Harvey Miller Catalogue

HARVEY MILLER
PUBLISHERS
An imprint of Brepols Publishers
1
Table of Contents
Studies
in
Medieval
and
Early Renaissance Art History
Distinguished Contributions to the Study
in the Burgundian Netherlands
of the
Arts
2
9
A Survey Of Manuscripts Illuminated In France
10
A Catalogue of Western Book Illumination
in the Fitzwilliam Museum and the Cambridge Colleges
12
Renovatio Artium 13
Architecture
and the
Arts
Vistas: New Scholarship
on
Felsina Pittrice: The Lives
in
Early Modern Italy
Sculpture
of the
15
1250-1780
16
Bolognese Painters
19
The Medici Archive Project 20
Studies
21
in
Baroque Art
Corpus Rubenianum Ludwig Burchard
23
The Paper Museum
26
Catalogues
of
of
Cassiano
dal
Pozzo
Art-Historical Collections
27
Tributes
28
Order Form
30
Website
www.brepols.net
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Subscribe to our free E-Newsletter: info@brepols.net
Please specify your field(s) of interest.
Social Media
2
Cover Image: Detail from The Baptism of Christ, Gerard David
Musea Brugge-Groeningemuseum
Lukas - Art in Flanders VZW, photo Hugo Maertens
NEW TITLES
Winter 2015-2016
Harvey Miller Publishers
S TUDIESEARLY
IN MEDIEVAL AND
RENAISSANCE
This series brings together current scholarship on European Medieval and Early
Renaissance Art.
ART HISTORY
+DVD
Lisa Fagin Davis
La Chronique Anonyme
Universelle
Reading and Writing History in
Fifteenth-Century France
vi + 439 p., incl. DVD, 97 col. ills., 220 × 280 mm,
2015, HMSAH 61, HB,
ISBN 978-1-905375-55-4, €175
Available
This volume presents the first comprehensive study of the Chronique Anonyme Universelle, a lavishly illustrated scroll history of
the world from Creation to the fifteenth
century. Working in a French noble library around the year 1410, the anonymous compiler of the Chronique told the
story of humanity – nearly six thousand
years by his reckoning – by editing historical texts at his disposal, arranging them
in parallel columns on a vertical scroll,
and filling the inter-columnar space with
complex genealogical diagrams. The present volume includes an extensive study
of the sources, origin, transmission and
illustration of the Chronique along with a
critical edition, facing translation, and the
entire miniature cycle of manuscript W
4
(c. 1465, now in private hands). Using an
innovative image-annotation platform, the
DVD insert provides access to a complete
digital facsimile of the manuscript, giving
the user wide-ranging search and browsing
functionality along with complete access to
the manuscript, transcription, translation
and genealogical diagrams.
Lisa Fagin Davis received her PhD in Medieval Studies from Yale University in 1993
and has since catalogued medieval manuscript
collections at Yale University, the University of
Pennsylvania, the Walters Art Museum, Wellesley College, the Museum of Fine Arts, Boston,
the Boston Public Library, and several private
collections.
Studies in Medieval and Early Renaissance Art History
Sharon Dale
The Arca di Sant’Agostino
and the Hermits
of St. Augustine in
Fourteenth-Century Pavia
iv + 203 p., 43 b/w ills., 220 × 280 mm,
2015, HMSAH 74, HB,
ISBN 978-1-909400-01-6, €100
Available
In 1327 Pope John XXII granted the Hermits of St. Augustine joint possession of San
Pietro in Ciel d’Oro in Pavia, a church that
until then had been for a century in the sole
charge of the Canons Regular of St. Augustine. Both orders claimed a founding
by St. Augustine himself, whose relics were
somewhere in the church – although their
precise location was unknown. The unprecedented division of the church and the
ensuing conflict between the Hermits and
the Canons were embedded in the larger
struggle between the forces of universal
church and regional state that engulfed the
city of Pavia and ultimately much of Italy
in the fourteenth century. Both city and
church were contested repeatedly among
the papacy, the empire, and the Visconti.
This book is a study of the political negotiation between the papacy and the Visconti
conducted by the Hermits at San Pietro in
Ciel d’Oro in the Trecento – and a related
examination of the Arca di Sant’Agostino,
the patronage and iconography of which
were deeply enmeshed in that larger historical context.This volume argues that the
Arca’s iconography embraces three seemingly disparate agendas: the Hermits’ own
claims to St. Augustine, the celebration of
Visconti authority in Lombardy, and the
promotion of papal temporal power.
Sharon Dale is Associate Professor of Art History at Penn State Erie, The Behrend College.
Her research interests center on the intersection
of cultural, political, and diplomatic history in
Late Medieval Italy. She is currently preparing a
book on the diplomatic history of northern Italy
in the 14th and 15th centuries.
Studies in Medieval and Early Renaissance Art History
5
Albert Derolez
The Making and
Meaning of
the Liber Floridus
A Study of the Original Manuscript,
Ghent, University Library, MS 92
iv + 355 p., 50 b/w ills., 100 col. ills. 220 × 280 mm,
2015, HMSAH 76, HB,
ISBN 978-1-909400-22-1, €125
Available
The Liber Floridus (1121), composed,
written and illustrated by Canon Lambert
of Saint-Omer, is the earliest illustrated encyclopedic compilation of the Latin West.
Its autograph (Ghent, University Library,
MS 92), a masterpiece of Romanesque
book art and one of the most complicated
manuscripts ever made, has been studied
by the author for almost half a century. The
present book is the culmination of this research and provides a detailed codicological and textual analysis, showing how this
wonderful book was put together and examining the underlying ideas which Lambert sought to develop in its hundreds of
texts and pictures dealing with astronomy,
geography, natural history, history, religion
and countless other subjects.
6
The book is illustrated with some one-hundred colour reproductions and numerous
diagrams of quire structures. Three detailed tables will guide the reader to understanding the author’s argument, and full indices give access to the text and provide the
basis for further investigation of individual
chapters and pictures.
Albert Derolez is Emeritus Professor at the
Free Universities of Brussels; he was formerly
Curator of Manuscripts and Rare Books at the
Library of the State University of Ghent. He is
Past President of the Comité international de
paléographie latine and holds the Kenneth and
Shirley Rendell Chair in Manuscript Studies at
Rare Book School.
Studies in Medieval and Early Renaissance Art History
Debra Strickland
The Epiphany of
Hieronymus Bosch
Imagining Antichrist and
Others from the Middle Ages
to the Reformation
x + 334 p., 120 b/w ills., 20 col. ills., 220 × 280 mm,
2016, HMSAH 77, HB,
ISBN 978-2-503- 53036-9, approx. €110
In Preparation
This study examines medieval Christian
views of non- Christians and their changing
political and theological significance as revealed in late-medieval and early-modern
visual culture. Taking Hieronymus Bosch’s
famous Epiphany triptych housed in the
Prado Museum in Madrid as the point of
departure, the author analyzes how representations of Jews, Saracens (later Turks),
‘Ethiopians’, and Mongols for centuries
shaped western Christian attitudes towards salvation history, contemporary
political conflicts, and the declining status of the Roman Church. She argues that
Bosch’s innovative pictorial warning of the
coming of Antichrist and the threat posed
by non-Christians gained its power and
authority through intervisual references to the medieval past. Before and after
Bosch, imaginative constructions that
identified Jews and Turks with Gog and
Magog, or the Pope with Antichrist, drew
upon a long-established range of artistic
and rhetorical strategies that artists and
authors reconfigured as changing political
circumstances demanded. Painted at a pivotal moment on the eve of the Reformation, the Prado Epiphany is a compelling
lens through which to look backwards to
the Middle Ages, and forwards to Martin
Luther and the ideological significance of
escalating Christian/non-Christian conflicts in the formation of the new Protestant church.
Studies in Medieval and Early Renaissance Art History
7
Jean Michel Massing, Nicolette Zeeman (eds.)
King’s College
Chapel 1515-2015
Art, Music and Religion
in Cambridge
422 p., 250 col. ills., 225 × 300 mm,
2014, HMSAH 75, HB
ISBN 978-1-909400-21-4, €75
Available
This newly researched and richly illustrated
volume of essays is published to commemorate the five-hundredth anniversary of the
completion of King’s College Chapel. Seventeen eminent scholars explore the religious, cultural and artistic history of this
spectacular building, from its foundation
to the present day. They variously engage
with politics, iconoclasm, aesthetics, drama,
performance and sound; and, with a fresh
and contemporary look at these topics, reveal the way in which the life of the Chapel,
both religious and less religious, has developed and changed over the last five-hundred years. The collection of essays covers
many varied aspects of the Chapel: the architectural engineering of the magnificent
vaulting, the current state of the glorious
stained glass windows, and the Chapel’s altarpieces among which the famous painting
by Rubens, The Adoration of the Magi, has
pride of place. Some of the fascinating personalities who have shaped the Chapel’s role
in the life of the College are the subject of
other essays. Finally, the history of the Chapel’s musical culture is traced from the first
hundred years of the building’s existence up
8
to the twenty-first century, documenting
the effect on service ritual and performance
by the constantly changing religious practices and musicological values of the past, but
at the same time focusing on the present-day
fame of the King’s College Choir and the vibrant musical life in the Chapel. To accompany the text, the volume contains over two
hundred and fifty illustrations, mostly in colour, offering a corpus of images of King’s
College Chapel – prints, watercolours, oil
paintings, photographs, architectural drawings, plans, maps and even postcards. These
reflect the many and varied responses that
the Chapel has elicited over time.
REVIEW
“Inevitably, so rich and diverse a volume is of
particular interest to those associated with or familiar with King’s (...). However, even for those
in far-scattered places whose encounter with the
chapel may be limited to the broadcast carol service on Christmas Eve, this is a book that will
richly repay the investment.”
John Harper, in: Early Music, 43/3, 2015
Studies in Medieval and Early Renaissance Art History
D
ISTINGUISHED
CONTRIBUTIONS TO THE
STUDY OF THE ARTS IN THE
BURGUNDIAN NETHERLANDS
This series brings together art historical
research of the Burgundian Netherlands.
Susan Urbach, Ágota Varga, András Fáy
Early Netherlandish
Paintings
Old Masters’ Gallery Catalogues
Szépművészeti Múzeum Budapest Vol. I
450 p., 100 b/w ills., 200 col. ills., 210 × 297 mm,
2015, HMDC 1, HB,
ISBN 978-1-909400-09-2, €150
Available
This is the first volume in a series of
scholarly catalogues on Flemish paintings from the Szépművészeti Múzeum in
Budapest. Written by Dr Susan Urbach,
Curator Emeritus of the Museum and renowned scholar of Northern Renaissance
Art, with the assistance of curator Ágota
Varga and conservator András Fáy, the
catalogue includes extensive entries and
bibliographical references on forty-nine
works dating from c. 1460 to c. 1540. The
volume covers approximately a third of the
entire collection of Flemish Painting from
the fifteenth century through to the seventeenth and includes the latest results of
scholarly research and technical analysis.
Susan Urbach, Ágota Varga, András Fáy
Early Netherlandish Paintings
Old Masters’ Gallery Catalogues
Szépművészeti Múzeum Budapest Vol. II
approx. 332 p., 115 b/w ills., 174 col. ills., 210 x 297 mm,
2015, HMDC 1.2,
ISBN 978-1-909400-29-0, approx. € 150
In Preparation
Distinguished Contributions to the Study of the Arts in the Burgundian Netherlands
9
AMANUSCRIPTS
SURVEY OF
ILLUMINATED IN FRANCE
The
Survey of Manuscripts Illuminated in
France is a definitive multi-part reference
work covering the output of French manuscript illumination from the 7th to the
16th century.
Myra D. Orth
Renaissance Manuscripts
The Sixteenth Century
640 p., 360 b/w ills., 52 col. ills., 230 × 330 mm,
2015, HMMSF 4, HB,
ISBN 978-1-872501-30-7, approx. € 250
In Preparation
This publication is the first comprehensive
survey to establish the importance of Renaissance manuscript illumination in the
history of sixteenth-century French art. Although illustrated printed books were circulating freely by the beginning of the sixteenth century, patronage of manuscripts
became all the more special to the ruling
elite, and commissions from the court,
aristocratic circles and the higher clergy
resulted in a surge of artistic creativity that
produced a wide range of outstanding illustrated works from devotional books
to translations of classical and humanistic
texts. While continuing the tradition of
French figurative art, ornamentation became a major element in the style of the
period, with frames and borders becoming
a significant feature of the aesthetic impact
of the illuminated page.
One hundred manuscripts have been chosen for this survey, to represent the artistic
10
excellence of French book production of
the period, as well as to demonstrate the
stylistic relationships between artists and
between books that may be seen to form
distinct groups. Many years of research enabled the author to identify the hands of
individual illuminators, both named and
anonymous, and to connect these to a particular artistic milieu or regional group.
Moreover, not only are the stylistic aspects
of the manuscripts analyzed, but entirely
new information regarding authorship, patronage and historical context of hitherto
unstudied material is revealed.
To accompany the detailed catalogue, the
publication includes a corpus of 360 illustrations that offers a significant visual
conspectus of manuscript illumination of
the period. In addition to the introductory
text, the author also provides brief biographies of Artists and Scribes, Authors and
Translators, and Patrons and Dedicatees.
A Survey Of Manuscripts Illuminated In France
Alison Stones
Gothic Manuscripts: 1260-1320
Part Two
Manuscripts Made in the East, South-East,
South-West, West and Centre of France
2 vols., 1200 p., 800 b/w ills., 100 col. ills., 230 x 330 mm,
2014, HMMSF 3.2, HB,
ISBN 978-1-905375-95-0, € 300
Available
This book traces the cultural context of
book illustration, its production, owners, and makers in the various regions of
France in the last third of the thirteenth
and beginning of the fourteenth centuries.
The period c. 1260-1320 marks the emergence and the flowering of what has come
to be known as the ‘courtly style’ in French
painting, whose dynamic vitality is manifest
throughout the region we now call France.
By the end of this period French art had
assimilated a rich variety of regional works
and styles. New texts had been introduced
to a range of patrons, and patterns to be
played out in the following centuries were
in place.
Alison Stones
Gothic Manuscripts: 1260-1320
Part One Paris and the Province of Sens,
Normandy, the Province of Reims
2 vols., 1130 p., 838 b/w ills., 77 col. ills., 230 x 330 mm,
2013, HMMSF 3.1, HB,
ISBN 978-1-872501-95-6, € 250
Available
REVIEWS
"In short, this is a publication that will command the interest of a wide range of readers,
not only art historians, but anyone interested in
the cultural history and impact of High Gothic
France."
"(...) Stones' entries are rigorously attentive
to the fundamentals of visual analysis, and her
characterizations of color, brushwork, draftsmanship, and facture are precise and informative."
Jeffrey F. Hamburger, in: Medium Aevum, Vol. LXXXIII, No.2
A Survey Of Manuscripts Illuminated In France
Alexa Sand, in: The Medieval Review, 15.01.26
11
A
CATALOGUE OF
WESTERN BOOK ILLUMINATION
IN THE FITZWILLIAM MUSEUM
AND THE CAMBRIDGE
COLLEGES
Some 3000 manuscripts are being catalogued according to their place of origin
and school of illumination, dating from
the sixth to the sixteenth century and
covering a wide range of texts both in
Latin and in vernacular languages.
Stella Panayotova, Deirdre Jackson, Nigel Morgan (eds.)
France:
c. 1000 - c. 1250
296 p., 382 col. ills., 230 × 330, 2015, HMIMC 3.1, HB,
ISBN 978-1-909400-37-5, €175
Available
This volume contains an impressive range
of texts, from Horace (Cat. 17) and Ovid
(Cat. 61) to the earliest known copy of the
Collectio Lanfranci (Cat. 5) and Gerard of
Cremona’s translations of Rasis’ works (Cat.
93). The majority, however, consists of Bibles of two kinds: imposing glossed books,
produced in great numbers in the twelfth
century, and their thirteenth-century successors, the compact pandects. Both categories include some of the most richly illuminated French manuscripts of the period.
While this volume contains outstanding examples of illumination, notably the work of
the itinerant Simon Master (Cat. 46), it also
includes books that are modest in artistic
terms, but valuable in other ways. Among
them is a glossed Ezekiel which boasts one of
the finest Romanesque bindings to survive
in Cambridge collections, made almost certainly in Paris c. 1160-1170 (Cat. 41). Other
aesthetically unassuming volumes form
12
important groups of material, for instance,
the books assembled by Master Robert Amiclas during his forty years in France and
given or sold by him to the Cistercian Abbey of Buildwas in Shropshire (Cat. 20-26,
37). The inclusion of numerous full-colour
images in this volume, representing Bibles
illuminated in all of these different styles,
will hopefully inspire and support further
research, especially on the ornamental initials which deserve more attention.
Stella Panayotova is Keeper of Manuscripts
and Printed Books, Fitzwilliam Museum, Cambridge, and also director of the Cambridge Illuminations and Miniare Research Projects.
Nigel Morgan is Honorary Professor of the History of Art at the University of Cambridge, and
Head of Research of the Parker-on-the-Web Project on the medieval manuscripts of Corpus Christi
College.
A Catalogue of Western Book Illumination
in the Fitzwilliam Museum and the Cambridge Colleges
NEW SERIES
R ENOVATIO ARTIUM
This new series of scholarly monographs is devoted to European painting, sculpture, architecture, drawing, and printmaking of the fifteenth
and sixteenth centuries.
Anne Dunlop
Andrea del Castagno
and
the Limits of Painting
iv + 187 p., 2 b/w ills., 78 col. ills., 220 × 280 mm,
2015, HMRENA 1, HB,
ISBN 978-1-909400-18-4, € 125
Available
The Florentine painter Andrea del Castagno (c. 1419-1457) was a central figure of
the Italian Renaissance, and his work appears in every major survey textbook on
the period. Giorgio Vasari described Andrea del Castagno a master of drawing and
a constant innovator. Vasari also however
claimed that Andrea was a cold-blooded assassin, a man who left a self-portrait as Judas and who had murdered a fellow painter
to obtain the secret of painting in oil.When
Andrea del Castagno drew, he drew blood.
The story is untrue; the few documents on
the artist suggest an uneventful life and a
very successful short career.Yet Vasari’s tale
is suggestive, and it serves as the starting
point of this book, the first monograph
study of Andrea del Castagno in more than
three decades. Many of the painter’s visual
experiments were artistic dead-ends, seldom or never repeated, and they reveal the
limits of a whole emerging visual system.
This is painting that struggles to update old
schemata for new antiquarian concerns and
a new artistic order; natural, supernatural,
and imaginary phenomena are all uneasily
subject to the same norms of depiction and
the same totalizing visibility. In a series of
close analyses of key works, this book argues that Andrea del Castagno’s art of creative disruption lays bare the problems and
paradigms of early Western art. It is a limit
case at the moment when the idea of art
was itself coming into being.
Renovatio Artium
13
Felipe Pereda
Images of Discord
Poetics and Politics of
the Sacred Image in 15th Century Spain
approx. 300 p., 18 b/w ills., 44 col. ills., 220 × 280 mm,
2015, HMRENA 2, HB,
ISBN 978-1-909400-33-7, approx. € 110
In Preparation
Felipe Pereda reconstructs the history of
religious art in Spain between two crucial
dates in the ‘politics of the image’ enforced
by the ‘Reyes Católicos’: 1478 and 1501.
By focusing first on Seville, then on Granada Pereda evokes the first moments of the
institution of the ‘Santo Oficio’ and its later developments. In both cities, the local
authorities had established the obligation
for citizens to keep religious images within
their houses. In Seville, the authorities in
particular targeted the ‘marranos’ (Jewish
converts); in Granada, the new ‘moriscos’
(converted Muslims).
14
In both cases, the edicts emanated from
the confessor of Queen Isabella of Castile,
Fray Hernando de Talavera, himself of ‘converso’ origin. At the intersection of social
history and intellectual history, Images of
Discord shows in which ways religious and
social conflicts determined the status and
development of sacred art in late fifteenthand early sixteenth-century Castile and
Andalusia and, more broadly, the history
of Spanish art in the early modern period.
Renovatio Artium
A
RCHITECTURE
AND THE ARTS IN EARLY
MODERN ITALY
This series publishes substantive, peer-reviewed scholarship on the architecture,
urbanism, landscape architecture, and related arts of Early Modern Italy.
Amee Yunn
The Bargello Palace
The Invention of
Civic Architecture in Florence
approx. 300 p., 165 b/w ills., 240 × 240 mm,
2015, HMAAI 3, HB,
ISBN 978-1-909400-31-3, approx. € 100
In Preparation
This book offers a new, revised building
history of the Bargello, the first town hall
of Florence. A careful analysis of documents, fabric, and restoration allows us
to reconstruct the original site. It reveals
two previously unidentified building stages. The first palace, begun in 1255, adapted
an ex-neighborhood consortium reusing an
old tower and three houses. In the 1280s, a
second palace arose next to it, thus creating a twin-palace complex for the Podestà
and Capitano, the highest-ranking public
officials.
Long misidentified as the 1255 palace, the
front wing’s lower two stories were actually built in 1291-1308. An unroofed precinct wall enclosed the older structures
behind a monumental facade, forming an
open-air courtyard used for tribunals and
stables. This part became known as the ‘old
palace’ when the large, arcaded courtyard
and rear wing were added in 1316-1322.
The ‘new palace’ containing the Magdalen
Chapel was designed for the Angevin court
in residence, not for the communal administration of justice as generally believed.
After a 1332 fire devastated the upper stories, the front wing was covered with two
immense roof vaults in 1332-1346.
This book illustrates the Bargello’s early
architecture. Reinterpreting the timeline
radically changes our understanding of the
palace’s construction, function, and urban context during the formation of early
modern Florence.
Specialized in late medieval and Renaissance
Italy, Amee Yunn concentrated in government
as an undergraduate at Harvard and received
her PhD from the Institute of Fine Arts, NewYork
University. Her research interests are Florence,
civic patronage of art, iconography, reuse of materials in building, conservation and restoration.
Architecture and the Arts in Early Modern Italy
15
V
ISTAS
NEW SCHOLARSHIP
ON SCULPTURE
1250-1780
VISTAS is an acronym for Virtual Images
of Sculpture in Time and Space. VISTAS
supports the publication of new scholarship on European sculpture of the late
Gothic, Renaissance and Baroque periods, 1250-1780.
Anne Markham Schulz
The Sculpture
of Tullio Lombardo
vi + 463 p., 339 b/w ills., 225 × 300 mm,
2014, HMVISTAS 1, HB,
ISBN 978-1-909400-17-7, € 140
Available
In the first book ever devoted to the sculpture of Venice’s most famous Renaissance
marble carver, Markham Schulz integrates
all biographical data from primary and secondary sources and criticism of every epoch, with her own first-hand study of Tullio’s work over the course of forty years, to
create a comprehensive picture of Tullio’s
sculpture – its characteristics and iconography, its sources, development, and influence – within the context of Renaissance
Venetian art. At the same time, she explores
Tullio’s relations to his father Pietro and his
brother Antonio, both renowned sculptors
in their own right. The text is accompanied
by 339 newly made and largely full-page
illustrations, many of sculptures which, on
account of their height and inaccessibility, have never been photographed before.
Thus, every detail of the author’s meticu-
16
lous and pellucid analyses is made manifest
to the reader by illustrations, which not
only meet the most exacting standards for
the photography of sculpture, but also provide a treasury of gorgeous images.
REVIEWS
‘The Sculpture of Tullio Lombardo represents a wonderful beginning to what promises
to be a revelatory series of publications.’
David Ekserdjian, in: Apollo, March 2015
‘A formidable photographic campaign has
produced sumptuous black-and-white photographs and revealing close-up details (...). A
much-needed and thoughtful overview of an
outstanding artist.’
D. Pincus, in: Choice, May 2015
VISTAS New Scholarship on Sculpture 1250-1780
Richard J. Tuttle (auth.)
Nadja Aksamija, Francesco Ceccarelli (eds.)
The Neptune Fountain
in Bologna
Bronze, Marble, and Water
in the Making of a Papal City
vi + 248 p., 150 col. ills., 220 × 280 mm,
2015, HMVISTAS 2, HB,
ISBN 978-1-909400-24-5, € 75
Available
As a gateway to the central Piazza Maggiore
and a work of singular beauty and elegance,
the Neptune Fountain is one of Bologna’s
most prized artistic gems, recognized by
all but understood by very few. Richard
Tuttle’s monograph represents the first
comprehensive study of this iconic monument, executed between 1563 and 1567
by the Flemish artist Giambologna and
the Sicilian architect Tomaso Laureti, that
considers all of the complex aspects of its
commission, planning, execution, iconography, and urban impact. Working with an
extraordinary body of documentary and visual materials, Richard Tuttle (1941-2009)
– one of the world’s foremost authorities
on Renaissance Bologna – reveals how the
fountain was created collaboratively by papal administrators and artists, how it depended on contemporary hydraulic technology, communicated political messages,
and became an instrument of urban renew-
al. The book’s broad appeal, scholarly rigor, and eloquent writing promise to make
it an indispensable source on Italian sixteenth-century sculpture, architecture and
urban planning, as well as a definitive text
on this remarkable Renaissance fountain.
Richard J. Tuttle (1941–2009) taught
Re­naissance architectural history at Tulane
University for thirty years (1977–2007),
before moving to the University of Bologna’s
Department of Architecture and Urban
Planning in 2007. He was the author of
numerous groundbreaking and award-winning
studies on Renaissance architecture, sculpture,
and urbanism.
Nadja Aksamija is Associate Professor of Art
History atWesleyan University.
Francesco Ceccarelli is Associate Professor
of Architectural History at the University of
Bologna.
VISTAS New Scholarship on Sculpture 1250-1780
17
Francis Haskell, Nicholas Penny (auth.)
Eloisa Dodero, Adriano Aymonino (eds.)
Taste and the Antique:
The Lure of Classical
Sculpture: 1500-1900
Revised and Extended Edition
approx. 400 p., 200 col. ills., 220 × 280 mm,
2016, HMVISTAS 3 , HB,
ISBN 978-1-909400-25-2, approx. € 100
In Preparation
Taste and the Antique offers a comprehensive
and accessible overview of the reception
and afterlife of the most famous ancient
statues discovered in Rome and Italy from
the Renaissance to the close of the nineteenth century. Before Leonardo’s Mona
Lisa, Botticelli’s Birth of Venus or Van
Gogh’s Sunflowers, sculptures like the Laocoön, the Apollo Belvedere or the Medici
Venus set the taste of artists, connoisseurs
and the educated elites of the West for almost five centuries. Reproduced in every
possible media for gardens and palaces
throughout Europe, celebrated by poets
and writers from Marino and Byron to
Proust and Dickens, they served as sources of inspiration for artists as diverse as
Michelangelo, Rubens and Turner. Originally published in 1981, Taste and the Antique was hailed by Ernst Gombrich as a
thought-provoking work that met a ‘longfelt want’. Reprinted five times since with
minor alterations, Haskell and Penny’s
book has become a classic of art history
that is still used as the standard reference
by scholars and anyone interested in the
reception of the classical tradition.
This new edition offers a complete revision
of the original text to incorporate updates
and new information on the single statues
and their context in the light of research
undertaken in the field over the past three
decades.
More information on this series:
www.vistasonline.org
18
VISTAS New Scholarship on Sculpture 1250-1780
FPITTRICE:
ELSINA
THE LIVES OF
THE BOLOGNESE
PAINTERS
Count Carlo Cesare Malvasia’s Felsina pittrice,
or Lives of the Bolognese Painters, first published
in two volumes in Bologna in 1678, is one of
the most important sources for the history and
criticism of painting in Italy. This series provides
a new critical edition by Lorenzo Pericolo.
Malvasia’s relevant preparatory notes to the
Felsina pittrice, or the Scritti originali, are also be
published for the first time in their entirety.
Carlo Cesare Malvasia, Elizabeth Cropper,
Lorenzo Pericolo (eds.)
Lives of Domenichino
and Francesco Gessi
xxiv + 414 p., 151 col. Ills., 220 × 280 mm,
2013, HMFP 13, HB,
ISBN 978-1-909400-00-9, € 150
Available
Richly illustrated, this critical edition and
English translation of Malvasia’s lives of Domenichino and Francesco Gessi from his Felsina pittrice offer access to the life and work
of two great masters of seventeenth-century Bologna. Domenichino’s life plays a
seminal role in Malvasia’s definition of the
‘fourth age’ of painting in Italy. From the
very beginning, Malvasia pits Guido Reni
and Domenichino, the two champions of
the vanguard style that emerged from the
Carracci reform of painting, against each
other. If Guido becomes the idol of the
Lombard and Bolognese school, ‘more attuned to tenderness and audacity’, Domenichino embodies an ideal of perfection
more in keeping with the Florentine and
Roman school,‘fond of finish and diligence’.
Malvasia’s life of Domenichino can be defined as the most tormented and ultimately
unsuccessful eulogy in the Felsina pittrice: a
great piece of art-historical criticism about
an artist whose greatness Malvasia could not
deny. His assessment of the artistic personality of Francesco Gessi turns upon the painter’s rivalry with his master, Guido Reni,
whose perfection in painting nevertheless
remains unmatchable. In relating how Domenichino snatched the highly talented
Giovan Battista Ruggeri away from his previous master, Francesco Gessi, Malvasia turns
the conflicts inherent in Domenichino’s life
into a generational struggle between artistic
factions.
Felsina Pittrice: The Lives of the Bolognese Painters
19
NEW SERIES
T
HE
MEDICI
ARCHIVE
PROJECT
The point of departure and thematic node of this series are the history of
Medici dynasty and their cultural and political primacy in sixteenth- to eighteenth-century Europe. Significant attention will be paid to those scholarly
works that employ the four million letter archive (Mediceo del Principato) of the
Medici Grand Dukes (1537-1743). MAP’s mission is to make this vast, largely unpublished archival material available: currently, MAP’s on-line platform
“BIA” features over 25,000 transcribed and circa 350,000 digitized letters.
MAP intends to promote both traditional monographic studies as well as collections of essays. The range of topics includes art history, diplomatic history,
history of collecting, religious history, history of medicine, history of music,
history of science, book history and military history in Renaissance and early
modern Europe, with a particular emphasis on Tuscany and Italy.
Alessio Assonitis, Brian Sandberg (eds.)
The Grand Ducal Medici
and their Archive
(1537-1743)
approx. 300 p., 20 col. ills., 220 × 280 mm,
2015, HMMAP 1, HB,
ISBN 978-1-909400-34-4, approx. € 100
In Preparation
Taking advantage of the vast archives of the
Medici Grand Dukes, the authors of this
volume present original research and fresh
perspectives on the Medici family and the
Tuscan court, revealing the mechanisms of
Medicean diplomacy, patronage, and cultural brokerage. The Grand Ducal Medici and
their Archive offers a unique window into
early modern Florentine society through
an exploration of the archives of the Medici
ruling family. Teeming with four and a half
million letters, the archival collection of the
Medici Grand Dukes housed at the Archivio
di Stato in Florence chronicles the culture
and history of Europe and beyond, for a
span of over two hundred years. The letters
of this collection, known as the Mediceo del
Principato, embrace a great variety of themes
including diplomacy, art, medicine, food,
science, and material culture.
20
Since its contents originate from a court archive that served both the state and a ruling
family, the collection comprises administrative, political and financial correspondence as well as more private and intimate
accounts of the Medici themselves and their
activity at court. The sixteen essays address
a variety of topics – book history, Ottoman
relations, collections of New World artifacts, medical history, gender studies, and
material culture – all with direct reference
to the Medici Grand Duchy. Making use of
these and other original sources, the essays
in The Grand Ducal Medici and their Archive
shed new light on the mechanisms and
strategies that enabled Florence to emerge
from decades of internecine conflict and
diplomatic chaos in order to enjoy cultural
and political prominence.
The Medici Archive Project
S TUDIES IN BAROQUE ART
The series Studies in Baroque Art aims to
bring together current scholarship on
Baroque art, focusing both on Italian and
North-European Renaissance Masters.
Anna C. Knaap, Michael C. J. Putnam (eds.)
Art, Music and Spectacle
in the Age of Rubens
The Pompa Introitus Ferdinandi
+CD
viii + 351 p., incl. CD, 203 b/w ills., 35 col. ills., 210 × 280 mm,
2014, HMSBA 3, HB,
ISBN 978-1-905375-83-7, € 125
Available
This volume deals with the triumphal entry
of the Cardinal-Infante Ferdinand, brother
of King Philip IV of Spain, into Antwerp in
1635, one of the largest and most spectacular festivals ever mounted in an early modern city. The outdoor festivities in honor of
the city’s new governor included a citywide
procession, performances, fireworks, music, and political speeches. Along the processional route appeared nine richly ornamented stages and arches designed by Peter Paul
Rubens and executed by a group of local
painters and sculptors, including Jacob Jordaens, Theodoor van Thulden, and Jan van
den Hoecke. To commemorate the event,
the city commissioned a lavish festival book,
entitled the Pompa Introitus Ferdinandi (1641),
which contains learned commentaries by
Jan Gaspar Gevaerts, a city official and Latinist, as well as folio engravings by Theodoor
van Thulden after Rubens’s stages. More
than a simple description of the event, Gevaerts’ volume offers a rich compilation of
references to ancient writers and reproductions of ancient coins. While most literature
on the subject has focused on Rubens’s nine
monumental arches and his twelve preparatory oil sketches for the designs, this volume
will examine the entry and its accompanying
festival book as a whole. A group of highly
distinguished specialists from different disciplines will discuss the entry and Gevaerts’
book from a myriad of viewpoints, including art, architecture, music, theater, history,
politics, classical knowledge, and economic
and intellectual networks. It is the first time
that the entry will be examined from a truly interdisciplinary perspective. The book
draws on a wide variety of primary sources,
including Rubens’s preparatory oil sketches,
Gevaerts’ festival book, pamphlets describing the entry, and political songs from the
period.
Contributors: Jonathan Israel (Princeton),
Peter Miller (Bard Graduate Center), Bart Ramakers (Groningen), Louis Grijp (Utrecht), Anne
Woollett (Getty), Anna Knaap (Emmanuel College, Boston), Michael Putnam (Brown), Carmen
Arnold-Biucchi (Harvard), Frank Fehrenbach
(Hamburg), Caroline van Eck (Leiden), Ivan
Gaskell (Bard Graduate Center)
Studies in Baroque Art
21
Victor I. Stoichita
The Self-Aware Image.
An Insight Into Early
Modern Meta-Painting
A Revised and Updated Edition
vi + 337 p., 138 col. ills., 220 × 280 mm,
2015, HMSBA 4, HB,
ISBN 978-1-909400-11-5, € 125
Available
The notion of the painting as an art object
is relatively recent. This volume offers an
impressive and complex account of the
origins and development of this invention from the late Renaissance through
the end of the baroque age. In comparison to the ‘old’ image characterized by
its preeminently liturgical function and
its display in a predetermined space, the
‘new’ image is increasingly autonomous
and movable. As a modern art object, the
painting becomes the focus of an aesthetic contemplation through its insertion
into a gallery or a collection. As a result
of the Protestant iconoclasm and the advancement of scientific knowledge, the
essence and role of the image is put into
question and thematized not only by theologians and scholars, but especially by artists. The painting thus becomes a field of
22
visual experimentation in which art reflects on itself, its potential, its limits, its
truth, and its nothingness. The pictorial
devices through which artists introduce
their authorial self into the image and
stage the making of the image itself form
the foundation of a new poetics: the poetics of meta-painting.
First published in French in 1993, Victor
Stoichita’s The Self-Aware Image has become a classic of the history of art. This
new, updated, and improved English edition marks the twentieth anniversary of a
work that radically changed the perception of seventeenth-century art and that
constitutes an ever-valid reference for
contemporary scholarship. An introduction by Lorenzo Pericolo illustrates the
great importance of the book to our comprehension of baroque painting.
Studies in Baroque Art
This definitive Catalogue Raisonné of the work of the great
C
ORPUS
RUBENIANUM
LUDWIG
BURCHARD
Flemish painter Peter Paul Rubens is being published in
twenty-seven parts, some parts appearing in more than one
volume. The Corpus is based on the material assembled over
several decades by Ludwig Burchard, universally recognized
as the foremost scholar in this field. After Dr Burchard’s death
in 1960, his material was handed over to the City of Antwerp
to be edited by the Centrum voor de Vlaamse Kunst in de 16e en 17e
eeuw. Each part is written by a well-known scholar and the aim
is to realize Burchard’s intention of embodying all present-day
knowledge of the work of Rubens.
Carl Van de Velde, Fiona Healy, Karolien De Clippel,
Elizabeth McGrath, Bert Schepers, Gregory Martin
Mythological Subjects
approx.700 p., incl. ills., 220 x 280 mm,
2016, HMCRLB 11,
ISBN 978-0-905203-67-6, approx. € 275
In Preparation
One remarkable feature of European culture as it developed in the Renaissance was
the accommodation it made with ancient
paganism. The classical gods and their legends were allegorised, transformed into
symbolic figures or emblematic scenes that
might accord with Christian morality. At
the same time a secular space was created
in art for the depiction of the most popular
myths, above all the love stories recounted
by the ancient poets. These stories were not
only attractive in themselves; they offered
the opportunity to depict nude figures
in narrative action, which the example of
antiquity held forth as the highest goal for
painting. Rubens was one of the greatest
creators of classical allegory; he was also a
supreme interpreter of the classical stories.
No painter was so at home in the literature
of the Greeks and Romans. When he painted for pleasure, which, increasingly in the
course of his life, he felt able to do, he used
pagan myth to express and celebrate themes
of love, beauty and the creative forces of
nature, often in wonderfully idiosyncratic
ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions
generally placed on the depiction of pagan
tales. Most of his mythological paintings
were made for private settings, for display
within houses (including his own) or in the
galleries of princes, noblemen and prelates.
It is happy accident of history that these
splendid paintings are now widely visible in
the great museums of the world.
Corpus Rubenianum Ludwig Burchard
23
Christine Van Mulders
Works in Collaboration:
Jan Brueghel I & II
approx. 375 p., 120 b/w ills., 40 col. ills., 180 × 265 mm,
2016, HMCRLB 27.1, HB,
ISBN 978-1-909400-43-6, approx. € 175
In Preparation
Peter Paul Rubens and Jan Brueghel the
Elder were collaborating as painters as early as c. 1598, before Rubens’s stay in Italy,
but the most important period of their alliance spans from 1609 to 1621. After the
death of Jan Brueghel the Elder in 1625,
his son Jan the Younger continued the
partnership with Rubens until the latter’s
death in 1640. The collaborative oeuvre of
Rubens and Brueghel can be roughly divided into three groups: Madonnas in garlands
of flowers, interiors with allegories, and
landscapes with mythological and religious
themes.
Following his Italian sojourn and after his
appointment as court painter to the Archdukes Albert and Isabella in 1609, Rubens
also developed artistic relationships with
other colleagues including Paul Bril and
Frans Snyders. Works in collaboration
with Brueghel from this period include the
beautiful Mars Disarmed by Venus (Los Angeles, J. Paul Getty Museum), the Garden
of Eden (The Hague, Mauritshuis) and the
24
Louvre Madonna, made for Cardinal Federico Borromeo. The culmination of the
two men’s creative relationship is the fivepart series of the Allegories of the Senses of
1617-1618 (Madrid, Prado), which lies at
the heart of the present volume. The cycle
depicts the Five Senses against a backdrop
of princely splendour and is an extraordinary feat both artistically and in terms of
its iconography.
During the twenties Brueghel and Rubens
co-produced multiple landscapes with
history scenes, mainly in response to the
demand for such works from a growing
regular clientele. Diana’s Departure for
the Hunt and Sleeping Diana and Nymphs
(Paris, Musée de la Chasse et de la Nature)
are fine examples.
Although Rubens maintained lifelong
working partnerships with other artists,
the works he produced in conjunction with
Brueghel form a special group, reflecting
the personal friendship that existed between the two men.
Corpus Rubenianum Ludwig Burchard
Lieneke Nijkamp, Prisca Valkeneers, Koen Bulckens (eds.)
Picturing Ludwig Burchard
(1886-1960)
A Rubens Scholar in
Art-Historiographical
Perspective
164 p., 56 b/w ills., 1 col. ill., 180 × 265 mm,
2015, HMSTAH , PB,
ISBN 978-1-909400-20-7, € 65
Available
This book is the result of the international study day held on 6 December 2013 to
celebrate the Rubenianum 50th anniversary. In 1963 a ship landed at the port of
Antwerp carrying the specialized library
and photo archive of the eminent Rubens
scholar Ludwig Burchard. Ever since, the
Rubenianum has been able to pride itself
on this important legacy and to expand
it in order to become the internationally
renowned study centre for sixteenth- and
seventeenth-century Flemish art it is today.
The proceedings aim to contextualize and
to bring to light the man who stood at the
beginning of the Rubenianum collection.
What is his role within Rubens research?
What characterizes the documentation he
left us? How might he have operated when
compared to his peers? Who was Ludwig
Burchard?
REVIEW
“Burchard’s meticulously collected material and
photographs still is a milestone for the Rubensforschung. This book is the result of an international study day held at the Rubenianum on December 6, 2013, to celebrate its 50th anniversary.”
Veronika Kopecky, in:
Historians of Netherlandish Art Review
of Books, September 2015
Published outside a Series
25
TMUSEUM
HE PAPER
OF
CASSIANO DAL
POZZO
The ‘Museo Cartaceo’ (‘Paper Museum’) is a collection of some
10,000 watercolours, drawings and prints, assembled during the
seventeenth century by the Roman patron and collector Cassiano
dal Pozzo and his brother Carlo Antonio. It represents one of
the most significant attempts before the age of photography to
embrace human knowledge in visual form. The catalogue raisonné, in 35 volumes, will give unprecedented access to this major
source of reference for the intellectual, cultural, artistic and scientific history of seventeenth-century Europe.
Brent Elliott, Luigi Guerrini, David Pegler
Flora:
Federico Cesi’s
Botanical Manuscripts
3 vols., 1328 p., 869 col. ills., 220 × 285 mm, HMPMB 7, HB,
ISBN 978-1-905375-78-3, € 260
Available
This three-volume catalogue presents five
manuscripts containing some 780 mainly
botanical drawings, now in the library of the
Institut de France. They were produced for
Federico Cesi in the 1620s to further the
researches of the scientific society he had
founded in Rome, the Accademia dei Lincei,
of which Cassiano dal Pozzo was a member.
Many of the drawings depict plants such as
ferns, bryophytes, mosses and liverworts,
which had been considered ‘imperfect’ because (like fungi) they seemed to lack reproductive structures – flowers, fruit or seeds.
These drawings constitute some of the earliest microscopic studies in the history of
science. One manuscript is dedicated to illustrations of seaweeds and is the first known
sustained study of this subject, while another
is a miscellaneous volume that includes thirty prints as well as drawings of fungi and lichen, insects, a bat, a hermaphrodite rat and
26
other curiosities. Introductory essays discuss
the importance of these drawings to Cesi’s
researches and how the manuscripts made
their way into the collections of the Institut
de France, their botanical content and place
in the history of botanical illustration. All
drawings are reproduced as full-plate colour
illustrations and accompanied by botanical
identifications and commentary.
Brent Elliott was the Librarian of the Royal
Horticultural Society from 1982 to 2007, and is
now the Society’s Historian.
Luigi Guerrini is a historian specialising in the
history of science in Italy in the seventeenth and
eighteenth centuries, and particularly in the history of the early Accademia dei Lincei (1603–30).
David Pegler is the former Head of Mycology at the
Royal Botanic Gardens, Kew. He has published 16
books and more than 300 scientific papers.
The Paper Museum of Cassiano dal Pozzo
CART-HISTORICAL
ATALOGUES OF
COLLECTIONS
This series publishes art historical refer-
ence collections and comprises important private and public collections through
richly illustrated catalogues.
Jill A. Franklin, Bernard Nurse, Pamela Tudor-Craig
Catalogue of Paintings in
the Collection of the Society
of Antiquaries of London
520 p., 259 col. ills., 220 × 280 mm,
2014, HMCAT 3, HB,
ISBN 978-1-909400-19-1, € 200
Available
This definitive catalogue of the paintings in
the collection of the Society of Antiquaries provides a detailed discussion of one
of the world’s most important collections
of English royal portraits. The collection
includes such individual works as the portrait of Richard III with his broken sword
– signifying the king’s defeat at the Battle
of Bosworth and the subjugation of the royal house of York – and of Mary I by Hans
Eworth, painted shortly after her coronation on 1 October 1553, in which every
detail of her dress and jewellery speaks of
her iron determination, adherence to the
Catholic faith and her sense of destiny. In
this richly illustrated volume, every picture
in the collection is shown in large scale,
along with related works from other major
collections around the world. Introductory essays set the collection in context, a
collection that, as leading art historian Sir
Roy Strong says in his introduction to the
catalogue, ‘contains some of London’s hidden jewels … works of the utmost national
importance’.
Catalogues of Art-Historical Collections
27
This
series publishes research on Art
History, Manuscript Studies and Architecture by fellow scholars in honour of a
colleague and his or her lifelong career.
T RIBUTES
Mark Stocker, Phillip G. Lindley (eds.)
Tributes to
Jean Michel Massing
Towards a Global Art History
approx. 280 p., 178 b/w ills., 16 col. ills., 220 × 280 mm,
2015, HMTRIB 7, HB,
ISBN 978-1-909400-38-2, approx. € 100
In Preparation
An indispensable study for all admirers of
Jean Michel Massing’s work, this publication includes essays reflecting some of the
many fields of research that he has explored
throughout his academic career. Twenty-one of Professor Massing’s colleagues
and former students have contributed to
this volume on the occasion of his retirement as Professor of Art at the University
of Cambridge. The global aspect of Jean
Michel Massing’s oeuvre forms the binding
element between the various topics covered in this collection, paying homage to
the interdisciplinary nature of his approach
to the field of art history. Defying strictly linear, spatio-temporal trajectories, this
volume is an ongoing conversation with
28
Professor Massing, ambitiously taking his
brilliant work as the inspiration and basis
for the further development of a global history of art.
Jean Michel Massing has been a guiding
force in the department of History of Art at the
University of Cambridge since 1977 and is a
leading figure in the discipline internationally.
His publications have covered an extraordinary
range of subjects, including classical art and
its influence from Antiquity to the Renaissance,
investigations into medieval and early modern
astrological and religious imagery, the Ars memorativa, the emergence of the emblem, African art,
and the image of the Black.
Tributes
Matthew M. Reeve (ed.)
Tributes to Pierre du Prey
Architecture and
the Classical Tradition,
from Pliny to Posterity
vii + 288 p., 129 b/w ills., 210 × 275 mm,
2015, HMTRIB 6,
ISBN 978-1-909400-12-2, € 100
Available
This volume comprises sixteen essays honoring Pierre de la Ruffinière du Prey and
his invaluable contributions to the field of
art and architecture. Drawing inspiration
from the language of classicism in architecture, its morphology and replications,
which has been the dominant theme of du
Prey’s work throughout his internationally renowned career, friends, colleagues
and students pay their respects to the dedicatee through their own original and di-
verse scholarly interests. To borrow Pierre
du Prey own phrase from his postlude to
this book, his ever-inspiring ‘belief in the
value of architecture to society’ has been
the driving force behind the innovative research that makes up this volume.
Matthew M. Reeve is Queen’s National
Scholar and Associate Professor of Art History at
Queen’s University and a Fellow of the Society
of Antiquaries.
Table of Contents
Matthew M. Reeve, David McTavish, and Peter
Coffman , Pierre du Prey: An Appreciation, Mark
Wilson Jones, The Origins of the Orders: Unity in
Multiplicity, Guy P. R. Métraux, Some Other Literary
Villas of Roman Antiquity Besides Pliny’s, Judson J.
Emerick, The Tempietto del Clitunno and San Salvatore
near Spoleto: Ancient Roman Imperial Columnar
Display in Medieval Contexts, Eric Fernie, Romanesque
Historiography and the ClassicalTradition, John Beldon
Scott, Uses of the Past: Charles V’s Roman Triumph and
Its Legacy, Gauvin Alexander Bailey, Classicism in
a Rococo World: Steadfastness and Compromise in Late
Colonial South America, Sally Hickson, Girolamo
Porro: Engraver and Publisher in Venice, Una Roman
D’Elia, Acanthus Leaves and Ostrich Feathers: Claude
Perrault, Tradition, and Innovation in Architectural
Language, David McTavish, Classical Themes and
Creative Variations from the Sixteenth Century: Two
Unpublished Drawings of Palace Façades Related to
Giulio Romano, Janina Knight, Two Drawings by
Giovanni Battista Montano in the Canadian Centre
for Architecture, John Pinto, Ruins and Restitution:
Eighteenth-Century Architects and Antiquity in the Bay
of Naples, Matthew M. Reeve, ‘A Gothic Vatican of
Greece and Rome’: Horace Walpole, Strawberry Hill, and
the Narratives of Gothic, Peter Coffman, The Gibbsian
Tradition in Nova Scotia, Luc Noppen, Thomas
Baillairgé and Victor Bourgeau: Architects, Architectural
Practice, and the Nineteenth-Century French-Canadian
Church in Quebec, Sebastian Schütze, The Stadio dei
Marmi in Rome: Inventing a Classical Stage for the
Colossal Heroes of Fascist Italy, Phyllis Lambert, Mies
Klassizismus: Some Notes, Pierre du Prey, Postlude: In
Praise of Mentors
Tributes
29
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