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Shaping and remembering an imperial city, 1870–1911
David Atkinson, Denis Cosgrove, and Anna Notaro

the classical inheritance which was considered a vital ingredient of Italy’s modern national consciousness. In myriad ways, Rome’s reworked landscapes were constantly interwoven with references to the idea of empire, metaphorically and literally. This theme reached a spectacular apotheosis in the most self-consciously referential symbol of the Liberal state – its national monument, dedicated on 4 June 1911 to the memory of the first king of a united Italy, Vittorio Emanuele II ( Figure 6 ). While public and national

in Imperial cities
Jan Broadway

familiar to Dugdale’s gentry readership. By invoking them at the start of his work, Dugdale was implicitly associating Warwickshire with this classical inheritance. Similarly, William Grey linked his work to both classical and national historians: ‘Greece had his Homer. Rome his Virgil. Our Britons had their Gildas. Saxons had their Beda. England had of late his learned Camden, and painfull Speed’ – so Newcastle was to have its Grey.41 Although each edition of Camden’s Britannia included more Anglo-Saxon and medieval material, it remained a monument to the importance of

in ‘No historie so meete’
Benjamin J. Elton

inclinations, so too they restricted his aesthetic leanings. Although Adler viewed many aspects of the non-Jewish world positively, there were other aspects which, as a traditionalist, he could not approve – for example, faiths other than Judaism. He criticised Greek polytheism as ‘a mythology which could not but corrupt and debase’.116 He blamed Rome’s lack of true religion for its ‘luxury, cruelty and sensuality’.117 These attacks on the classical inheritance were part of the wider debate sparked by Matthew Arnold and the chapter on ‘Hebraism and Hellenism’ in his Culture

in Britain’s Chief Rabbis and the religious character of Anglo-Jewry, 1880–1970