
The library has branches in the boroughs of Manhattan, The Bronx, and Staten
Island and affiliations with academic and professional libraries in the New York
metropolitan area. The city's other two boroughs, Brooklyn and Queens, are not
served by the New York Public Library system, but rather by their respective
borough library systems: the Brooklyn Public Library and the Queens Public
Library. The branch libraries are open to the general public and consist
of circulating libraries. The New York Public Library also has four research
libraries, which are also open to the general public.

Boston Public Library

 The Boston Public Library is a municipal public library
system in Boston, Massachusetts, United States, founded in 1848.[4] The Boston Public Library is
also the Library for the Commonwealth[5] (formerly library of last recourse)[  of
the Commonwealth of Massachusetts; all adult residents of the commonwealth are entitled to
borrowing and research privileges, and the library receives state funding. The Boston Public
Library contains approximately 24 million volumes,[7] and electronic resources, making it the
third-largest public library in the United States behind the federal Library of Congress and
the New York Public Library, which is also privately endowed. In fiscal year 2014, the library
held more than 10,000 programs, all free to the public, and lent 3.7 million materials.

Charles Follen McKim's design shows influence from a number of architectural precedents.
McKim drew explicitly on the Bibliothèque Sainte-Geneviève in Paris (designed by Henri
Labrouste, built 1845 to 1851) for the general arrangement of the facade that fronts on Copley
Square, but his detailing of that facade's arcaded windows owes a clear debt to the side
elevations of Leon Battista Alberti's Tempio Malatestiano in Rimini. The open-air courtyard at
the center of the building is based closely on that of the sixteenth-century Palazzo della
Cancelleria in Rome; in its center is a copy of the, once controversial, statue Bacchante and
Infant Faun one of the most well-known works by Frederick William Macmonnies. McKim also
exploited up-to-date building technology, as the library represents one of the first major
applications, in the United States, of the system of thin tile vaults (or catalan vaults) exported
from the Catalan architectural tradition by the Valencian Rafael Guastavino. Seven different
types of Guastavino vaulting can be seen in the library

Théodore Géricault
 Théodore Géricault by Horace Vernet, circa 1822–1823
Born 26 September 1791
Rouen, Normandy, France
Died 26 January 1824 (aged 32)
Paris, France
Nationality French
Known for Painting, Lithography
Notable work The Raft of the Medusa
Movement Romanticism
Jean-Louis André Théodore Géricault (French: [ʒɑ ̃ lwi ɑd ̃ ʁe teodoʁ ʒeʁiko]; 26
September 1791 – 26 January 1824) was an influential French painter and lithographer,
whose best-known painting is The Raft of the Medusa. Although he died young, he was
one of the pioneers of the Romantic movement.

Born in Rouen, France, Géricault was educated in the tradition of English sporting art
by Carle Vernet and classical figure composition by Pierre-Narcisse Guérin, a rigorous
classicist who disapproved of his student's impulsive temperament while recognizing his
talent.[1] Géricault soon left the classroom, choosing to study at the Louvre, where from
1810 to 1815 he copied paintings by Rubens, Titian, Velázquez and Rembrandt.
During this period at the Louvre he discovered a vitality he found lacking in the
prevailing school of Neoclassicism.[1] Much of his time was spent in Versailles, where he
found the stables of the palace open to him, and where he gained his knowledge of
the anatomy and action of horses

The Raft of the Medusa

 The Raft of the Medusa, 1819
Géricault continually returned to the military themes of his early paintings, and the series
of lithographs he undertook on military subjects after his return from Italy are considered some
of the earliest masterworks in that medium. Perhaps his most significant, and certainly most
ambitious work, is The Raft of the Medusa (1818–19), which depicted the aftermath of a
contemporary French shipwreck, Meduse, in which the captain had left the crew and passengers
to die.
The incident became a national scandal, and Géricault's dramatic interpretation presented a
contemporary tragedy on a monumental scale. The painting's notoriety stemmed from its
indictment of a corrupt establishment, but it also dramatized a more eternal theme, that of man's
struggle with nature.[7] It surely excited the imagination of the young Eugène Delacroix, who
posed for one of the dying figures.[8]
The classical depiction of the figures and structure of the composition stand in contrast to the
turbulence of the subject, so that the painting constitutes an important bridge between neo-
classicism and romanticism. It fuses many influences: the Last Judgment of Michelangelo, the
monumental approach to contemporary events by Antoine-Jean Gros, figure groupings by Henry
Fuseli, and possibly the painting Watson and the Shark by John Singleton Copley.[9]
The painting ignited political controversy when first exhibited at the Paris Salon of 1819; it then
traveled to England in 1820, accompanied by Géricault himself, where it received much praise.
While in London, Géricault witnessed urban poverty, made drawings of his impressions, and
published lithographs based on these observations which were free of sentimentality.[10] He
associated much there with Charlet, the lithographer and caricaturist

Antonio Canova
 Self-portrait, 1792
Born Antonio Canova

1 November 1757
Possagno, Republic of Venice
Died 13 October 1822 (aged 64)
Venice, Lombardy–Venetia
Nationality Venetian (before fall)
Austrian (territory ceded to Austria)
[1]
Known for Sculpture
Notable work Psyche Revived by Cupid's Kiss
The Three Graces
Napoleon as Mars the Peacemaker
Venus Victrix
Movement Neoclassicism
Antonio Canova (Italian pronunciation: [anˈtɔːnjo kaˈnɔːva]; 1 November 1757 – 13 October
1822) was an Italian Neoclassical sculptor,[3][4] famous for his marble sculptures. Often
regarded as the greatest of the Neoclassical artists,[5] his sculpture was inspired by
the Baroque and the classical revival, and has been characterised as having avoided
the melodramatics of the former, and the cold artificiality of the latter