The 1,055 drawings catalogued in these four volumes are mainly divided between the Royal Library at Windsor Castle and the Department of Greece and Rome of the British Museum, but are also scattered in other public and private collections across the world. They correspond most closely to Cassiano's definition of the Paper Museum as his attempt to have 'skilled young draughtsmen' draw 'everything good in marbles and bronze which can provide some information about antiquity'. He focused in the first instance on the ancient figurative reliefs which are especially abundant in the city of Rome, carved on marble sarcophagi, tombstones, altars, bases and a wide range of other monuments. The drawings depict both the public reliefs of the city - such as those on the Arch of Constantine or the Column of Marcus Aurelius - and those from the major Roman private collections of the period, including the Aldobrandini, Borghese, Medici, Farnese, Barberini and Giustiniani collections. Cassiano started the project in the 1620s with the intention of publishing the drawings as a series of prints. No printed edition ever came to pass, but the drawings collection expanded with still greater energy in the 1630s, when Pietro Testa and other young artists from the circle of Pietro da Cortona were employed. After Cassiano's death in 1657 the enterprise was carried forward by his younger brother Carlo Antonio, who continued to collect drawings of sarcophagi and reliefs well into the 1680s. Sixteenth-century purchases were also made for the collection, including works by Battista Franco and Pirro Ligorio. Four introductory essays explore the context in which the project evolved and discuss the collecting history of the Paper Museum as attested by the mounts and numbering found on many of the drawings. The range of different hands at work are identified, and a detailed survey is provided of the existing albums or the past configurations of others now dismembered.

Sarcophagi and Other Reliefs (Paper Museum of Cassiano Dal Pozzo. Series A: Antiquities and Architecture, A) (English, Italian and Latin Edition)

Arts & Photography

CLARIDGE, Amanda

Dodero, Eloisa

History & Criticism

Brepols Pub

Ambigua Ad Thomam Una Cum Epistula Secunda Ad Eundem (Corpus Christianorum Patristic Greek Series) (Greek Edition)

History

World

Der Meister Von Flemalle (Ars Nova) (French Edition)

Kemperdick, S

I. Examining Jan van Eyck: Key Works Catherine Reynolds, London: 'The King of Painters'. Lorne Campbell, The Nationale Gallery, London: The Arnolfini Double PotraitUta Neidhart and Christoph Schzel, Gemaldegalerie, Dresden: The Dresden TriptychRachel Billinge, Helene Verougstraete and Roger Van Schoutte, The National Gallery, London and University of Louvain-la-Neuve: The Saint BarbaraPhilippe Lorentz, Musee du Louvre, Paris: The Rolin Virgin and ChildMelanie Grifford, National Gallery of Art, Washington DC, Assessing the Evolution of van Eyck's Iconography through Technical Study of the Washington Annunciation ICarol Purtle, University of Memphis: Assessings the Evolution of van Eyck's Iconography through Technical Study of the Washington Annunciation II: New Light on the Development of van Eyck's Architectural Narrative II. Van Eyck's Working Methods L. Dierick, Ghent: Jan van Eyck's Handwriting Rachel Billinge, The National Gallery, London: Examining Jan van Eyck's Underdrawings. Ashok Roy The National Gallery, London: Van Eyck's Technique: The Myth and the Reality I Raymond White, The National Gallery, London: Van Eyck's Technique: The Myth and the Reality IIHelene Verougstraete and Roger Van Schoute, University of Louvain-la-Neuve: Van Eyck's FramesIII. Jan Van Eyck: Contemporary Sources and Imagery John Steyaert, University of Minnesota, Minneapolis: The van Eyck's and Sculpture Margaret Scott, Leicester: Dress in van Eyck's Paintings IV. The Legacy of Jan van EyckNoel Geirnaert, Stadsarchief, Bruges: Anselm Adornes and his Daughters: Owners of Two Paintings of Saint Francis by Jan van Eyck?Paula Nuttall, London: Jan van Eyck's Painting in ItalyStephanie Buck, Freie Universitat Berlin: An Approach to Looking at Eyckian DrawingsSusan Jones, The Art Institute of Chicago: The Use of Workshop Drawings by Jan van Eyck.

Investigating Jan Van Eyck (Museums at the Crossroads, 6)

Foister, S

Jones, S.

Cool, D

Sculpture

The publication of the second in a five-volume scholarly catalogue of the 15th-century Southern Netherlandish paintings in the Royal Museums of Fine Arts of Belgium in Brussels is a long awaited event not only in Belgium but troughout the art world. The museums' rich collection of Flemish Primitives boasts paintings by Rogier van der Weyden, Gerard David, Petrus Christus, Dirk Bouts, Hans Memling and Hieronymus Bosch. It also includes several important works by artists with provisional names from the Schools of Tournai, Bruges and Brussels, such as th Master of Flemalle, the Master of the St Lucy Legend and the Master of the Life of Joseph. This multi-volume English-language catalogue will include approximately 100 paintings. Each work is the subject of a thorough analysis covering technical, iconographical and stylistic aspects. Information is drawn from documents in the Institut royal du Patrimoine artistique/Koninklijk Instituut voor het Kunstpatrimonium and the Centre international d'etude de la peinture medievale des bassins de l'Escaut et de la Meuse/ Internationaal Studiecentrum voor de Middeleeuwse Schilderkunst in het Schelde-en Maasbekken. The project was made possible by the Federal Prime Minister's Office for Scientific, Technical and Cultural Affairs which created an interuniversity research network in collaboration with federal scientific and cultural agencies. Launched in 1993, the project benefits from the cooperation of three institutions: the Royal Museums of Fine Arts of Belgium (Eliane De Wilde), the Universite catholique de Louvain (Roger Van Schoute) and the Katholieke Universiteit Leuven (Maurits Smeyers). The entries were written by four art historians, Cyriel Stroo, Pascale Syfer-d'Olne, Anne Dubois and Roel Slachmuylders, and the infrared reflectography was performed by Freya Maes. The catalogue contains colour reproductions of all the paintings as well as other visual documentation from laboratory investigations, photographs of related works and diagrams of original frames.

Flemish Primitives II: Bouts-christus-memling-goes (Catalogue of Early Netherlandish Painting: Royal Museums of Fine Arts of Belgium)

Stroo, C.

Gerard Zerbolt De Zutphen. Manuel De La Reforme Interieure (Sous La Regle De Saint Augustin, 8) (French and Latin Edition)

Literature & Fiction

Brepols Publishers

The Hereford Map, a depiction of the inhabited world drawn around 1300, is among the largest surviving examples of medieval mappamundi. It measures 1.59 meters by ca. 1.30 meters (52 1/2 inches by c. 52 inches). On it appear some 1,091 inscriptions, or legends; most of these are placed adjacent to a painted figure of what they identify. They range from simple place-names to long descriptions containing historical, ethnographical, theological and zoological information. The book's introduction offers essential background on the Map's history, sources, and scholarship. Particularly important is an explanation of its close relationship to a text recently discovered - Expositio mappe mundi - a work most composed a century before the Map was made. Right-facing pages contain, for each legend: (1) an exact line-for-line transcription, (2) an edited version of this transcription, and (3) an English translation. Left-facing pages offer commentary on each legend, giving information about its literary and cartographical source, the item it identifies, and textual problems. Included in the book is a colour illustration of the entire Map (approximately 40% of its actual size), as well as detail photographs, taken in January 2001 under special conditions, enabling readers to see each legend precisely, as well as to locate all transcribed and translated text. Because of its thorough examination of all aspects of the Map, this book is a tribute to the richest, most complicated surviving example of medieval cartography, as well as an essential tool about medieval culture.

The Hereford Map: Transcription and Translation of the Legends to 1 (Terrarum Orbis, 1)

Westrem, Scott D.

Europe

Most of the 185 surviving complete or fragmentary Old English poems can be found in at least two manuscripts, with a large number of overlapping lines. This detailed study examines the relationship between the manuscript texts and assesses the problems facing editors of Old English verse. Orton also identifies poems transcribed by the same hand in order to examine the influence of scribes on the transmission of texts.

The Transmission of Old English Poetry (Westfield Publications in Medieval and Renaissance Studies, 12)

Orton, Peter

This volume examines the various forms of contact between Scandinavia and the rest of Europe from 800 to 1350. It consists of twenty-eight papers from scholars specializing in archaeology, onomastics, literature, art history, epigraphy, religious history and linguistics. The volume is innovative in three respects: (i) in transcending conventional historical boundaries, by bringing together work on both the viking and medieval periods; (ii) by examining the ways in which mainland Europe influenced Scandinavia; and (iii) by synthesizing all the material for an English-language readership for the first time. The broader timespan of investigation illustrates the changing nature of contact and the gradual integration of Scandinavia into European society.

Scandinavia and Europe 800-1350: Contact, Conflict, and Coexistence (Medieval Texts and Cultures of Northern Europe)

Adams, Jonathan

When a monk living at the beginning of the last millennium described Europe 'cladding itself everywhere in a white mantle of churches', he precipitated several questions for historians to answer. Was there a surge in church-building at the time? If so, what were the causes of this, and what were the purposes? Does it help to explain our understanding of Romanesque architecture and art? Was there a connection between the 'white mantle of churches' and the millennium? Did people believe the world was coming to an end? The supposition of apocalyptic expectations at the time was until recently dismissed as romantic myth, but the arrival of our new millennium has brought a revival in interest in the dawn of the second millennium, and new evidence of millennial fears. Yet millennial studies and architectural history largely continue to follow separate, parallel paths. This book therefore aims to add the architectural evidence to the millennial debate, and to examine this formative period in relation to the evolution of Romanesque architecture and art. As our own millennium gets under way with continuing hesitancy between European aspiration and national identity, it is also of interest to compare our time with the Europe of a thousand years ago. Nigel Hiscock is an architect and senior lecturer in architectural history, theory, and design at Oxford Brookes University. His interests include medieval architectural design and practice, and has published and presented papers widely on this subject.

The White Mantle of Churches: Architecture, Liturgy, and Art Around the Millennium (International Medieval Research, 10)

Wu, Nancy

Hiscock, Nigel

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