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The first principle of understanding history, I was taught, is to sympathize with the historical actors, to immerse oneself in their context and perspective.(1) Otherwise, history becomes a fabricated reconstruction – more about the writer's ideology than the events of the past.

This is a very interesting volume, which aims to bring together the variety of contexts and genres in which ancient history was employed and studied during the Enlightenment.

Beatrice Webb wrote in her first volume of autobiography, My Apprenticeship, that the age in which she grew up was dominated by two ‘idols of the mind’, namely a belief in scientific method and ‘the consciousness of a new motive; the transference of the emotion of self-sacrificing service from God to man’ (quoted p. 249). Auguste Comte was the prophet of both of these idols.

Now that the dust has settled on the presidential race, it’s easier to assess Simon Schama’s ambitious project of last autumn: The American Future: A History. The book (and the accompanying television series) departs from his previous work in several ways.

Duncan Bell’s book comes with an intriguing picture on its front cover: Gustave Doré’s famous 1860 depiction of a New Zealander perched on a broken arch of London Bridge sketching the ruins of St Paul’s and its environs. The image, derived from an essay by Thomas Babington Macaulay, captures much of the Victorian premonition and anxiety about empire.

The campaign for the ‘People’s Charter’, a democratic movement which thrived in the decade after 1838, was probably the most important mass movement in British history. Chartism captivated contemporaries and has had a magnetic attraction for historians, generating over 100 books and articles in the last decade alone.

Gwenda Morgan's The Debate on the American Revolution adds a valuable volume to Manchester University Press's series on Issues in History. Stretching the American Revolution forward to the construction and ratification of the American federal constitution, she surveys and sifts through a vast literature that has grown exponentially over the last several decades.

Professor Jacob's book is the latest of her several notable contributions to masonic history, which have included The Radical Enlightenment (1981) and Living the Enlightenment (1991). The book's title presumably owes something to my book of the same name (1988), while the subtitle derives from Henry Sadler's remarkable Masonic Facts and Fictions (1887).

For a generation Peter Gay’s book on the Enlightenment (a text which perhaps tells us more about the 1960s than the 1760s) informed scholars that Enlightenment and Christianity were polarities and that the defeat of dogma and metaphysics were the harbingers of secular modernity.

This book sets out to give an account of what the foundation of The Royal Academy of Arts in 1768 meant for artistic practice in particular and cultural life more generally in Britain between 1760 and 1840. It is to be welcomed, because it fills a gap, and fills it well. The history of art institutions in Britain attracts sporadic attention.