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Summary: An ikonographischen Fragen mangelt es auf dem Gebiet der mittelalterlichen und (früh)neuzeitlichen Judendarstellungen nicht, z.B. hinsichtlich des Judenhutsymbols. Das gilt auch für das Freiburger Münster. Der Band bietet einen Überblick über die zahlreichen Darstellungen der Personen am und im Bauwerk, die als Juden zu begreifen sind, verschiedentlich negativ, manchmal positiv konnotiert. So trägt im Tympanon über dem Haupteingang Joseph eine sich nach oben hin verjüngende Kopfbedeckung, während beim Pauluspfeiler des Hauptschiffs die unter dem Apostel hockende Gestalt mit einer Gugel, einer Art Kapuze, ausgestattet ist; die erste Gestalt ist offenkundig positiv zu begreifen, letztere eher nicht. Auch das durch zwei Frauen symbolisierte Paar 'Kirche und Synagoge' wird unterschiedlich gewertet, in der Vorhalle deutlich anders als beim 'Kampf' zwischen diesen Gestalten gemäß zwei Medaillons des sog. Tucherfensters. Historische und hermeneutische Reflexionen helfen, besser zu verstehen, wie es zu solchen spannungsvollen Momenten und zu manchen geschichtlichen Katastrophen kommen konnte und wie aus einem ursprünglich innerjüdischen „Familienkonflikt“ eine Konkurrenz zweier Religionsgemeinschaften wurde.

Contents: P. Nucci Pagliaro, Caravaggio e "il mondo delle donne" ; E. Negro, Caravaggio e lo 'scrivere con arabeschi' - Lassus e non bassus - Una lettura delle iscrizioni del Suonatore di liuto dell'Ermitage e del Metropolitan ; M. Nicolaci, Giovanni Baglione in bianco e nero - Inediti del pittore dalle fototeche pubbliche e private ; M. Cuppone, "Un quadro ch'io gli dipingo" - Nuoav luce su Caravaggio per Ottavio Costa, dalla Giuditta al San Giovanni Battista ; E. Lucchese, Francesco Sessa, Padova e Caravaggio: "...Fuggitosene da Milano, giunse in Venetia..." La visita di Federico Zuccari alla Cappella Contarelli e un'invenzione cremonese di Pordenone per il Martirio di San Matteo ; M. Ciampolini, La crescita naturalista e la conversione caravaggesca di Rutilio Manetti ; F. Curti, Caravaggio a Roma tra botteghe d'arte e committenze - il metodo storico e nuovi spunti documentari sui cavalletti e sul quadro "cum figuris" ; N. Roio, Qualche considerazione sull'arrivo a Roma di Caravaggio e Minniti ; M. Marubbi, Il San Francesco in preghiera di Caravaggio e i suoi doppi ; S. Macioce, "Fermezza il negro e ancor malenconia" - Un indizio per Guditta ; M. Pirondini, Badalocchio "after Caravaggio" ; S. Sperindei, Nuovi documenti sul pittore ed acquafortista seicentesco Giovan Battista Braccelli ; P. Carofano, Intorno ad una allegoria della purezza di Antiveduto Gramatica ; F.M. Ferro, Il volto di Artemisia ; R. Ward Bissell, Orazio Gentileschi in Genoa - two annunciations, three madonnas, when is a replica a replica, a copy a copy?.

Summary: Das Kunigundenaltar in St. Marien aus der Werkstatt Lucas Cranachs d. Ä. hat seit fast 500 Jahren seinen Platz auf dem Hochaltar der reformationsgeschichtlich bedeutsamen Zwickauer Katharinenkirche. Das u.a. in ikonografischer Hinsicht - es zeigt die Fußwaschung im Zentrum - exzeptionelle Bildwerk erfährt hier eine erste ausführliche Würdigung. Wie kaum ein zweites Denkmal ist das Zwickauer Retabel zum Zeugnis von Reformation, Migration und Konversion geworden. Jüngst kunsttechnologisch untersucht und restauriert, gibt das faszinierende Altarbild der Wissenschaft zahlreiche Rätsel auf: Ist es ein Werk ‚aus einem Guss‘ oder vielmehr ein Mixtum compositum aus drei oder vier bislang unbekannten Cranach’schen Altären? Ist seine Genese zu einem ikonografisch und theologisch konzisen Bildmanifest geradlinig verlaufen oder führte die bisherige Lesart der Quellenüberlieferung in die Irre? Deuten die Befundspuren auf nachträgliche Gemäldekompilationen, etwa zum Zwecke der Lutherisierung des Bildprogramms? Und wenn ja, wie wäre der Gang der Objektgeschichte vor der Kulisse der soziohistorischen Verwerfungen in der ersten Hälfte des 16. Jh. neu zu rekonstruieren? Die spannende Diskussion wird von Fachwissenschaftlern aus Kunst- und Baugeschichte, Restaurierungs- und Geschichtswissenschaft sowie Denkmalpflege kontrovers geführt, ergänzt durch eine Quellenedition und eine eigens angefertigte Fotodokumentation.

Contents: Thomas Pöpper, Cranach in Zwickau - oder die Tafel der Kalanden lotio pedunt aus St. Marien. Zu Reformation, Migration und Konversion eines Bildwerks ; Gabriel Puschmann, Die Zwickauer St. Katharinenkirche - Zum Ort der heutigen Aufstellung des Cranachschen Retabels ; Julia Kahleyss, Zum Zwickauer Kaland ; Michael Kühn, Zu den Standorten des, oder besser der Cranachschen Retabel in der St. Marienkirche (1518-1530) ; Gunnar Heydenreich, Die Veränderungen des Zwickauer Cranach-Retabels im Entstehungsprozess - Ergebnisse strahlendiagnostischer Untersuchungen ; Ingo Sandner, Das Retabel in der Zwickauer St. Katharinenkirche - Versuch einer Händescheidung ; '…Arndt Kiesewetter und Christine Keim ausgeteylt und zuegenzt... - Ist das Cranach sehe Retabel ein Mixtum compositum? ; Susanne Kimmig-Völkner, Künstlerische Einheit oder Mixtum compositum? Das Kunigundenretabel im Jahrhundert seiner Entstehung ; Matteo Rebeggiani, 'Göttis Wort soll hie streiten' - Kanzel und Taufstein von St. Katharinen als evangelische Ordnungselemente ; Mario Titze, Die Neuinszenierungen der Cranachschen Tafeln im 17. und 19. Jahrhundert ; Andreas Tacke, Luftlöcher. Manierismen bei Cranach ; Daniel Corres, Anmerkungen zu den druckgrafischen Vorlagen des Zwickauer Retabels ; Anja Ottilie Ilg, Verdachtsmomente. Indizien für ein befangenes Cranach-Bild bei der kunstwissenschaftlichen Beurteilung des Zwickauer Kunigundenretabels im 19. Jahrhundert - ein Problemaufriss ; May Schoder, Restaurierung und Konservierung des Cranachschen Retabels in der St. Katharinenkirche .

Contents: Fürst und Fürstin als Künstler, Matthias Müller / Klaus Pietschmann ; Kulturelle Produktion im höfischen Kontext - Methoden und Leitfragen, Annette C. Cremer ; Zwischen Staatstugend und interesselosem Wohlgefallen - Die idealen Vorstellungen vom Fürsten als Sammler und Dilettant, Christina Kuhli ; Kaiser Maximilians 'enzyklopädischer Dilettantismus' - Der 'weise Fürst' und seine Vorstellung von 'kaiserlicher Baukunst', Wolfgang Lippmann ; Optimo architecto und Duca artificere - Städte bauen und Waffen schmieden - Die Künste als Machtinstrument der Este im 16. Jahrhundert, Elena Taddei ; Türme und Territorium - Vincenzo Giustiniani als adeliger 'Konzeptkünstler', Christina Strunck ; Zwischen Unterrichtung und künstlerischer Produktion - Überlegungen zur fürstlichen Architekturzeichnung im Alten Reich 1500-1700, Sebastian Fitzner ; Der drechselnde Herrscher - fürstliche Drechselkunst, Jutta Kappel ; Lacca Povera und Découpure - Fürstlich-weibliches Kunsthandwerk im 18. Jahrhundert, Annette C. Cremer ; Friedrich Christian von Sachsen lernt Zeichnen, Susanne Müller-Bechtel ; "Die Dame die den Brief zerreisst" - Die Inszenierung der zeichnenden Erzherzogin, Marie Christine Sandra Hertel ; "Mit Degen und Feder" - Erzherzog Leopold Wilhelm als Verfasser italienischer Gedichte, Renate Schreiber ; "alle seitten spyel erlernt" - Maximilian I. zwischen inszeniertem und faktischem Musikertum. Nicole Schwindt ; Nach innen vernetzt, nach aussen anonym - Herzog Guglielmo Gonzaga komponiert am Hof von Mantua (1550-1587), Christiane Wiesenfeldt ; Herrscherliche Nähe und Distanz durch Musik und musikalische Praxis an italienisch-katholischen Höfen im deutschsprachigen Raum des 17. Jahrhunderts, Britta Kägler / Gesa zur Nieden ; "une musique assés comique" oder, Der Landgraf singt - Zur Funktion der Musik im Leben von Ernst Ludwig von Hessen-Darmstadt (1667-1739), Ursula Kramer ; Zwischen Staatsraison und Plaisir - Ludwig XIII. komponiert Musik, Margret Scharrer ; Der Fürst als Tänzer - Prekäre Balance der Körper, Christiane Hille. (Schriften zur Residenzkultur, 11)

Summary: From 1921 until 1948, Paul J. Sachs (1878-1965) offered a yearlong program in art museum training, "Museum Work and Museum Problems," through Harvard University's Fine Arts Department. Known simply as the Museum Course, the program was responsible for shaping a professional field-museum curatorship and management-that, in turn, defined the organisational structure and values of an institution through which the American public came to know art. Conceived at a time of great museum expansion and public interest in the United States, the Museum Course debated curatorial priorities and put theory into practice through the placement of graduates in museums big and small across the land. In this book, authors Sally Anne Duncan and Andrew McClellan examine the role that Sachs and his program played in shaping the character of art museums in the United States in the formative decades of the twentieth century. "The Art of Curating" is essential reading for museum studies scholars, curators, and historians.

Summary: This book showcases the unique and mesmerizing art of mid-century American artist, Gray Foy. Long eclipsed from public and private view, this large cache of drawings was discovered after Foy's death, mostly hidden in drawers and closets. The five-year effort to prepare the astonishing discovery for publication culminates in this stunning volume of drawings whose rare beauty will appeal to cognoscenti and general readers alike. Born in 1922 in Dallas, Foy spent his youth in Los Angeles and went on to study art at Southern Methodist University in Texas and Columbia University in New York. His drawings appeared in numerous group exhibitions (including several Whitney Annuals), and he received a Guggenheim Fellowship. Foy's drawings are executed with a draftsmanship whose meticulously detailed qualities challenge the viewer's visual acuity. His early work, related to both Magic Realism and Surrealism, conveys affinities with artists as varied as Salvador Dalí and M.C. Escher, and is characterized by complexly interwoven compositions in which human figures, flora and fauna, and terrains and interiors morph into vivid dreamscapes. His mature drawings focus on botanical and geological forms in the process of transformation, metaphorically suggestive of the passage of time and the mutability of perception.

Summary: This is a rich and path-breaking comparative study of reading tastes in the final years of old regime Europe. Based on extensive research in the account books of the Swiss publishers, the Société typographique de Neuchâtel (STN), and related archives, it charts the dissemination of literature and reading tastes across Europe in the years leading up to the French revolution. In the process, it recasts our understanding of late 18th-century print culture and the contours of the enlightenment. The fruit of a widely acclaimed five year database project, the STN database, it is also a story of pioneering efforts to apply the latest digital technology and GIS mapping techniques to traditional historical and bibliographic problems. Although written to serve as a standalone study, this book is ideally complemented by its companion volume, Mark Curran's The French Book Trade in Enlightenment Europe I: Selling Enlightenment, which offers a radical reinterpretation of the structure and practices of the European book trade. The STN database is now recognised as a cutting-edge digital project of global significance. Robert Darnton has called it "a prodigious accomplishment and a joy to use" while Jeremy Popkin adds, "No one working in the field of French Enlightenment studies … can afford to ignore the rich mine of data that Simon Burrows and his collaborators have made accessible, in an eminently usable form, and the new possibilities it opens up for scholars." The French Book Trade in Enlightenment Europe I and II offer a roadmap of that data and what it can show us.

Summary: This handsomely produced publication is the first of a two volume set exploring an outstanding collection of leaves and miniatures from medieval manuscripts. Brimming with beautiful illustrations, this welcome contribution to medieval scholarship covers a period from the late 9th to the late 15th centuries and incorporates new discoveries in this still growing field.

The turbulent times when Napoleon’s troops were sweeping over Europe under the banner of secularization, seeking to suppress ecclesiastical influence within the sphere of political power, had disastrous consequences especially for ecclesiastical libraries, which were broken up and looted. The Italian religious houses had their cultural treasures destroyed or moved out of context and spread all over the world to satisfy a growing market for medieval art. These fatal years (1796–99) coincide with a major interest in early Italian painting, when French and English connoisseurs joined their Italian colleagues in a systematic study of early Italian art, producing fundamental studies on the subject.

Essentially the deplorable practice of breaking up manuscripts and liturgical books was not all that different from the inglorious process of dismembering giant medieval altarpieces, whose single pieces were made available to a growing market and, consequently, dispersed among different collections. Thus, in the present day, one of the major tasks of the art historian is the attempt to reassemble these fragments and present them in virtual reconstructions, reconstituting their original context. By doing this, scholars create the foundation for any further art-historical analysis of a work of art. This task is one of the important objectives in cataloguing the present collection.

The miniatures and single leaves in the McCarthy collection, which has been formed in the past two or three decades – between 1990 and today – are manifestly the fruit of the destructive, but at the same time a conservational effort. Even though assembled in relatively recent years, the McCarthy collection stands in line with many similar anthologies of miniature in private or public hands. However, by contrast to other similar collections, the McCarthy collection has not limited its focus just on one school of European illumination, the Italian centres of illumination, but aims to present a vast panorama of this sophisticated art, which, to use Dante’s words, was called ‘illumination’ (‘... quell arte ch’alluminar chiamata è in Parisi’; Purgatorio, XI, 79–80). The present volume is dedicated to the holdings of single leaves and miniatures from medieval Italian manuscripts, which cover a period from the late 9th to the late 15th centuries, and are enriched by a few Byzantine items, appropriately included here and discussed by Georgi Parpulov. The focus on late 13th- and early 14th-century illumination in the collection demonstrates McCarthy’s predilection for the medieval and early Gothic world, which also becomes apparent in his holdings of French and German illumination, to be discussed by Peter Kidd in volume II, to be announced shortly.

Summary: At the end of the 19th century W.M.F. Petrie excavated a series of assemblages at the New Kingdom Fayum site of Gurob. These deposits, known in the Egyptological literature as 'Burnt Groups', were composed by several and varied materials (mainly Egyptian and imported pottery, faience, stone and wood vessels, jewellery), all deliberately burnt and buried in the harem palace area of the settlement. Since their discovery these deposits have been considered peculiar and unparalleled. Many scholars were challenged by them and different theories were formulated to explain these enigmatic 'Burnt Groups'. The materials excavated from these assemblages are now curated at several Museum collections across England: Ashmolean Museum, British Museum, Manchester Museum, and Petrie Museum. For the first time since their discovery, this book presents these materials all together. Gasperini has studied and visually analysed all the items. This research sheds new light on the chronology of deposition of these assemblages, additionally a new interpretation of their nature, primary deposition, and function is presented in the conclusive chapter. The current study also gives new information on the abandonment of the Gurob settlement and adds new social perspective on a crucial phase of the ancient Egyptian history: the transition between the late New Kingdom and the early Third Intermediate Period. Beside the traditional archaeological sources, literary evidence ('The Great Tomb Robberies Papyri') is taken into account to formulate a new theory on the deposition of these assemblages.

Contents: 1. The Burnt Group of Amenhotep III. 2. The Burnt Group of Tutankhamon. 3. The First Burnt Group of Ramesses II. 4. The Second Burnt Group of Ramesses II. 5. The Burnt Group of Sety II. 6. Burnt Group '3'. 7. Burnt Group '7'. 8. Burnt Group 'X'. (Oxford Studies in Egyptian Archaeology)

Summary: Figure éminente du romantisme, surtout connu en tant que peintre du cheval, Théodore Géricault (1791-1824) meurt à trente-deux ans, plus jeune que Raphaël ou Watteau, laissant une production lithographique qui compte parmi les plus grands chefs-d’œuvre du XIXe siècle. Formé par Carle Vernet, Guérin et l’École des beaux-arts, ayant copié les maîtres au Louvre, Géricault échoue au prix de Rome en 1816, mais se rend à ses frais en Italie. Il introduit dans son œuvre l’actualité contemporaine : libéral, il montre les souffrances des soldats de l’Empire, critique le régime de la Restauration avec son Radeau de la Méduse (Salon de 1819), s’intéresse à la question de l’esclavage. Durant ses séjours à Londres en 1820-1821, il dénonce dans ses lithographies la réalité sociale des débuts de la révolution industrielle. Les poèmes de Lord Byron inspirent sa production orientaliste, dominée par son amour du cheval. Le musée Condé à Chantilly conserve une collection presque complète de ses lithographies, acquise en 1866 par Henri d’Orléans, duc d’Aumale (1822-1897), donateur de Chantilly à l’Institut de France. (Les carnets de Chantilly, 5)

Summary: The majestic cycle of fifteen canvases completing the decoration of Santa Maria in Vallicella was unveiled just prior to the 1700 Jubilee. This church is now owned by the Fondo Edifici di Culto, which safeguards, conserves and promotes more than 820 religious structures across Italy. Lining the path toward St Peter's Basilica, its paintings continue to present the world with the precious message of Human Redemption. This book retraces the history, importance and exceptional beauty of this largely unknown cycle. More importantly it brings attention to the need for its restoration that, now as 320 years ago, requires the support of one or more patrons, inspired by a passion for this story.

Contents: The cycle of Human Redemption - a comprehensive overview ; The Chiesa Nuova before the 1675 Jubilee ; The decoration of the Chiesa Nuova during the last quarter of the seventeenth century ; A study of the use of materials, methods of realization and requirements for the restoration of the cycle of Human Redemption.

Summary: The role played by women in the evolution of religious art and architecture has been largely neglected. This study of upper-class women in the fifteenth and sixteenth centuries corrects that oversight, uncovering the active role they undertook in choosing designs, materials, and locations for monuments, commissioning repairs and additions to many parish churches, chantry chapels, and almshouses characteristic of the English countryside. Their preferred art, Barbara Harris shows, reveals their responses to the religious revolution and signifies their preferred identities. (Gendering the Late Medieval and Early Modern World)

Summary: Taking a cue from a burgeoning revisionist scholarship devoted to early modern vernacular architectures and their relationship to the classical canon, this book rehabilitates the reputations of a representative if misunderstood building typology - the eighteenth-century brick terraced house - and the artisan communities of bricklayers, carpenters and plasterers responsible for its design and construction. Opening with a cultural history of the building tradesman in terms of his reception within contemporary architectural discourse, subsequent chapters consider the design, decoration and marketing of the town house in the principal cities of the eighteenth- and early nineteenth-century British Atlantic world. It is essential reading for students and scholars of the history of architectural design and interior decoration specifically, and of eighteenth-century society and culture generally.

Contents: Introduction - a new apology for the builder. 1. Building reputations - social and architectural discourse. 2. Making houses - design and the building process. 3. Decorating houses - style and the business of taste. 4. Selling houses - advertising and the property market. Conclusion - the builder rehabilitated. (Studies in Design and Material Culture)

Summary: When does a book that is merely old become a rarity and an object of desire? David McKitterick examines, for the first time, the development of the idea of rare books, and why they matter. Studying examples from across Europe, he explores how this idea took shape in the sixteenth and seventeenth centuries, and how collectors, the book trade and libraries gradually came together to identify canons that often remain the same today. In a world that many people found to be over-supplied with books, the invention of rare books was a process of selection. As books are one of the principal means of memory, this process also created particular kinds of remembering. Taking a European perspective, McKitterick looks at these interests as they developed from being matters of largely private concern and curiosity, to the larger public and national responsibilities of the first half of the nineteenth century.

Contents: 1. Inventio. 2. Books as objects. 3. Survival and selection. 4. Choosing books in Baroque Europe. 5. External appearances (1). 6. External appearances (2). 7. Printers and readers. 8. A seventeenth-century revolution. 9. Concepts of rarity. 10. Developing measures of rarity. 11. Judging appearances by modern standards. 12. The Harleian sales. 13. Authority and rarity. 14. Rarity established. 15. The French bibliographical revolution. 16. Books in turmoil. 17. Bibliophile traditions. 18. Fresh foundations. 19. Public faces, public responsibilities. 20. Conclusion.

Summary: Enciclopedia unica nel suo genere, questo terzo volume ripercorre lo sviluppo della più importante manifattura di arazzi italiana, sotto la guida di Pietro Févére e Giovanni Pollastri con la produzione di Pietro e Bernardino Van Asselt (1630-1672). Si ricostruisce così la vicenda di un prodotto artistico fondamentale nella evoluzione del gusto e del collezionismo. La manifattura medicea, vera e propria industria di stato ormai famosa in Europa in questa nuova fase della sua storia apre le porte anche alle richieste della committenza privata con prodotti di altissima qualità. La ricchissima e inedita campagna fotografica, comprensiva di tutti gli arazzi patrimonio delle Gallerie pubbliche fiorentine, fa di questa opera uno strumento essenziale per comprendere uno dei periodi cruciali dell'arte e della storia della manifattura italiana a partire dalla metà del XVI secolo. (Gli arazzi nei musei fiorentini, La collezione medicea, Catalogo completo, 3)

Summary: In this bold and groundbreaking book, Brent Nongbri provides an up-to-date introduction to the major collections of early Christian manuscripts and demonstrates that much of what we thought we knew about these books and fragments is mistaken. While biblical scholars have expended much effort in their study of the texts contained within our earliest Christian manuscripts, there has been a surprising lack of interest in thinking about these books as material objects with individual, unique histories. We have too often ignored the ways that the antiquities market obscures our knowledge of the origins of these manuscripts. Through painstaking archival research and detailed studies of our most important collections of early Christian manuscripts, Nongbri vividly shows how the earliest Christian books are more than just carriers of texts or samples of handwriting. They are three-dimensional archaeological artifacts with fascinating stories to tell, if we’re willing to listen.

Contents: Klaus Unterburger, Regensburg und das unverfälschte Evangelium Konfessionelle Identitätsbildungsprozesse im Reformationszeitalter ; Daniel Rimsl, "Es ist Nit Ein Wvnder das schon oft Ein feiner konstler zu verderben kombt" - Biografische Notizen zu Michael Ostendorfer ; Daniel Rimsl, Currendi libido: "Wann ains das lauffen recht ankam" - Die Wallfahrt zur Schönen Maria in Regensburg ; Christoph Wagner, Michael Ostendorferzwischen Reformation und Konfessionalisierung ; Gerald Dagit, Das Heerlager Kaiser Karls V. vor Ingolstadt 1546 - Militärische Dokumentation und politische Repräsentation am Beispiel von Hans Mielichs Riesenholzschnitt ; Dominic E. Delarue, Michael Ostendorfer im Dienst der Regensburger Reformation Drei Holzschnittzyklen und ein Altarretabel, 1546-1558 ; Daniel Rimsl, Michael Ostendorfers Retabel für die Regensburger Neupfarrkirche ; Annette Kurella, Die Gemälde Michael Ostendorfers im Historischen Museum Regensburg Anmerkungen zum materiellen Bestand und seinen Veränderungen ; Katharina Frank, Schmerzensmann und Kinderfreund - Cranach-Gemälde in der Reformationszeit ; Michael Hofbauer, Der 'Reformator' Lucas Cranach und die Protestantisierung des Bildes ; Christian Scholl, Von der Neupfarrkirche zur Dreieinigkeitskirche Lutherischer Kirchenbau der Frühen Neuzeit in Regensburg ; Harald Berghoff, Kleinstiftungen grosser Bürger - Objekte gegeben zu Ehren Gottes und der Kirche ; Barbara Muhr, Reformatoren, Bürger und Adelige Hintergrundmotive und Kontexte als sinnstiftende Aspekte des Porträts im 16. Jahrhundert ; Melanie Kraft, Repräsentation, Selbstbild, Stadtgeschichte - Melchior Bocksbergers Entwürfe für die Fassade des Regensburger Rathauses ; Barbara Eichner, Musikalisches Mit- und Gegeneinander in Regensburg im 16. Jahrhundert. (Regensburger Studien zur Kunstgeschichte, 27)

Contents: Vision and Colour in the Works of Giotto and His Contemporaries, Donal Cooper ; Robert Grosseteste's De iride and its Addendum in the Vatican Manuscript Barb. Lat. 165 - Transmission, Reception, Meaning, Cecilia Panti and Greti Dinkova-Bruun ; Seeing a Pink Elephant - Creating Meaning through Colour in the Medieval Bestiary, Elizabeth Morrison ; The Colours of Fortune, Deirdre Jackson ; Recipes and Reception - Late Mediaeval English Colour. Recipes and Amateur Illuminators, Mark Clarke ; Looking for Lichen, Fooled by Folium and Tricked by Tyrian - A Brief Tour and New Research on Purple in Manuscripts, Cheryl Porter, Maurizio Aceto, Elisa Calà, Angelo Agostino, Gaia Fenoglio, Ambra Idone and Monica Gulmini ; Reflecting a Heavenly Light - Gold and other Metals in Medieval and Renaissance Manuscript Illumination, Nancy Turner ; Gold or Brass, Silver or Tin - the Analysis of Metals in Medieval Book Illumination, Robert Fuchs, Cologne Institute for Conservation Sciences ; Pigmenta - Materials for Writing, Painting and Healing, Lea Olsan ; The Use of Copper Sulphates in Sixteenth-Century Flemish Illumination - Simon Bening as a Case Study, Giulia Bertolotti and Paola Ricciardi ; Between Tradition and Innovation - Giving Light to a Visionary Text in the Lorvão Beatus, Maria João Melo, Maria Adelaide Miranda, Rita Castro, João Lopes and Jorge Sarraguça ; Scientific Study of Cistercian Illuminated Manuscripts - Techniques, Aesthetics and Religion, Catarina Miguel, Angela Nuñez-Gáitan, Maria Luisa Carvalho and Cristina Barrocas-Diasa ; Mapping and identification of the pigments used in two illuminations from the Laudario of Sant'Agnese attributed to the Master of the Dominican Effigies, John K. Delaney, Kathryn Dooley, Damon Conover, Lisha Glinsman, Giorgio Trumpy and Michelle Facini ; The Benefits of Scanning Illuminated Manuscripts with MA-XRF and MA-rFTIR, Stijn Legrand, Paola Ricciardi and Koen Janssens ; The Psalter-Hours of Isabelle of France in the Nineteenth-Century, Stella Panayotova ; The Spanish Forger Exposed - an Interdisciplinary Study of Two of His Paintings, Christina Currie, Steven Saverwyns and Dominique Vanwijnsberghe. (Manuscripts in the Making, 2)

Summary: Communal singing and reading of Latin texts formed the core of Christian ritual and occupied hours of the Benedictine monk’s day. These monks also illustrated the texts, and the full meaning of these images is often only revealed when analyzed in concert with the oral and written word that originally accompanied them. The earliest manuscripts of the Cîteaux, copied and illustrated during a period of intense reform at the monastery, demonstrate the interdependence between art, liturgy, and reform. (Knowledge Communities)

Summary: Nicht nur Rembrandt, der größte Künstler in Hollands Goldenem Jahrhundert, war ein groß­artiger Zeichner, sondern auch seine zahl­reichen Schüler und Mitarbeiter. Diese konnten sich dem prägenden Einfluss des Meisters nicht entziehen. Sie behandelten nicht nur dieselben Themen wie jener, sie zeichneten sogar in seinem Stil. Das führte schon bald zu Verwechs­lungen von Arbeiten Rembrandts und der Mitarbeiter, die meisten Zeich­nungen im Stil des Meisters galten als Werke von seiner Hand. Doch hat sich in den letzten Jahren die Beurteilung grund­legend verändert: Viele der einst Rembrandt zugeschrie­benen Blätter werden heute als Werke seiner Schüler und Mitarbeiter betrachtet. Die vorliegende Publikation, die den 2006 erschie­ne­nen Katalog der eigen­hän­digen Arbeiten Rembrandts im welt­berühmten Bestand des Berliner Kupferstich­kabinetts ergänzt, dokumentiert diejenigen Zeichnungen, die heute Schülern wie Gerbrand van den Eeckhout, Ferdinand Bol, Willem Drost, Arent de Gelder und anonymen Meistern zugewiesen werden. Die Aussonderung aus dem Werk Rembrandts und die Zuordnung zu anderen Künstlern ist das Ergebnis der kenner­schaft­lichen Ausein­ander­setzung mit diesem kompli­zierten zeichne­rischen Komplex. Über 150 Zeichnungen werden mit kritischen Einzel­bei­trägen behandelt.

Summary: Bridget Riley (b. 1931) trained as a figurative painter before emerging as one of the most prominent masters of Op-Art. Since then her abstract work has continued to garner critical acclaim and remains as relevant as ever—with a major new site-specific painting opening at the Chinati Foundation in Marfa, TX, in October 2017, and an exhibition at David Zwirner Gallery, NY, in 2018. This complete catalog of Riley’s paintings assembles her remarkable oeuvre for the first time, reproduced to the highest standards in a highly collectible five- volume box set: a must- have for devotees of twentieth century contemporary art.

Summary: In his own day, Godefridus Schalcken (1643–1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London. Using newly discovered documents, this book provides the first comprehensive examination of Schalcken’s activities there. The author analyzes Schalcken’s strategic appropriations of English styles, his attempts to exploit gaps in the art market, and his impact on tastes in London’s milieu. Five chapters survey his art during these years, concluding with a critical catalogue of all his London-period work. (Visual and Material Culture, 1300-1700)

Summary: In Enchanted Islands, renowned art historian Mary D. Sheriff explores the legendary, fictional, and real islands that filled the French imagination during the ancien regime as they appeared in royal ballets and festivals, epic literature, paintings, engravings, book illustrations, and other objects. Some of the islands were mythical and found in the most popular literary texts of the day—islands featured prominently, for instance, in Ariosto’s Orlando furioso,Tasso’s Gerusalemme liberata, and Fénelon’s, Telemachus. Other islands—real ones, such as Tahiti and St. Domingue—the French learned about from the writings of travelers and colonists. All of them were imagined to be the home of enchantresses who used magic to conquer heroes by promising sensual and sexual pleasure. As Sheriff shows, the theme of the enchanted island was put to many uses. Kings deployed enchanted-island mythology to strengthen monarchical authority, as Louis XIV did in his famous Versailles festival Les Plaisirs de l’île enchantée. Writers such as Fénelon used it to tell morality tales that taught virtue, duty, and the need for male strength to triumph over female weakness and seduction. Yet at the same time, artists like Boucher painted enchanted islands to portray art’s purpose as the giving of pleasure. In all these ways and more, Sheriff demonstrates for the first time the centrality of enchanted islands to ancient regime culture in a book that will enchant all readers interested in the art, literature, and history of the time.

Summary: Sacred Thresholds. The Door to the Sanctuary in Late Antiquity offers a far-reaching account of boundaries within pagan and Christian sanctuaries: gateways in a precinct, outer doors of a temple or church, inner doors of a cella. The study of these liminal spaces within Late Antiquity – itself a key period of transition during the spread of Christianity, when cultural paradigms were redefined – demands an approach that is both interdisciplinary and diachronic. Emilie van Opstall brings together both upcoming and noted scholars of Greek and Latin literature and epigraphy, archaeology, art history, philosophy, and religion to discuss the experience of those who crossed from the worldly to the divine, both physically and symbolically. What did this passage from the profane to the sacred mean to them, on a sensory, emotive and intellectual level? Who was excluded, and who was admitted? The articles each offer a unique perspective on pagan and Christian sanctuary doors in the Late Antique Mediterranean. (Religions in the Graeco-Roman World, 185)

Summary: This book has been published on the occasion of the donation made by William B. Jordan to the American Friends of the Prado Museum. On display for the first time in the Museum’s galleries is Portrait of Philip III by Velázquez, a work that has been donated by William B. Jordan to American Friends of the Prado Museum, which has ceded it to the Museum as a temporary deposit. Velázquez’s painting is displayed in the Prado’s principal gallery alongside Philip II offering the Infante don Fernando to Victory by Titian, which can now be seen following its recent restoration undertaken with the support of Fundación Iberdrola España, a Benefactor Member of the Museum’s Restoration Programme. Titian’s painting hung in the same room (the Salón Nuevo in the Alcázar in Madrid) as The Expulsion of the Moriscos by Velázquez, a painting directly connected with the new portrait of Philip III, which was executed as a study for it. (Serie Uno, 14)

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