Since the 1960s much informed attention has been paid to the Russian artist Vladimir Tatlin (1885-1953), culminating in the recent appearance of John Milner's expert and sensitive study; with his centenary year one can only expect such interest, in east and west, has intensified. Though Tatlin's fields of activity were extraordinarily diverse (and by no means all conventionally “artistic“), attention has been concentrated both in his lifetime and since on what is, by common consent, the greatest (or most notorious) of his endeavors: the project, unrealized at full scale and probably unrealizable in his lifetime (though several maquettes have been produced) for his Monument to the Third International, popularly dubbed “Tatlin's Tower.“