History of art Books

Book SynopsisMigration is a problem of highest importance today, and likewise is its history. Italian migrants who had to leave the peninsula in the long sixteenth century because of their heterodox Protestant faith is a topic that has its deep roots in Italian Renaissance scholarship since Delio Cantimori: It became a part of a twentieth century form of Italian leyenda negra in liberal historiography. But its international dimension and Central Europe (not only Germany) as destination of that movement has often been neglected. Three different levels of connectivity are addressed: the materiality of communication (travel, printing, the diffusion of books and manuscripts); individual migrants and their biographies and networks; and the cultural transfers, discourses, and ideas migrating in one or in both directions.Trade Review"Fruits of Migration is a very rich and well-structured volume of high-level and original essays on an unexplored subject." (translated from Italian) Marco Albertoni, Università di Bologna, in Riforma e Movimenti Religiosi 8, pp. 380-384 “Fruits of Migration is an excellent work and of interest to scholars of both Italian and migratory history.” Timothy J. Orr, Simpson University. In: Sixteenth Century Journal, Vol. 50, No. 3 (Fall 2019), pp. 863–865. “Fruits of Migration è un volume ricchissimo e ben strutturato, che ha il fondamentale pregio di aver donato alla ricerca un prodotto che mancava, fatto di saggi originali e di alto livello." Marco Albertoni, Università di Bologna, in Riforma e Movimenti Religiosi 8, pp. 380-384Table of ContentsAcknowledgements Notes on the Editors Notes on the Contributors List of Illustrations Introduction: Heterodox Italian Migrants and Central European Culture 1550–1620  Cornel Zwierlein and Vincenzo Lavenia 1 An Interrupted Dialogue? Italy and the Protestant Book Market in the Early Seventeenth Century  Marco Cavarzere 2 Books on the Run: The Case of Francesco Patrizi  Margherita Palumbo 3 Exile Experiences ‘Religionis causaʼ and the Transmission of Medical Knowledge between Italy and German-Speaking Territories in the Second Half of the Sixteenth Century  Alessandra Quaranta 4 Immanuel Tremellius: From Italian Hebraist to International Migrant  Kenneth Austin 5 Bernardino Ochino and the German Reformation: The Augsburg Sermons and Flugschriften of an Italian Heretic (1543–1560)  Michele Camaioni 6 Olympia Fulvia Morata: ‘Glory of Womankind both for Piety and for Wisdomʼ  Lucia Felici 7 ‘A House for All Sorts of People’: Jacopo Stradaʼs Contacts with Italian Heterodox Exiles  Dirk Jacob Jansen 8 Journeys of Books, Voices of Tolerance: An Outline of Marco Antonio Flaminioʼs European Reception  Giovanni Ferroni 9 Some Notes about the Diffusion of Francesco Guicciardini’s Ricordi in Germany between the Sixteenth and Seventeenth Centuries  Maria Elena Severini 10 Between Italy and Germany: City-States in Early Modern Legal Literature  Lucia Bianchin 11 French-Dutch Connections: The Transalpine Reception of Machiavelli  Cornel Zwierlein 12 On the Origins of Enlightenment: The Fruits of Migration in the Italian Liberal Historiographical Tradition  Neil Tarrant Index Rerum Index Locorum Index Nominum

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Book SynopsisIn Late Antique Images of the Virgin Annunciate Spinning: allotting the scarlet and the purple, Catherine Gines Taylor traces the way early Christians assimilated the symbolism of spinning into images of the Annunciation. Taylor offers an art historical and interdisciplinary look at the earliest images of Mary spinning, underscoring the iconographic model of idealized matronage consistent with lay piety and the cult of Mary. The personal and domestic nature of this motif is evidence toward popular Mariological devotion that preceded the exclusive, semi-divine presentation of the Theotokos, and stands in contrast with traditional ascetic models for Mary.Table of ContentsList of Figures Introduction. Preceding the Ascetic Type: Earliest Images of the Virgin Annunciate Spinning  1 The Protoevangelium of James: A Contemporary Apocryphum  2 Methodological Considerations  3 Patristic Considerations 1 The Roots and Precedents  1 Catacombs of Priscilla, Cubiculum P—The First Annunciation  2 Spinning and Roman Public Display: Minerva and Domition’s Forum Transitorium  3 Spinning in Legend  4 Spinning Iconography amongst Elites and Non-Elites in Roman Society  5 The Attributes of Virtue: Spinning in Proverbs and the Jewish Tradition  6 Conclusions 2 The Maiden. The Domestic Cult of Mary: Imitatio Mariae and Spinning a Sacred Conversation  1 Mary the Maiden  2 Annunciation Iconography and the Domestic Cult of Mary  3 Maiden’s Tools: Sacred, Profane, Mundane  4 The Maiden Imaged as the Ascetic  5 Marian Devotion as Counter-Ascetic  6 Proclus and the Constantinopolitan Tradition of Imitatio Mariae  7 Imitatio Mariae and the Syriac Tradition of the Domestic Annunciation  8 Conclusions: Work as a Sacred Conversation and a Life Pleasing to God 3 The Matron  1 Marriage Art and Marriage Rings  2 The Annunciation as Privileged Iconography: Ring Descriptions  3 The Fifth-Century Legal Context and Family Life  4 The Paraphernalia of Married Fertility and Early Church Councils  5 Children, “An Inheritance of the Lord”  6 Conclusions 4 The Household  1 Women in Purple: Privileged Patronage  2 Women in Linen and Wool: Domestic Piety and Patronage  3 Late Antique Textiles and the Domestic Sphere  4 Textile Patronage in Panopolis  5 The Abegg-Stiftung “Mary Silk”  6 A Linen Burial Cloth from the Victoria and Albert Museum  7 Later Comparative Textiles  8 Burial Garments and the Threshold of Death  9 Conclusions 5 Memorial  1 Comparisons from the Grave: Other Roman Catacombs  2 The Pignatta Sarcophagus  3 Patristics in Ravenna  4 Attitudes toward Death and Salvation  5 Phrygian Tombstones  6 Conclusions Conclusion. The Virgin Annunciate Spinning: A Matronly Model, “In Whom All Opposites are Reconciled”  1 Santa Maria Maggiore  2 Final Thoughts Bibliography Index

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Book SynopsisEight studies examine key features of Chinese visual and material cultures, ranging from tomb design, metalware, ceramic pillows, and bronze mirrors, to printed illustrations, calligraphic rubbings, colophons, and paintings on Buddhist, landscape, and narrative themes. Questions addressed include how artists and artisans made their works, the ways both popular literature and market forces could shape ways of looking, and how practices and imagery spread across regions. The authors connect visual materials to funeral and religious practices, drama, poetry, literati life, travel, and trade, showing ways visual images and practices reflected, adapted to, and reproduced the culture and society around them. Readers will gain a stronger appreciation of the richness of the visual and material cultures of Middle Period China.Trade Review"Most contributions are of striking vivacity and originality and accompanied by splendid illustrations." Barbara Hendrischke, University of Sydney, Religious Studies Review 45 (2019) 'this volume is a timely addition to the existing scholarship about visual and material cultures of China from 800 to 1400, extending our understanding of the cultural and economic dynamism during the period. Full with intriguing observations and thought-provoking syntheses, it is bound to an indispensable book which will definitely inspire future researchers on the perennial topic in Chinese and Asian history. - Hang Lin, Hangzhou Normal University, China, The Newsletter 86 (2020).Table of ContentsAcknowledgments vii List of Illustrations viii List of Contributors xiv Introduction Patricia Buckley Ebrey and Shih-shan Susan Huang Part 1: Making Art in Funeral and Ritual Contexts 1 Modular Design of Tombs in Song and Jin North China - Fei Deng 2 Visualizing Ritual in Southern Song Buddhist Painting - Phillip E. Bloom Part 2: Setting a Scene 3 Dreams, Spirits, and Romantic Encounters in Jin and Yuan Theatrical Pictures - Fan Jeremy Zhang 4 The Ten Views of West Lake - Xiaolin Duan Part 3: Appreciating the Written Word 5 A Forgery and the Pursuit of the Authentic Wang Xizhi - Hui-Wen Lu 6 Zhu Xi’s Colophons on Handwritten Documents - Patricia Buckley Ebrey Part 4: Cross-Cultural Transfers 7 Paintings of Birds by Basins - Jie Liu 8 Chinese Objects Recovered from Sutra Mounds in Japan, 1000-1300 - Yiwen Li Index 319

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Book SynopsisThe Plant Contract argues that visual and performance art can help change our perception of the vegetal world, and can return us to nature and thought. Via an investigation into the wasteland, robotany, feminist plants, and nature rights, this phytology-love story investigates how contemporary art is mediating the effects of plant-blindness, caused by human disassociation from the natural world. It is also a gesture of respect for the genius of vegetal life, where new science proves plants can learn, communicate, remember, make decisions, and associate. Art is a litmus test for how climate change affects human perception. This book responds to that test by expressing plant-philosophy to a wider public, through an interrogation of plant-art.Table of ContentsAcknowledgments Introduction 1 The Wasteland and the Wilding: The Aesthetic of Abandoned and Reclaimed Green Spaces 2 Green Man: Human-plant Hybrids 3 Robotany and Aesthetics 4 Bio Rights: Earth of Agonies and Eco-punks 5 Eco-feminism: Plants as Becoming-Woman 6 Ungrounding Plant Life: The After-effects Conclusion: On Rhizomes and Dead Trees Bibliography Index

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Book SynopsisIn Ornamental Nationalism: Archaeology and Antiquities in Mexico, 1876-1911, Seonaid Valiant examines the Porfirian government’s reworking of indigenous, particularly Aztec, images to create national symbols. She focuses in particular on the career of Mexico's first national archaeologist, Inspector General Leopoldo Batres. He was a controversial figure who was accused of selling artifacts and damaging sites through professional incompetence by his enemies, but who also played a crucial role in establishing Mexican control over the nation's archaeological heritage. Exploring debates between Batres and his rivals such as the anthropologists Zelia Nuttall and Marshall Saville, Valiant reveals how Porfirian politicians reinscribed the political meaning of artifacts while social scientists, both domestic and international, struggled to establish standards for Mexican archaeology that would undermine such endeavors.Trade Review“The author deftly weaves together what appear to be disparate threads of inquiry into a very valuable intellectual history of Mesoamerican studies and Mexican politics. This book, written in an accessible style, is both informative and surprisingly entertaining. Summing Up: Recommended. Upper-division undergraduates and above; professionals.” Jeff Seibert, in: Choice, Vol. 55, No. 9 (May 2018).Table of ContentsAcknowledgments List of Figures Introduction  Rise of Professionalism  Archaeology and Nationalism  Artifacts and Authority  Overview of the Book Part 1 1 Nation Building  Mexico before the Porfiriato  Porfirio Díaz  European Influences on the Porfiriato  Monumentalism in Mexico  Heir to Juárez  Heir to the Aztecs  Creating the Image of the Nation  Symbols of Centralization 2 Designing the Porfiriato  Mexico in Paris  Porfiriopoxtli  Policies  Assimilation  Aztec Patriotism: Sierra and Chavero 3 Rag of Barbarism: Aztecs and Mayas in International Thought (1804–1911)  Shifting Ideas  Baron Alexander von Humboldt  Humboldt’s Influence on other Archaeologists  Translating the Mayas: John Lloyd Stephens  Iroquois of the South: Prescott and Morgan  Sacrifice  Popular Culture Part 2 4 The Inspector General and Conservator of Archaeological Monuments  Antiquities  Leopoldo Batres (1852–1926)  Nepotism  Batres and the Scholarly Community  Batres’s Background  Race  Hrdlička  Manuel Gamio 5 Batres in the Field  Policing Archaeological Zones  Saville Seeks Access  Escalerillas: The Street of Staircases  The 1902 International Congress of Americanists in New York City  Thompson in the Yucatán  Batres at Teotihuacán 6 Batres Fought with All the World  La Isla de Sacrificios: Batres and Nuttall  Zelia Nuttall  Isla de Sacrificios  The National Museum 7 The Grand Tour: International Congress of Americanists, Mexico City, 1910  Two Automobiles from Teotihuacán: Corruption  Map from Teotihuacán  Eugène Boban  Batres’s Exit Conclusion Bibliography Index

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Book SynopsisThe Primacy of the Image in Northern Art 1400-1700: Essays in Honor of Larry Silver is an anthology of 42 essays written by distinguished scholars on current research and methodology in the art history of Northern Europe of the late medieval and early modern periods. Written in tribute to Larry Silver, Farquhar Professor of the History of Art at the University of Pennsylvania, the topics are inspired by Professor Silver’s renowned scholarship in these areas: Early Netherlandish Painting and Prints; Sixteenth-Century Netherlandish Painting; Manuscripts, Patrons, and Printed Books; Dürer and the Power of Pictures; Prints and Printmaking; and Seventeenth-Century Painting. Studies of specific artists include Hans Memling, Albrecht Dürer, Hans Baldung Grien, Hieronymus Bosch, Pieter Bruegel, Hendrick Goltzius, and Rembrandt.Table of ContentsAcknowledgments List of Figures List of Contributors Introduction Part 1: Early Netherlandish Painting and Prints 1 Strategies of Intimacy: Memling’s Triptych of Adriaan Reins  Lynn F. Jacobs 2 Those Who Are Bashful Starve: An Interpretation of the Master of the Brunswick Diptych’s Holy Family at Meal  Henry Luttikhuizen 3 Hugo van der Goes and Portraiture  Maryan W. Ainsworth 4 The Besieged War-Elephant: A Boschian Moralized Antiwar Discourse  Yona Pinson 5 The Overpainted Patron: Some Considerations about Dating Bosch’s Last Judgment Triptych in Vienna  Erwin Pokorny Part 2 Sixteenth-Century Netherlandish Painting 6 The Red Jew, Red Altarpiece and Jewish Iconography in Jan de Beer’s St. Joseph and the Suitors  Dan Ewing 7 “Headlong” into Pieter Bruegel’s Series of the Seasons  Reindert L. Falkenburg 8 Better Living Through Misinterpretation  Bret Rothstein 9 The Last Supper with Donors in the Chrysler Museum Collection  Lloyd DeWitt 10 Michiel Coxcie’s Artistic Quotations in The Death of Abel  Christopher D. M. Atkins Part 3 Manuscripts, Patrons, and Printed Books 11 Veronica’s Textile  Herbert L. Kessler 12 It’s February in the Early Fifteenth Century: What’s for Dinner?  Harry Rand 13 Oratio ad Proprium Angelum: The Guardian Angel in the Rothschild Hours  Dagmar Eichberger 14 Chinese Painting and Dutch Book Arts: The Challenges of Cross-Cultural Interpretation  Dawn Odell 15 Kinesis and Death in Lautensack  Christopher P. Heuer* 16 Virgil’s Flute: the Art and Science of “Antique Letters” and the Origins of Knowledge  Andrew Morrall 17 Born to Teach: Nikolaus Glockendon’s Finding of Jesus in the Temple  Debra Taylor Cashion 18 Nicolaes Witsen’s Collection, his Influence, and the Primacy of the Image  Rebecca P. Brienen Part 4 Dürer and the Power of Pictures 19 Dürer’s Rhinoceros Underway: the Epistemology of the Copy in the Early Modern Print  Stephanie Leitch 20 Praying against Pox: New Reflections on Dürer’s Jabach Altarpiece  Birgit Ulrike Münch 21 The Weird Sisters of Hans Baldung Grien  Bonnie Noble 22 Preserving Destruction: Albrecht Altdorfer’s Etchings of the Regensburg Synagogue as Material Performances of the Past and Future  Ashley D. West 23 The Case of the Missing Gold Disc: A Crucifixion by Albrecht Dürer  Miya Tokumitsu 24 Hitler’s Dürer? The Nuremberg Painter between Self-Portrayal and National Appropriation  Thomas Schauerte 25 Performing Dürer: Staging the Artist in the Nineteenth Century  Jeffrey Chipps Smith Part 5 Prints and Printmaking 26 The Burin, the Blade, and the Paper’s Edge: Early Sixteenth-Century Engraved Scabbard Designs by Monogrammist AC  Brooks Rich 27 “Return to Your True Self!” Practicing Spiritual Therapy with the Spiegel der Vernunft in Munich  Mitchell B. Merback 28 The Eucharistic Controversy and Daniel Hopfer’s Tabernacle for the Holy Sacrament  Freyda Spira 29 Recalibrating Witchcraft through Recycling and Collage: The Case of a Late Seventeenth-Century Anonymous Print  Charles Zika 30 The Timeless Space of Maerten van Heemskerck’s Panoramas: Viewing Ruth and Boaz (1550)  Arthur DiFuria 31 Hendrick Goltzius’s Method of Exegetical Allegory in his Scriptural Prints of the 1570s  Walter S. Melion 32 Narrative, Ornament, and Politics in Maerten van Heemskerck’s Story of Esther (1564)  Shelley Perlove 33 Disgust and Desire: Responses to Rembrandt’s Nudes  Stephanie S. Dickey Part 6 Seventeenth-Century Painting 34 A New Painting by Dirck van Baburen  Wayne Franits 35 “Verbum Domini manet in eternum”: Devotional Cabinets and Kunst- und Wunderkammern around 1600  James Clifton 36 Creating Attributability with the Five Senses of Jan Brueghel the Younger  Hans J. Van Miegroet 37 Pieter Lastman’s Paintings of David’s Death Sentence for Uriah, 1611 and 1619  Amy Golahny 38 Thomas de Keyser’s Venus Lamenting the Death of Adonis  Ann Jensen Adams 39 On Painting the Unfathomable: Rubens and The Banquet of Tereus  Aneta Georgievska-Shine 40 Jan Miense Molenaer’s Boys with Dwarfs and the Heroic Tradition of Art  David A. Levine 41 Is it a Rembrandt?  Catherine B. Scallen 42 Pieter Codde and the Industry of Copies in 17th-century Dutch Painting  Jochai Rosen Appendix: Larry Silver Bibliography Index

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Book SynopsisAt the turn of the sixteenth century, the notion of world was dramatically being reshaped, leaving no aspect of human experience untouched. The Nomadic Object: The Challenge of World for Early Modern Religious Art examines how sacred art and artefacts responded to the demands of a world stage in the age of reform. Essays by leading scholars explore how religious objects resulting from cross-cultural contact defied national and confessional categories and were re-contextualised in a global framework via their collection, exchange, production, management, and circulation. In dialogue with current discourses, papers address issues of idolatry, translation, materiality, value, and the agency of networks. The Nomadic Object demonstrates the significance of religious systems, from overseas logistics to philosophical underpinnings, for a global art history. Contributors are: Akira Akiyama, James Clifton, Jeffrey L. Collins, Ralph Dekoninck, Dagmar Eichberger, Beate Fricke, Christine Göttler, Christiane Hille, Margit Kern, Dipti Khera, Yoriko Kobayashi-Sato, Urte Krass, Evonne Levy, Meredith Martin, Walter S. Melion, Mia M. Mochizuki, Jeanette Favrot Peterson, Rose Marie San Juan, Denise-Marie Teece, Tristan Weddigen, and Ines G. Županov.Trade Review“Some of these essays will become immediately indispensable for further research. There is so much knowledge and expertise invested in each essay that it would be impossible to find a common denominator to unite them all.” Jeffrey Muller, Brown University. In: Journal of Jesuit Studies, Vol. 5, No. 4 (November 2018), pp. 661-666.Table of ContentsAcknowledgments Notes on the Editors Notes on the Contributors List of Illustrations Introduction: Connected Worlds—The World the Worldly and the Otherworldly: An Introduction  Mia M. Mochizuki Part 1: The World’s ‘Idols’ 1 Extraordinary Things: ‘Idols from India‘ and the Visual Discernment of Space and Time, circa 1600’  Christine Göttler 2 Arabic Inscriptions in the Service of the Church: An Italian Textile Evoking an Early Christian Past?  Denise-Marie Teece 3 Materiality and Idolatry: Roman Imaginations of Saint Rose of Lima  Tristan Weddigen Part 2: Parables of Contact 4 Ut Pictura Lex: Jan David, S.J., on Natural Law and the Global Reach of Christian Images  Walter S. Melion 5 Translating the Sacred: The Peripatetic Print in the Florentine Codex, Mexico (1575–1577)  Jeanette Favrot Peterson 6 The Value of Misinterpretation in Cultural Exchange: The Transfer of Christian Prints from the West to Japan  Yoriko Kobayashi-Sato 7 Propagatio Imaginum: The Translated Images of Our Lady of Foy  Ralph Dekoninck Part 3: Material Alchemies 8 ‘Mass’ Produced Devotional Paintings in the Andes: Mobility, Flexibility, Visual Habitus  Evonne Levy 9 Gems of Sacred Kingship: Faceting Anglo-Mughal Relations around 1600  Christiane Hille 10 Cultured Materiality in Early Modern Art: Feather Mosaics in Sixteenth-Century Collections  Margit Kern 11 Making Marvels—Faking Matter: Mediating Virtus between the Bezoar and Goa Stones and Their Containers  Beate Fricke Part 4: Relic Values 12 Naked Bones, Empty Caskets, and a Faceless Bust: Christian Relics and Reliquaries between Europe and Asia during Early Modern Globalisation  Urte Krass 13 Virgin Skulls: The Travels of St. Ursula’s Companions in the New World  Rose Marie San Juan 14 Relic or Icon? The Place and Function of Imperial Regalia  Akira Akiyama 15 Relics Management: Building a Spiritual Empire in Asia (Sixteenth and Seventeenth Centuries)  Ines G. Županov Part 5: ‘Netted’ Works 16 The Seven Sorrows of the Virgin: Spreading a New Cult via Dynastic Networks  Dagmar Eichberger 17 Early Modern Incense Boats: Commerce, Christianity, and Cultural Exchange  Jeffrey L. Collins and Meredith Martin 18 Journeys, Real and Imaginary, in China and Europe: Cartography, Landscape, and Travel around 1600  James Clifton 19 Arrivals at Distant Lands: Artful Letters and Entangled Mobilities in the Indian Ocean Littoral  Dipti Khera Index Nominum

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Book SynopsisTaking as its exemplum the use of images in judicial decisions, this article argues that the ratio decidendi of legal precedent should be supplemented with the imago decidendi, the figure or depiction that motivates judgment. Drawing upon the history of legal humanism, and particularly the tradition of juristic emblems, it is argued that an adequate understanding of case law rules and decisions requires attention to the imagery that conceives and propels the reasoned deliberation that follows. To adequately apprehend the transmission of law in a digital age requires acknowledging that images think differently, that the ambulation of the eye in the image is very different to the linear glance of the text.

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Book SynopsisArt and Adaptability argues for a co-evolution of theory of mind and material/art culture. The book covers relevant areas from great ape intelligence, hominin evolution, Stone Age tools, Paleolithic culture and art forms, to neurobiology. We use material and art objects, whether painting or sculpture, to modify our own and other people’s thoughts so as to affect behavior. We don’t just make judgments about mental states; we create objects about which we make judgments in which mental states are inherent. Moreover, we make judgments about these objects to facilitate how we explore the minds and feelings of others. The argument is that it’s not so much art because of theory of mind but art as theory of mind.Trade Review“The text is said to offer a novel hypothesis on the evolutionary roots of art, based on theory of mind. In itself, this proposal is compelling...” – Larissa Mendoza Straffon, Leiden University Centre for the Arts in Society “The general argument of the book is interesting and sound, and is well developed with different layer of explanation.... The manuscript fits within an upcoming and ongoing tendency to study the origins of art from a cognitive perspective that specifically emphasizes theory of mind...doing so from a similarly interdisciplinary point of view. As such, the contents are both innovative and fitting within actual developments in this field.” – Eveline Seghers, Department of Art, Music and Theatre Studies, Ghent University “Gregory F. Tague approaches two ancient questions, what is art and what does it do, in a new and intriguing way. Drawing on science, specifically evolution through natural selection, he proposes that art, like other forms of social behavior, is in part genetic, creative or imaginative impulse, and part environmental, social interaction. Support for this proposal comes from primate studies and current studies in neurobiology, cognition, intelligence and communication. He proposes, and I agree, that culture is common among great apes with whom we share social and mental abilities. Modern humans, however, unlike other primates, have a more highly degreed theory of mind. This ability to make predictions based on the perceived mental states of others facilitated our ancestors’ ability to competitively cooperate. Culture, which would include art, was, as he explains, “part of a predictive attempt to affect another’s emotional or cognitive outcome, often in subtle ways.” As influence is a critical part of social behavior, art, which has costs that can be quite high, provides social benefits. In sum, the road Tague takes to answering the questions – what is art and what does it do, how might it be connected to health, pleasure, play, sociality, and emotions – is complex; however, art is not a simple thing to explain. While he draws on many variables to build and support his argument, he provides the reader with a provocative and enlightening journey. Art and Adaptability is an excellent book – a fabulous search through many fields for an explanation of the curious behavior we call art.” – Kathryn Coe, Ph.D., Professor and Lilly Scholar in the Social and Behavioral Sciences, Indiana University-Purdue University. Author, The Ancestress Hypothesis: Visual Art as AdaptationTable of ContentsAcknowledgements Simplified Radiations of Select Primate Species Simplified Radiations of Select Hominin Species The Long Pleistocene Introduction: Setting Boundaries 1 Intelligence: Communication and Theory of Mind  Great Ape Intelligence and Communication  Symbolic Communication and Consciousness  Inter-Subjectivity and Evolution  Great Ape Theory of Mind  Human Theory of Mind  Artificial Intelligence  The Anthropocentric Attitude  Chapter One Dovetail 2 Culture: The Adapted Mind  Human Network: Scope and Scale  Symbolic Culture  Culture and the Adapted Mind  Gene/Culture Co-Evolution  Culture and Social Selection  Culture and Epigenetics  Mind Sharing  Chapter Two Dovetail 3 Adaptive Functions: Selection and the Human Psyche  Adaptation and Natural Selection Defined  Phenomenal Consciousness  Adaptive Problems and Questions  Darwin and Natural Selection  Darwin and Sexual Selection  Selection and Tools  Cognition, Cooperation, and Extended Evolution  Making Special  Pleistocene Landscape Preferences  Can We Define Art?  Neanderthals and Art  Cave Painting and Superstition  Art and Altered States of Consciousness  Cave Art and Images  Art and the Human Psyche  Beauty, the Brain, and the Body  Chapter Three Dovetail 4 Objections: Philosophy and Byproducts  Philosophy and Art  Pinker’s Cheesecake for the Mind  An Art Instinct?  Corrective to Art as Sexual Selection  Humanology  Social Selection Over Sexual Selection?  The Biology of Art as Speculative?  Two Hypotheses  Explanatory Dilemma  Chapter Four Dovetail 5 Neurobiology and Cognition: Consciousness and Representation  Artistic Behavior and the Social Brain  The Subject of Aesthetics  Orienting Creative Cognition  Art, Ambiguity, and Making Meaning  Representation and Metarepresentation  Bodily and Cultural Consciousness  Line or Color?  Seeing Reality Abstractly  Knowledge, Beauty, and Neutrality  From Discontinuity to Essence  Brain Sight and Insight  Beauty and Cognitive Emotions  Ritual Art  Chapter Five Dovetail Conclusion: The Arts and Sciences Bibliography Index

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Book SynopsisThis study reexamines the invention of the emblem book and discusses the novel textual and pictorial means that applied to the task of transmitting knowledge. It offers a fresh analysis of Alciato’s Emblematum liber, focusing on his poetics of the emblem, and on how he actually construed emblems. It demonstrates that the “father of emblematics” had vernacular forebears, most importantly Johann von Schwarzenberg who composed two illustrated emblem books between 1510 and 1520. The study sheds light on the early development of the Latin emblem book 1531–1610, with special emphasis on the invention of the emblematic commentary, on natural history, and on advanced methods of conveying emblematic knowledge, from Junius to Vaenius.Trade Review"Enenkel brings much scholarship from German and Dutch to the English-speaking world and, in addition to helpful footnotes, the text includes an extensive bibliography and an index of names. […] In this trenchant study, Enenkel provides a vital foundation for the intellectual history of emblem books as a genre and should be considered necessary reading for students and scholars of Renaissance and Early Modern European Humanities." Jenny Davis Barnett, University of Queensland, in Ceræ: An Australasian Journal of Medieval and Early Modern Studies, 7. “a truly scholarly tour de force.” Michael Bath, University of Glasgow. In: Emblematica, Vol. 3 (2020), pp. 313–324. “This book provides a wealth of material and insights, where Karl Enenkel, an outstanding scholar of Neo-Latin, has brought his knowledge to bear on these topics. […] This rich book will be mined by future scholars.” Mara R. Wade, University of Illinois at Urbana-Champaign. In: Historians of Netherlandish Art Reviews, March 2020. “Enenkel has a firmer grasp of the classical sources than probably any other emblem scholar alive today.” Peter Daly, McGill University, emeritus. In: Renaissance Quarterly, Vol. 73 , No 4 (Winter 2020), pp. 1371–1372.Table of ContentsAcknowledgements Preface List of Illustrations PART 1: Alciato 1 The Emblematization of Nature, and the Poetics of Alciato’s Epigrams  1 Introduction  2 Curiosities of Natural History  3 Ekphrases of Works of Art  4 Animal Poems, Drawn from the Greek Anthology, and the Aesopean Tradition  5 Emblematic Constructions Based on Ovid’s Metamorphoses  6 The Description of Character Types through the Emblematization of Animals  7 In Conclusion PART 2: Vernacular Forerunners of Alciato’s Emblematum Liber 2 A Manuscript Emblem Book before Alciato: Johann von Schwarzenberg’s Mirror of Religious Virtue (Memorial der Tugent, ca. 1510–1512)  1 Introduction  2 Schwarzenberg’s Ideas about the Combination of Text and Image – Congruences with the Emblematum Liber  3 The Dichotomous Structure of Schwarzenberg’s Emblems: Res significantes and res significatae  4 Variations of the Dichotomous Structure  5 A Catholic Emblem Book  6 In Conclusion: The Transmission of Knowledge in Schwarzenberg’s Emblematic Constructions 3 A Printed Emblem Book before Alciato: Johann von Schwarzenberg’s Emblematization of Cicero’s De officiis as a Mirror of Political Virtue  1 A Printed Emblem Book before Alciato’s Emblematum Liber  2 The Genesis of the Emblematic De officiis  3 The Transformation of De officiis into an Emblematic and Christian Mirror of Princes  4 Emblematic Means for the Philosophical Education of Laymen: Proverbs, Similes, Moral Conclusions  5 Political Realism – A Kind of Machiavellization of De officiis avant la lettre?  6 Emblems Against Tyranny  7 In Conclusion PART 3: The Emblematic Commentary as a Means of Transmitting Knowledge 4 The Transformation of the Emblem Book into an Encyclopaedia: Stockhamer’s Commentary on Alciato (1551/1556)  1 Introduction: The Impact of a Commentary on the Genre of the Emblem Book  2 Stockhamer’s Commentary on Alciato and His Humanist Learning  3 Stockhamer’s Commentary and the Transmission of Knowledge: The Construction of an Encyclopaedic Compendium  4 The Emblematic Commentary as a Combination of Various Types of Encyclopaedia’s: Natural History, Etymology, Mythology, Grammar, and Collections of Proverbs  5 Conclusion 5 The Game of Emblematic Interpretation and Emblematic Authorship: Hadrianus Junius’ Emblemata (1565)  1 Introduction  2 The Enigmatic Structure of the Emblems, and the Enigma of the Author’s Self-Commentary  3 Potential Models for Junius’ Commentary?  4 The Function of Junius’ Commentary: Authorization of Emblematic Interpretations, Transmission of Emblematic Knowledge, and Collection of Commonplaces  5 The Game of Emblematic Interpretation and Emblematic Authorship PART 4: Advanced Emblematic Transmission of Knowledge 6 Early Modern Zoology as a Mirror of Princes: Joachim Camerarius’ Quadrupedes (1595)  1 Introduction  2 The Structure of Camerarius’ Emblem Books: What is the Status of the “Commentary”?  3 The Transmission of Knowledge in the Book on the Quadrupeds: Zoology and Political Education  4 Camerarius’ Emblems and University Education  5 The Printed Emblem Book and the Manuscript  6 The Emblematic Construction of a “Plinian” Animal: The Rhino  7 Curious Animal Behaviour: The Leopard’s Trick as a Political Lesson  8 The Zoological and Emblematic Construction of an Animal without Pliny: The Opossum of the New World  9 The Zoological and Emblematic Construction of an Animal without Written Sources: The ‘Suhak’ (Saiga)  10 Conclusion 7 The Transmission of Knowledge via Pictorial Figurations: Vaenius’ Emblemata Horatiana (1607) as a Manual of Ethics  1 Introduction  2 The Emblemata Horatiana: A Mirror of Princes? A Neostoic Manifesto?  3 The Pictorial Transmission of Typically ‘Horatian’ Ethics: The Use of Personifications, Mnemonic Landscapes, and Geometrical Figurations  4 Personifications, Dichotomous Constructions and Moments of Decision  5 Horace’s Aurea mediocritas: Geometrical Figurations, Mnemonic Landscapes and Middle Positions  6 Vaenius’ Personifications: The Rhetoric of Living Images  7 The Transmission of Proverbial Wisdom: Scenes of Everyday Life, Paintings within Paintings, and Other Figurations Bibliography Index Nominum

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Book SynopsisCe livre offre une nouvelle lecture de la question de la maturation de la calligraphie et des arts du livre arabo-persan vers des formes et des statuts qui deviendront classiques à partir de la période ilkhanide et djalayiride. This book proposes a new reading of the question of the maturation of calligraphy and the arts of the book in Arabic and Persian towards forms and statuses that will become classical from the Ilkhanid and Djalayirid period.Table of ContentsRemerciements Note au lecteur Figures, illustrations et tableaux 1 Introduction 2 Prologue : sources, methodes et terminologie  2.1 L’ analyse des manuscrits : codicologie, paléographie et histoire de l’ art  2.2 La littérature sur l’ écriture et la calligraphie  2.3 La littérature historiographique 3 Le siecle de Yāqūt al-Mustaʿṣimī  3.1 Qui est Yāqūt al-Mustaʿṣimī ?  3.2 Les écritures de Yāqūt al-Mustaʿṣimī  3.3 De la renommée à la légende  3.4 La question des « disciples » de Yāqūt al-Mustaʿṣimī  3.5 L’ enluminure du 7e/13e s. 4 L’ âge d’ or Ilkhanide  4.1 La renaissance du mécénat livresque royal : les Corans de Ghāzān et d’ Öldjeytü  4.2 Le rôle de Rashīd al-Dīn Faḍl Allah al-Hamadhānī 5 Vers une nouvelle culture bibliophile  5.1 L’ évolution du mécénat livresque royal  5.2 L’ école de Yāqūt al-Mustaʿṣimī et la canonisation de la calligraphie arabe classique  5.3 Le Nastaʿlīq  5.4 La maturation de l’ enluminure classique 6 Epilogue : les caracteristiques codicologiques de la production manuscrite Ilkhanide et Djalayiride  6.1 Le papier  6.2 Les formats et la mise en page  6.3 Les cahiers  6.4 La reliure 7 Conclusion 8 Catalogue 1 : manuscrits produits en Iraq et dans le nord-ouest de l’ Iran, 656-814/1258-1411 9 Catalogue 2 : manuscrits et pages d’ albums attribues a Yāqūt al-Mustaʿṣimī, ses disciples presumes et d’ autres calligraphes du 7e-8e/13e-14e s.  9.1 Manuscrits attribués à Yāqūt al-Mustaʿṣimī  9.2 Manuscrits attribués aux disciples présumés de Yāqūt al-Mustaʿṣimī  9.3 Pages de calligraphes du 7e-8e/13e-14e s. incluses dans des albums Annexe 1: Formats et dimensions des manuscrits du corpus par ordre décroissant des hauteurs Annexe 2: Formats et dimensions des manuscrits du corpus par ordre chronologique Annexe 3: La mise en page des manuscrits du corpus Annexe 4: Les cahiers des manuscrits du corpus Bibliographie Index

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Book SynopsisArt for the workers explores the mythology and reality of post-revolutionary proletarian art in Russia as well as its expression in the festive decorations of Petrograd between 1917 and 1920. It covers this brief period chronologically, and so permits a close inspection of the development of artistic policies in Russia under the Provisional Government followed by the Bolsheviks. Specifically, this book focuses on the pre-and post-revolutionary debate about the nature of proletarian art and its role in the new Socialist society, particularly focusing on festive decorations, parades and mass performances as expressions of proletarian art and forms of propaganda.Table of ContentsContents Acknowledgements Notes on Transliteration and Conventions List of Illustrations Abbreviations and Glossary Introduction 1 Roots of Proletarian Culture 2 Festivals and Proletarian Art under the Tsars and the Provisional Government 3 Narkompros versus Proletkult: Festivals and Proletarian Art after the Bolshevik Revolution 4 The Victory of Figuration Over Futurism: from Cultural Diversity to Military Parade 5 Street Art - Collective, Politicised: the New Public Spectacle Epilogue Bibliography Index

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Book SynopsisThe first dynasty to mint gold dinars outside of the Abbasid heartlands, the Aghlabid (r. 800-909) reign in North Africa has largely been neglected in the scholarship of recent decades, despite the canonical status of its monuments and artworks in early Islamic art history. The Aghlabids and their Neighbors focuses new attention on this key dynasty. The essays in this volume, produced by an international group of specialists in history, art and architectural history, archaeology, and numismatics, illuminate the Aghlabid dynasty’s interactions with neighbors in the western Mediterranean and its rivals and allies elsewhere, providing a state of the question on early medieval North Africa and revealing the centrality of the dynasty and the region to global economic and political networks. Contributors: Lotfi Abdeljaouad, Glaire D. Anderson, Lucia Arcifa, Fabiola Ardizzone, Alessandra Bagnera, Jonathan M. Bloom, Lorenzo Bondioli, Chloé Capel, Patrice Cressier, Mounira Chapoutot-Remadi, Abdelaziz Daoulatli, Claire Déléry, Ahmed El Bahi, Kaoutar Elbaljan, Ahmed Ettahiri, Abdelhamid Fenina, Elizabeth Fentress, Abdallah Fili, Mohamed Ghodhbane, Caroline Goodson, Soundes Gragueb Chatti, Khadija Hamdi, Renata Holod, Jeremy Johns, Tarek Kahlaoui, Hugh Kennedy, Sihem Lamine, Faouzi Mahfoudh, David Mattingly, Irene Montilla, Annliese Nef, Elena Pezzini, Nadège Picotin, Cheryl Porter, Dwight Reynolds, Viva Sacco, Elena Salinas, Martin Sterry.Trade Review"This collection, as a statement on the state of the field as well as what remains to be discovered, will be a vital resource and a first stop for anyone undertaking future study of the third/ninth and fourth/tenth-century regions of the western Mediterranean and northern Africa." - Sarah Davis-Secord, University of New Mexico, in: Al-Masāq 30/3 (2018) "As an elegant (collective) status quaestionis, on a much-neglected field, and a stimulus to further work, it is hard to imagine a more welcome book." - Andrew Merills, University of Leicester, in: Medieval Archaeology 62/2 (2018) "The Aghlabids and their Neighbors is a long overdue contribution to the study of Islam and North African history. The genuinely interdisciplinary approach offers numerous possibilities for further research, not least because of the relatively small number of primary texts for this region, and the difficulty of accessing many of the manuscripts that do exist. The contributors must be praised for their skill in presenting complicated and specialized material in a manner that is both accessible and relevant to the non-initiate of their field. So too should the editors be commended for the volume's internal consistency (no small feat in a collection of this size and range) and its coherent and helpful structure." - Antonia Bosanquet, Hamburg University, in: Journal of the History and Culture of the Middle East 96/1 (2019) "The weighty edited volume of 29 contributors, many drawn from an international workshop held in 2014, is an extremely welcome addition to the rather sparse array of scholarship on the history, art, architecture and material culture of early Islamic North Africa. Compiled and edited by Mariam Rosser-Owen, Corisande Fenwick and Glaire Anderson, a trio of scholars, known for their multi-disciplinary, multi-lingual and often revisionist endeavours in the field, it has a refreshing unapologetic Maghribi perspective which encourages the reader to see North Africans as agents in the production of their own early Islamic material culture, rather than as somewhat passive imitators of what Muslims in the Islamic East or al-Andalus were doing better." - Amira K. Bennison, University of Cambridge in: Bibliotheca Orientalis LXXVI N° 1-2 (2019)Table of ContentsAcknowledgments List of Maps List of Figures List of Tables List of Contributors Aghlabid Timeline List of Aghlabid Rulers Maps 1 The Aghlabids and Their Neighbors: An Introduction  Glaire D. Anderson, Corisande Fenwick, and Mariam Rosser-Owen Part 1: State-building 2 The Origins of the Aghlabids  Hugh Kennedy 3 Comment les Aghlabides ont-ils gouverné l’Ifriqiya ?  Mounira Chapoutot-Remadi 4 Reinterpreting the Aghlabids’ Sicilian Policy (827–910)  Annliese Nef 5 Topographies of Power in Aghlabid-Era Kairouan  Caroline Goodson 6 L’atelier monétaire d’al-ʿAbbassiyya: du « vieux château » (al-Qasr al-Qadim) à la ville princière aghlabide  Abdelhamid Fenina 7 Le changement du type monétaire des dinars aghlabides sous le règne de Ziyadat Allah III : évolution ou révolution artistique?  Mohamed Ghodhbane 8 Ziryab in the Aghlabid Court  Dwight Reynolds Part 2: Monuments: The Physical Construction of Power 9 La Grande Mosquée de Kairouan : textes et contexte archéologique  Faouzi Mahfoudh 10 The Marble Panels in the Mihrab of the Great Mosque of Kairouan  Jonathan M. Bloom 11 Fragments d’histoire du minbar de Kairouan  Nadège Picotin and Claire Déléry 12 Les carreaux verts et jaunes « cachés » du mihrab de la Grande Mosquée de Kairouan et analogie avec une sélection d’objets kairouanais  Khadija Hamdi 13 La Grande Mosquée Zitouna : un authentique monument aghlabide (milieu du IXe siècle)  Abdelaziz Daoulatli 14 The Zaytuna: The Mosque of a Rebellious City  Sihem Lamine 15 Le coufique des inscriptions monumentales et funéraires aghlabides  Lotfi Abdeljaouad 16 Les ribāṭs aghlabides : un problème d’identification  Ahmed El Bahi Part 3: Ceramics: Morphology and Mobility 17 La céramique aghlabide de Raqqada et les productions de l’Orient islamique : parenté et filiation  Soundes Gragueb Chatti 18 Aghlabid Palermo: Written Sources and Archaeological Evidence  Fabiola Ardizzone †, Elena Pezzini, and Viva Sacco 19 Palermo in the Ninth and Early Tenth Century: Ceramics as Archaeological Markers of Cultural Dynamics  Lucia Arcifa and Alessandra Bagnera 20 La céramique des niveaux idrisside et zénète de la Mosquée al-Qarawiyyin de Fès (IXe-Xe siècles)  Kaoutar El Baljani, Ahmed S. Ettahiri, and Abdallah Fili 21 Material Culture Interactions between al-Andalus and the Aghlabids  Elena Salinas and Irene Montilla Part 4: Neighbors: North Africa and the Central Mediterranean in the Ninth Century 22 Jerba of the Ninth Century: Under Aghlabid Control?  Renata Holod and Tarek Kahlaoui 23 Islamic Bari between the Aghlabids and the Two Empires  Lorenzo Bondioli 24 Nakur: un émirat rifain pro-omeyyade contemporain des Aghlabides  Patrice Cressier 25 Idris I and the Berbers  Elizabeth Fentress 26 Sijilmassa in the Footsteps of the Aghlabids: The Hypothesis of a Ninth-Century New Royal City in the Tafilalt Plain (Morocco)  Chloé Capel 27 Zuwila and Fazzan in the Seventh to Tenth Centuries: The Emergence of a New Trading Center  David Mattingly and Martin Sterry Part 5: Legacy 28 The Materiality of the Blue Quran: A Physical and Technological Study  Cheryl Porter 29 The Palermo Quran (AH 372/982–3 CE) and its Historical Context  Jeremy Johns Bibliography Index

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Book SynopsisIn The Globalization of Renaissance Art: A Critical Review, Daniel Savoy assembles an interdisciplinary group of scholars to evaluate the global discourse on early modern European art. Over the course of eleven chapters and a roundtable, the contributors assess the discourse’s goal of transcending Eurocentric boundaries, reflecting on the strengths and weaknesses of current terms, methods, theories, and concepts. Although it is clear that the global perspective has exposed the artistic and cultural pluralism of early modern Europe, it is found that more work needs to be done at the epistemological level of art history as a whole. Contributors: Claire Farago, Elizabeth Horodowich, Lauren Jacobi, Thomas DaCosta Kaufmann, Jessica Keating, Stephanie Leitch, Emanuele Lugli, Lia Markey, Sean Roberts, Ananda Cohen-Aponte, and Marie Neil Wolff.Table of ContentsContents List of Figures and Tables Notes on Contributors Introduction  Daniel Savoy Part 1 Global Genealogies 1 A Global Florence and its Blind Spots  Sean Roberts 2 Otto Kurz’s Global Vision  Jessica Keating Part 2 Beyond Eurocentrism 3 Decolonizing the Global Renaissance: A View from the Andes  Ananda Cohen-Aponte 4 Ranges of Response: Asian Appropriation of European Art and Culture  Thomas DaCosta Kaufmann Part 3 A Borderless Renaissance 5 Reconsidering the World-system: The Agency and Material Geography of Gold  Lauren Jacobi 6 Linking the Mediterranean: The Construction of Trading Networks in 14th and 15th-century Italy  Emanuele Lugli 7 Cosmopolitan Renaissance: Prints in the Age of Exchange  Stephanie Leitch 8 The World Seen from Venice: Representing the Americas in Grand-scale Wall Maps  Elizabeth Horodowich Part 4 Instituting the Global 9 Global Renaissance Art: Classroom, Academy, Museum, Canon  Lia Markey 10 Zones of Indifference  Marie Neil Wolff 11 The “Global Turn” in Art History: Why, When, and How Does It Matter?  Claire Farago Epilogue: Roundtable Index

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Book SynopsisBy scrutinizing every possible Persian and European written source on the subject, Negar Habibi discusses the paintings known as farangi sāz, and in particular those of ʿAli Qoli Jebādār, one of Iran’s most important Safavid artists of the 2nd half of the 17th century. En resserrant plusieurs sources écrites persanes et européennes, Negar Habibi discute des peintures connues sous le nom de farangi sāzi, spécialement celles de ʿAli Qoli Jebādār, l'un des artistes emblématiques de la 2ème moitié du XVIIe siècle.Table of ContentsTable des matières Remerciements Transcription du persan Liste des abréviations dans les notes Liste des illustrations et crédits photos Introduction  Farangi sāzi  L’objet de la recherche : le mécénat sous Shāh Soleimān  Méthodologie et sources  Plan ʿAli Qoli Jebādār : l’artiste aux titres royaux  Introduction  La question des origines de ʿAli Qoli Jebādār et son importance relative  Une main, une signature  Jebādār et la question de Jebākhāneh  La carrière de ʿAli Qoli Jebādār : une nouvelle datation  Bilan Farangi sāzi ? Une considération sur les peintures occidentalistes safavides  Introduction  Farangi sāzi et farangi sāz : l’historique d’une expression  L’Occidentalisme safavide  Bilan L’État de Shāh Soleimān : l’historique des centres du pouvoir safavide entre 1666 et 1694  Introduction  L’ādāb-é mamlekat dāri : de Shāh Safi II à Shāh Soleimān  Posht va panāh-é mamlekat : Le grand vizir  Andaruni, le palais intérieur  Donyā va okhrā : la querelle du sérail et du Sheikh al-Islam  Bilan Le mécénat artistique à la cour de Shāh Soleimān : Le syncrétisme artistique des peintures de ʿAli Qoli Jebādār  Introduction  Le portrait d’une cour royale : l’enregistrement du réel  Le sarkār-é khāsseh-yé sharifeh : la trésorerie royale  Le sérail royal et le portrait de la zan-é farangi  Des nus fameux ou Shirin occidentalisée  Surat gari et shabih sāzi : ʿAli Qoli Jebādār le portraitiste royal  Bilan Conclusion générale  L’Occidentalisme et farangi sāzi  Les œuvres de ʿAli Qoli Jebādār et le mécénat sous Shāh Soleimān Annexe 1 : Bibliographie de ʿAli Qoli Jebādār  Bibliographie sélective safavide  Bibliographie sélective contemporaine Annexe 2 : Bibliographie du Farangi sāzi  Bibliographie sélective iranienne  Bibliographie sélective occidentale Annexe 3 : Liste visuelle des signatures Lexique Bibliographie  1 Les sources primaires iraniennes  2 Les sources primaires européennes  3 Les sources secondaires Index

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Book SynopsisIn City Views in the Habsburg and Medici Courts, Ryan E. Gregg relates how Charles V, Holy Roman Emperor, and Duke Cosimo I of Tuscany employed city view artists such as Anton van den Wyngaerde and Giovanni Stradano to aid in constructing authority. These artists produced a specific style of city view that shared affinity with Renaissance historiographic practice in its use of optical evidence and rhetorical techniques. History has tended to see city views as accurate recordings of built environments. Bringing together ancient and Renaissance texts, archival material, and fieldwork in the depicted locations, Gregg demonstrates that a close-knit school of city view artists instead manipulated settings to help persuade audiences of the truthfulness of their patrons’ official narratives.Trade Review“densely informative, intelligently written and richly researched.” Valeria Manfrè, Universidad de Valladolid. In: Imago Mundi, Vol. 72, No. 1 (2020), p. 75-76. “ein höchst anregendes, mit großer Sorgfalt und Umsicht gearbeitetes Werk mit reichhaltiger Bibliographie und Register.” Ferdinand Opll, Universität Wien. In: Wiener Geschichtsblätter, 74. Jahrgang, Heft 3 (2019), S. 329-331.Table of ContentsAcknowledgements List of Illustrations Introduction 1 Witnessing Sovereignty: Anton van den Wyngaerde’s City Views as Habsburg Courtly Propaganda  1 The Archival Material: Their Evidentiary Problems and Indications  2 Eyewitness to History: The Habsburg Use of City Views  3 Genoa: City View as History and as Impresa  4 Cantecroy, Mechelen, and the English Palaces: Claims of Dominion  5 Brussels and Utrecht: Demonstrations of Sovereignty  6 The Italian Views: Van den Wyngaerde in the Imperial Train  7 Ancona and Lyon  8 Conclusion 2 The Antwerp School of City Views  1 Fertile Foundations  2 The Catalyst: Charles V’s Entry into Rome  3 Technique, Style, and Viewing Experiences  4 Coalition  5 Contemporary Recognition  6 Conclusion 3 Vasari, Historiography, and the Rhetoric of City Views  1 History, Truthfulness, and Setting  2 The Tropes of Enargeia: Sieges, Ships, and City Views  3 Viewing City Towers: Vision, Cognition, and Simulacra  4 Nature or Artifice? The Mannerism of Antwerp School City Views  5 City Views as Analogy for Judgment  6 Enargeia and Eyewitnessing in Vasari’s Historiographic Practice  7 Vasari’s Description of City View Methodology: a Verbal Artist Figure  8 Borghini’s New Historiography and the City Views  9 Conclusion 4 Defining Ducal Dominion: Giovanni Stradano’s City Views in the Apartment of Leo X  1 The Room of Giovanni delle Bande Nere  2 The Room of Clement VII  3 The Room of Cosimo I  4 Conclusion Coda: Heirs to Dominion  1 Heirs to Patronage Bibliography Index

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Book SynopsisThe first scholarly monograph on Buddhist maṇḍalas in China, this book examines the Maṇḍala of Eight Great Bodhisattvas. This iconographic template, in which a central Buddha is flanked by eight attendants, flourished during the Tibetan (786–848) and post-Tibetan Guiyijun (848–1036) periods at Dunhuang. A rare motif that appears in only four cave shrines at the Mogao and Yulin sites, the maṇḍala bore associations with political authority and received patronage from local rulers. Attending to the historical and cultural contexts surrounding this iconography, this book demonstrates that transcultural communication over the Silk Routes during this period, and the religious dialogue between the Chinese and Tibetan communities, were defining characteristics of the visual language of Buddhist maṇḍalas at Dunhuang.Table of ContentsContents Acknowledgements List of Illustrations Abbreviations and Conventions Introduction    Recentering Buddhism at Dunhuang    The Shingon Impact    Maṇḍalas in the Making    Overview of Chapters 1 From Dhāraṇī to Maṇḍala    Dhāraṇī Pillars in Medieval China    Maṇḍalas and Altars    Visualizing the Maṇḍala 2 The Crowned Buddha and Narratives of Enlightenment    The Cult of Vairocana in Early Tibet    The Crowned Buddha    Networks of Transmission    Stylistic Bilingualism in Images of Vairocana    The Eight Bodhisattvas 3 Maṇḍalas and Historical Memory    Mogao Cave 156 and the Victory of Zhang Yichao    The Cult of Avalokiteśvara at Dunhuang    The Maṇḍala of Eight Great Bodhisattvas in the Guiyijun Period    Amoghavajra and the Vajradhātu Maṇḍala    Maṇḍalas and Ritual Space 4 Maṇḍalas, Repentance, and Vision    The Vajra Realm in Ritual Manuals from Dunhuang    The Five Buddhas and Repentance Altars 5 Beyond the Maṇḍala    Bodhisattvas and Repentance    The Kalyāṇamitras as Embodied Experience    The Vows of Samantabhadra    The Ascent to the Dharma Realm Epilogue Bibliography Index

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Book SynopsisIn Expressionism and Poster Design in Germany 1905–1925, Kathleen Chapman re-defines Expressionism by situating it in relation to the most common type of picture in public space during the Wilhelmine twentieth century, the commercial poster. Focusing equally on visual material and contemporaneous debates surrounding art, posters, and the image in general, this study reveals that conceptions of a “modern” image were characterized not so much by style or mode of production and distribution, but by a visual rhetoric designed to communicate more directly than words. As instances of such rhetoric, Expressionist art and posters emerge as equally significant examples of this modern image, demonstrating the interconnectedness of the aesthetic, the utilitarian, and the commercial in European modernism.Trade Review“This book is essential reading for all scholars on modern German art.” Christian Weikop, University of Edinburgh. In: Print Quarterly, Vol. 39, No. 4 (December 2022), pp. 471–474.Table of ContentsAcknowledgements List of Figures Introduction: Expressionism between Spirit and Commerce 1 Illustration, Abstraction, Advertising: Wilhelm Worringer and the Continuities of German Art 2 Hieroglyphic Appeal: The Visual Rhetoric of the German Object Poster, Werkbund Style, and Expressionist Art 3 Promoting Expressionism before Expressionism: Künstlergruppe Brücke and Theories of the Modern Image before World War I 4 From War to Revolution, from Propaganda to Art: Expressionism and Posters of the Revolutionary Period 5 Expressionism after Expressionism: “Dead” Expressionism and Theories of the Modern Image after World War I Conclusion: Expressionism as Buzzword Copyright of Figures Bibliography

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Book SynopsisLomazzo's Aesthetic Principles Reflected in the Art of his Time explores the work of the Milanese artist-theorist Giovanni Paolo Lomazzo (1538–92) and his influence on the circle of the Accademia della Val di Blenio and beyond. Following reflections on Lomazzo's fortuna critica, the accompanying essays examine his admiration of Gaudenzio Ferrari; Lomazzo’s painted oeuvre; his influence on printmaking with Giovanni Ambrogio Brambilla; on drawing and painting with Aurelio Luini; on the decorative arts and the embroideress Caterina Cantoni; his pupils Giovanni Ambrogio Figino and Girolamo Ciocca; grotesque sculpture outside Milan; and Lomazzo in England with Richard Haydocke’s translation of the Trattato. In doing so, this book takes an innovative approach—one which aims to bridge the scholarship, hitherto disjoined, between Lomazzo the artist and Lomazzo the theorist—while expanding our knowledge of a protagonist of Renaissance and early modern art theory. Contributors: Alessia Alberti, Federico Cavalieri, Jean Julia Chai, Roberto Paolo Ciardi, Alexander Marr, Silvia Mausoli, Mauro Pavesi, Rossana Sacchi, Paolo Sanvito, and Lucia Tantardini.Table of ContentsPreface  Lucia Tantardini Foreword: Lomazzo's Temple  Roberto Paolo Ciardi Acknowledgements List of Figures and Maps List of Abbreviations Notes on Contributors Notes Chronology of Lomazzo’s Life and Career Introduction: Lomazzo Studies: Getting the Whole Picture  Jean Julia Chai 1 ‘Oh blessed, excellent mind and hands!’: Lomazzo’s Admiration for Gaudenzio Ferrari  Rossana Sacchi 2 New Light on Lomazzo’s Artistic Career  Mauro Pavesi 3 Giovanni Ambrogio Brambilla: Poet, Painter, Draughtsman, and Printmaker between Milan and Rome  Alessia Alberti 4 Lomazzo vs. Luini: Comparative Aesthetics  Lucia Tantardini 5 ‘De la gran Cantona i chiari honori’: Caterina Cantoni, Lomazzo, and the Accademia della Val di Blenio  Silvia Mausoli 6 Lomazzo’s Two Pupils: ‘first is Figino, and then Ciocca’  Federico Cavalieri and Mauro Pavesi 7 Lomazzo’s Influence on Decorative Patterns in Sculptural Workshops Before and After 1600  Paolo Sanvito Afterword: Lomazzo's Shadow  Alexander Marr Appendices Bibliography Index of Proper Names Index of Places

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Book SynopsisIn Applied Emblems in the Cathedral of Lugo, Carme López Calderón explores the emblematic programme found in the Chapel of Nuestra Señora de los Ojos Grandes (Galicia, Spain), consisting of fifty-eight emblems painted c. 1735. Making use of a wide range of printed sources, the author delves into the meaning of each emblem and provides an all-encompassing interpretation of this cycle, which can rightly be described as the richest and most complete programme of Marian applied emblematics in the Iberian Peninsula.Table of ContentsAcknowledgements List of Figures Note on Citation and Translation Introduction 1 Emblematics and Mariology 2 Emblematic Sources for the Chapel  1 Pancarpium marianum (Antuerpiae, 1607)  2 Schola cordis (Antuerpiae, 1629)  3 Mundus symbolicus (Coloniae Agrippinae, 1681)  4 Tractatus moralis (Gandavi, 1660) and Rosa laureada entre los santos (Madrid, 1670) 3 The Paintings Inspired by the Pancarpium Marianum  1 The Scriptural Titles of Mary 4 Further Play on Sacred Emblematics  1 The Excellences of Mary  2 The Perfection of the Faithful through the Schola Cordis 5 Suggested Reading: Painting, Sculpture, and Architecture in the Service of Marian Devotion Appendix 1 Appendix 2 Bibliography Index

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Book SynopsisIn Touching the Passion — Seeing Late Medieval Altarpieces through the Eyes of Faith, Donna Sadler explores the manner in which worshipers responded to the carved and polychromed retables adorning the altars of their parish churches. Framed by the symbolic death of Christ re-enacted during the Mass, the historical account of the Passion on the retable situated Christ’s suffering and triumph over death in the present. The dramatic gestures, contemporary garb, and wealth of anecdotal detail on the altarpiece, invited the viewer’s absorption in the narrative. As in the Imitatio Christi, the worshiper imaginatively projected himself into the story like a child before a dollhouse. The five senses, the sculptural medium, the small scale, and the rhetoric of memory foster this immersion.Trade Review“This compact, thorough, well-illustrated book is a reliable indicator of advanced research in its field over the past thirty years.” Robert W. Gaston, University of Melbourne. In: Renaissance Quarterly, Vol. 73, No. 1 (Spring 2020), pp. 232–234. “Thought provoking.” Louise Hampson, University of York. In: Sixteenth Century Journal, Vol. 50, No. 2 (Summer 2019), pp. 541–543. “In tracing the complex relationships formed between altarpieces as objects and loci of memory, and the interior and exterior worlds of the medieval viewer, this book not only fulfils Sadler’s stated intent in demonstrating the importance of the carved altarpieces in late medieval practices of devotion, it also shows their value as evidence for the centrality of the nexus between emotions and the material world in those practices.” Sarah Randles, The University of Melbourne/University of Tasmania. In: Emotions, Vol. 2, No. 2 (2018), pp. 355–356.Table of ContentsAcknowledgements List of Illustrations 1 Coming to Terms with the Late Medieval Altarpiece 2 A Tale of Two Retables from the Benedictine Monastery of Crisenon in the Musée-Abbaye Saint-Germain, Auxerre 3 The Aesthetics of Immersion: The Reception of the Retable by the Worshipers 4 Engagement with the Pathos of the Passion 5 The Role of the Frame Epilogue: The Late Medieval Altarpiece as House of Memory Bibliography Index

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Book SynopsisVisualizing Sensuous Suffering and Affective Pain in Early Modern Europe and the Spanish Americas is a trans-cultural collection of studies on visual treatments of the phenomena of suffering and pain in early modern culture. Ranging geographically from Italy, Spain, and the Low Countries to Chile, Mexico, and the Philippines and chronologically from the fourteenth to the eighteenth centuries, these studies variously consider pain and suffering as somatic, emotional, and psychological experiences. From examination of bodies shown victimized by brutal public torture to the sublimation of physical suffering conveyed through the incised lines of Counter-Reformation engravings, the authors consider depictions of pain and suffering as conduits to the divine or as guides to social behaviour; indeed, often the two functions overlap.Trade Review“excellent volume” Anthony Colantuono, University of Maryland. In: Emotions, Vol. 2, No. 2 (2018), pp. 344–346. “This beautifully produced book constitutes a significant and welcome contribution to the growing literature on the body, violence, and pain in the past.” Esther Cohen, Hebrew University of Jerusalem. In: Renaissance Quarterly, Vol. 72, No. 3 (Fall 2019), pp. 1084–1085. “This edited volume is a smart, well-conceived investigation into the visual imagery of suffering and pain in early modern Europe and Spanish colonial territories.” Elizabeth A. Lisot-Nelson, University of Texas at Tyler. In: Sixteenth Century Journal, Vol. 50, No. 3 (Fall 2019), pp. 858–860.Table of ContentsAcknowledgments List of Illustrations List of Abbreviations List of Contributors Introduction: Visualizing Sensuous Suffering and Affective Pain in Early Modern Europe and the Spanish Americas  Heather Graham and Lauren G. Kilroy-Ewbank Part 1 Performing Pain 1 Pain and Paint: Titian, Ribera, and the Flaying of Marsyas  Itay Sapir 2 Animal Trials, Humiliation Rituals, and the Sensuous Suffering of Criminal Offenders in Late Medieval and Early Modern Europe  Allie Terry-Fritsch 3 Compassionate Suffering: Somatic Selfhood and Gendered Affect in Italian Lamentation Imagery  Heather Graham 4 “One of those Lutherans we used to burn in Campo de’ Fiori”: Engraving Sublimated Suffering in Counter-Reformation Rome  Ruth S. Noyes Part 2 Pain and Suffering in Franciscan Devotion 5 Pain and Pathos: Franciscan Ideologies and Antonello da Messina’s Images of Ecce Homo  Peter Weller 6 An Andean Stoning: Francis as Alter Christus in Viceregal Santiago  Catherine Burdick 7 Hagiographical Misery and the Liminal Witness: Novohispanic Franciscan Martyr Portraits and the Politics of Imperial Expansion  Emmanuel Ortega Part 3 Sensuous Suffering Through Word and Image 8 “Eyes Enlivened and Heart Softened”: The Visual Rhetoric of Suffering in Gebedenboek Ruusbroecgenootschap HS 452  Walter S. Melion 9 Love Hurts: Depictions of Christ Wounded in Love in Colonial Mexican Convents  Lauren G. Kilroy-Ewbank 10 Reparations for Christ Our Lord: Devotional Literature, Penitential Rituals, and Sacred Imagery in Colonial Mexico City  Derek Scott Burdette 11 Empathetic Wounds: Gregorio Fernández’s Cristos Yacentes as a Nexus of Art, Anatomy, and Counter-Ref ormation Theology  Tiffany Lynn Hunt Index

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Book SynopsisMaking Copies in European Art 1400-1600 comprises sixteen essays that explore the form and function, manner and meaning of copies after Renaissance works of art. The authors construe copying as a method of exchange based in the theory and practice of imitation, and they investigate the artistic techniques that enabled and facilitated the production of copies. They also ask what patrons and collectors wanted from a copy, which characteristics of an artwork were considered copyable, and where and how copies were stored, studied, displayed, and circulated. Making Copies in European Art, in addition to studying many unfamiliar pictures, incorporates previously unpublished documentary materials.Trade Review“The collected essays will be of interest to early modernists in a broad range of disciplines but may be of particular interest to those interested in the art market and cross-cultural studies.” Theresa Kutasz Christensen, in: Renaissance Quarterly, Vol. 73 , No 4 (Winter 2020), pp. 1365–1366.Table of ContentsAcknowledgments List of Illustrations Notes on Contributors Introduction to Making Copies in European Art 1400–1600: Shifting Tastes, Modes of Transmission, and Changing Contexts  Peter M. Lukehart Essays 1 Jan van Eyck’s Arnolfini Portrait and Copies after His Woman and Her Toilette: Recollections of the Alhambra’s Constellation Halls, the Hamman, and Alchemy  Barbara von Barghahn 2 Models and the Practice of Drawing in Eastern Spain, 1370–1450  E. Montero Tortajada 3 Eyckian Icons and Copies  Larry Silver 4 Copies after the Ghent Altarpiece for Spain: Four Case Studies  Leslie Blacksberg 5 Following Bosch: The Impact of Hieronymus Bosch’s Diableries and Their Reproduction in the 16th Century  Maddalena Bellavitis 6 Tratta da Zorzi: Giulio Campagnola’s Copies after other Artists and His Use of Models  Irene Brooke 7 Virgin and Child with the Milk Soup after Gerard David: Series of Paintings on the Same Theme after Known Models  Catheline Périer-D’Ieteren 8 Not Just Copies but Variations, Suggestions, Interpretations and Critical Reception: Joos van Cleve and the Lost Madonna of the Cherries by Leonardo da Vinci  Mari Pietrogiovanna 9 Copies and Derivations of Giorgionesque Inventions: An Insight into the Visual and the Historical Sources  Sarah Ferrari 10 Copies of Raphael’s Mythological Paintings in the Collection of Cardinal Ludovisi  Claudia La Malfa 11 From Workshop Master to the Artist’s Individuality  Ana Calvo 12 Jacopo Bassano and the Prints from Raphael’s Masterpieces  Claudia Caramanna 13 Que se haga al modo y manera de [….]: Copy and Interpretation in the Visual Arts in Aragón during the 16th Century  Carmen Morte García 14 Early Netherlandish Devotional Images, Their Copies and Their Metamorphosis in Aragonese Culture through Peripheral Areas  Caterina Virdis Limentani 15 Marketing Workshop Versions in the 17th-century Dutch Art Market  Angela Ho 16 Pictorial Copies in Granada during the Early Modern Age  David García Cueto Coda Index

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Book SynopsisRobin Raybould’s Hieroglyph, Emblem and Renaissance Pictography is the first English translation of Ludwig Volkmann’s Bilderschriften der Renaissance, the classic text which promoted the symbol as a defining cultural and literary characteristic of early modern Europe. Volkmann enumerates and describes many of the works which illustrated the contemporary obsession with hieroglyph, emblem and device, particularly those from France and Germany, thus complementing Karl Giehlow’s earlier Hieroglyphenkunde on the subject. Volkmann’s book highlights both Renaissance theories of the image as language and the symbol as an aid to an understanding of the meaning of life and the nature of God. Raybould’s translation has been described as elegant, admirable and impeccable and includes an introduction, extensive notes and several additional essays on topics relevant to the field.

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Book SynopsisArt and Science in Word and Image investigates the theme of ‘riddles of form’, exploring how discovery and innovation have functioned inter-dependently between art, literature and the sciences. Using the impact of evolutionary biologist D’Arcy Thompson’s On Growth and Form on Modernist practices as springboard into the theme, contributors consider engagements with mysteries of natural form in painting, photography, fiction, etc., as well as theories about cosmic forces, and other fields of knowledge and enquiry. Hence the collection also deals with topics including cultural inscriptions of gardens and landscapes, deconstructions of received history through word and image artworks and texts, experiments in poetic materiality, graphic re-mediations of classic fiction, and textual transactions with animation and photography. Contributors are: Dina Aleshina, Márcia Arbex, Donna T. Canada Smith, Calum Colvin, Francis Edeline, Philippe Enrico, Étienne Février, Madeline B. Gangnes, Eric T. Haskell, Christina Ionescu, Tim Isherwood, Matthew Jarron, Philippe Kaenel, Judy Kendall, Catherine Lanone, Kristen Nassif, Solange Ribeiro de Oliveira, Eric Robertson, Frances Robertson, Cathy Roche-Liger, David Skilton, Melanie Stengele, Barry Sullivan, Alice Tarbuck, Frederik Van Dam.Table of ContentsContents Acknowledgments List of Figures Notes on Contributors Introduction Part 1: On Growth and Form, I: Engagements with D’Arcy Thompson’s Biomorphism in Word and Image Forme et croissance, I: Le Biomorphisme selon D’arcy Thompson à l’épreuve du texte et de l’image  1 Riddles of Form: D’Arcy Thompson in Word and Image  Matthew Jarron  2 The Influence of D’Arcy Thompson’s On Growth and Formon the British Painters of the St. Ives School: The View from Russia  Dina Aleshina Part 2: On Growth and Form, Ii: Exploring Spirals in Nature, Literature and Art Forme et croissance, Ii: La Spirale dans la nature, la littérature et les arts  3 Beyond Formalism: Spirals in Photography from Steichen to Weston  Philippe Kaenel  4 Profondeur et relief de la spirale chez Marcel Duchamp  Márcia Arbex et Philippe Enrico  5 Stone Spirals and Retro Fiction: Tracy Chevalier, Joan Thomas, and Mary Anning  Catherine Lanone Part 3: The Scientific Imagination and Spacetime Visions Imaginaire scientifique et représentations de l’espace-temps  6 A Man of Vision: Robert Duncan Milne’s Scientific Fiction and Cinematic Time  Barry Sullivan  7 Wars of the Worlds: H.G. Wells’s Ekphrastic Style in Word and Image  Madeline B. Gangnes  8 “Space and Time, Sublimated”: Science in Balla, Boccioni, Cendrars, and Survage  Eric Robertson Part 4 Avant-gardening: (Horti)cultural Frontiers Past and Present Jardins et paysages: Des frontières (horti)culturelles hier et aujourd’hui  9 Diary of a Scotch Gardener: Thomas Blaikie, Travel Writing, and the Construction of Monceau and Bagatelle  Donna T. Canada-Smith  10 Reading Eden’s Riddles: Words in the Landscape, Texts in the Garden  Eric T. Haskell  11 Thomas Telford’s Tour in the Highlands: Shaping the Wild Landscape through Word and Image  Frances Robertson Part 5: Palimpsestuous Histories: Excavating Time in Visual Art and Writing Histoires palimpsestueuses: Formes écrites et formes visuelles de l’exploration temporelle  12 Burnsiana  Calum Colvin  13 The Art of Adriana Varejão: A Challenge to Brazilian Official History  Solange Ribeiro de Oliveira  14 Les Palimpsestes de Tom Phillips  Francis Edeline  15 Uncovering the Self: Explorations of Recovery in J.L. Carr’s A Month in the Country  Melanie Stengele Part 6: (Typo)graphic Poetry Poésie (typo)graphiqu  16 Warblers and Wild Strawberries: Rewards for Looking in the Works of Moschatel Press  Alice Tarbuck  17 New Forms for New Explorations and Experiences  Cathy Roche-Liger  18 Mapping the Text: A Practice-Led Analysis of the Creative Interfaces between Typography and Text  Tim Isherwood and Judy Kendall Part 7: Riddles of the Ninth Art: Exploring Adaptation in Graphic Novels Énigmes du neuvième art: L’Adaptation dans les romans graphiques  19 Trollope and Millais: Words and Images That Illustrate Each Other  David Skilton  20 Adapting as a Form of Remediation: A Benjaminian Perspective  Frederik Van Dam Part 8: Intermedial Circuits (Re)Charging Texts through Images and Images through Text Parcours intermédiaux: (Re)lectures croisées du texte et de l’image 21 Exploring the World with Rockwell Kent’s Candide: Intermedial Translation, Paratextual Framing, and Iconographic Landscape  Christina Ionescu  22 Manufacturing Wonder: Animating Pictures in Steven Millhauser’s Fiction  Étienne Février  23 Duane Michals: “Photographing Nothing”  Kristen Nassif Index

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Book SynopsisThis monograph studies the constructions of ‘impressive’ historical descent manufactured to create ‘national’, regional, or local antiquities in early modern Europe (1500-1700), especially the Netherlands. This was a period characterised by important political changes and therefore by an increased need for legitimation; a need which was met using historical claims. Literature, scholarship, art and architecture were pivotal media that were used to furnish evidence of the impressively old lineage of states, regions or families. These claims related not only to Classical antiquity (in the generally-known sense) but also to other periods that were regarded as periods of antiquity, such as the chivalric age. The authors of this volume analyse these intriguing early modern constructions of appropriate “antiquities” and investigate the ways in which they were applied in political, intellectual and artistic contexts in Europe, especially in the Northern Low Countries. This book is a revised and augmented translation of Oudheid als ambitie: De zoektocht naar een passend verleden, 1400–1700 (Nijmegen: Vantilt, 2017).Trade Review“This is a fabulous book […]. The volume is beautifully produced, featuring more than 200 excellent color illustrations. A pleasure to behold, it belongs in every academic library. Summing Up: Highly recommended. All readers.” John J. Butt, James Madison University. In: Choice Connect, Vol. 57, No. 7 (March 2020).Table of ContentsIntroduction Part 1: Thinking about the Antiquities of Europe 1 Antiquity, a Source of Power and Prestige: the Competition for Antiquities in Early Modern Europe 2 Supposed Ancestors 3 The Origin Legends of the European Nations 4 What Is Antiquity? The Early Modern Chronology of History 5 A Malleable Past: On ‘Proof’, Interpretations, Errors and Falsifications Part 2: Humanists and Antiquities in the Northern Low Countries 6 The Batavians as Ancestors in Early Dutch Humanism: Erasmus, Aurelius and Geldenhouwer 7 Attempts to Find the Origins of Architecture in the Northern Low Countries: On the Romans, Batavians and Giants Part 3: The Chivalric Past of the Dutch Republic 8 From Chivalric Family Tree to ‘National’ Gallery: the Portrait Series of the Counts of Holland, c. 1490–1650 9 Living as Befits a Knight: New Castles in Seventeenth-Century Holland 10 The Mediaeval Prestige of Dutch Cities Conclusion Notes List of Figures Bibliography Index

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Book SynopsisThe Adventure of the Illustrious Scholar: Papers Presented to Oscar White Muscarella, edited by Elizabeth Simpson, is a Festschrift celebrating the career of one of the foremost archaeologists of the ancient Near East. Oscar Muscarella is a former curator at the Metropolitan Museum of Art and a formidable scholar who has excavated at sites in Turkey, Iran, and the United States. He has published eight books and nearly 200 articles, excavation reports, and reviews on topics ranging from the arts of antiquity and the importance of connoisseurship, to the difficulties of dating and the problems of forgeries, the looting of ancient sites, and the antiquities trade. The forty-seven contributors are experts in the areas of Muscarella’s interests and are major scholars in their fields. This volume constitutes an unusual, important, and timely addition to the archaeological and art historical literature.Table of ContentsPreface Oscar White Muscarella Introduction  Elizabeth Simpson Part 1: “There is Nothing like First-hand Evidence” 1 Oscar White Muscarella and Sherlock Holmes  Laurie Adams Part 2: Arts and Archaeology: Anatolia 2 The King Has Ass’s Ears! The Myth of Midas’s Ears  Susanne Berndt 3 The Project to Reconstruct the Early Bronze Age Hattıan Royal Tombs of Alaca Höyük  Aykut Çınaroğlu 4 The Lydian Hoard and Its Progeny: Repatriation and the Statute of Limitations  Lawrence M. Kaye 5 Labors Lost and Found in Tumulus mm at Gordion  Richard F. Liebhart 6 A Pithos Burial at Sardis  David Gordon Mitten 7 Attitudes toward the Past in Roman Phrygia: Survivals and Revivals  Lynn E. Roller 8 The City Mound at Gordion: The Discovery, Study, and Conservation of the Wooden Fragments from Megaron 3  Krysia Spirydowicz 9 Monumental Entrances, Sculpture, and Idols at Kerkenes: Aspects of Phrygian Cult East of the Kizilirmak  Geoffrey Summers and Françoise Summers 10 Of Fibulae, Of Course!  Maya Vassileva Part 3: Arts and Archaeology: Urartu 11 Artifacts Belonging to Queen Qaquli and Mr. Tigursagga from an Elaborately Decorated Quarter of the Ayanis Fortress  Altan Çilingiroğlu 12 A Fragment of a Ram’s Head Rhyton Found at Qalatgah, Iran  Stephan Kroll 13 Toul-E Gilan and the Urartian Empire  D.T. Potts 14 Some Considerations on Urartian Burial Rites  Veli Sevin 15 Architectural and Other Observations Related to Erebuni in the Late Seventh/Early Sixth Centuries b.c.  David Stronach Part 4: Arts and Archaeology: The Near East 16 Neo-Assyrian Views of Foreign Cities: A Brief Survey  Pauline Albenda 17 The Role of the Petra Great Temple in the Context of Nabataean Archaeology  Martha Sharp Joukowsky 18 Fibulae in Neo-Assyrian Burials  Friedhelm Pedde 19 Fibulae, Chronology, and Related Considerations: Marlik Reloaded  Christian Konrad Piller 20 A Middle Bronze Stele from Hama and Old Syrian Cylinder Seals  Barbara A. Porter 21 A Unique Human Head-Cup from the Environs of Tel Qashish in the Jezreel Valley, Israel  Irit Ziffer, Edwin C.M. van den Brink, Orit Segal and Uzi Ad Part 5: Arts and Archaeology: The Mediterranean World 22 Back to the Future: Memory, Nostalgia, and Identity in the 12th Century b.c.e. on Paros  Robert B. Koehl 23 Liturgy  Günter Kopcke 24 What Did the Fisherman Catch?  Mark J. Rose 25 The Weight of Good Measure: A Reassessment of the Balance Weights from the Late Bronze Age Shipwreck at Uluburun  Rachael Dealy Salisbury Part 6: Arts—Craft—Materials—Techniques 26 Kyme: An Ancient Center of Jewelry Production in Asia Minor  Özgen Acar 27 Voicing the Past: The Implications of Craft-referential Pottery in Ancient Greece  Einav Zamir Dembin 28 The Neoclassical Klismos Chair: Early Sources and Avenues of Diffusion  Ana Gutierrez-Folch 29 The Furniture of the Ramesside Pharaohs  Geoffrey Killen 30 Excavated Roman Jewelry: The Case of the Gold Body Chains  Meredith Nelson 31 Ivory Identification  Anibal Rodriguez 32 Luxury Arts of the Ancient Near East  Elizabeth Simpson Part 7: Issues and Methods 33 The Literature of Loot: Notes on The Lie Became Great and Its Heirs  Roger Atwood 34 Oscar the Oracle: On the Publication of Unprovenienced Objects  Larissa Bonfante 35 The Illicit Antiquities Research Centre: Afterthoughts and Aftermaths  Neil Brodie 36 Illicit Traffic of Pre-Columbian Antiquities  Clemency Chase Coggins 37 The History and Continuing Impact of the Native American Graves Protection and Repatriation Act (nagpra)  Emily Field 38 Connoisseurship Conundrums and a Visit to Hans Hofmann’s Studio  Carroll Janis 39 Blue from Babylon: Notes from the Curatorial Trenches  Margaret Cool Root and Helen Dixon 40 “Outing” the Old Teaching Collections  Karen D. Vitelli 41 Figure and Ground: Reading Ancient Near Eastern Sources  Eva von Dassow Part 8: “Leave No Stone Unturned” 42 “Elementary”  Jeanette Greenfield Master Bibliography Index of Terms Authors’ Biographies

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Book SynopsisA Cultural History of the Avant-Garde in the Nordic Countries 1900-1925 is the first publication to deal with the avant-garde in the Nordic countries at the start of the twentieth century. The essays cover a wide range of avant-garde manifestations in arts and culture: literature, the visual arts, painting as well as photography, architecture and design, film, radio, and performing arts like music, theatre and dance. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective which includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field, but in a broader cultural context. It examines the social and cultural context of the avant-garde: its media, its locations, its reception and audiences, the transmissions between Scandinavia and Europe, and its cultural consequences. The essays trace the connections between the avant-garde and the cultural discourses of contemporary currents such as revolutionary socialism, radical nationalism and occultism, and discuss questions of gender, ideology and politics, geographical location and technological innovation. The cultural history thus focuses on the role of the avant-garde in shaping the ideas of cultural modernity in the Nordic countries.Trade Review"With The Cultural History of the Avant-Garde in the Nordic Countries 1900-1925, the Nordic Network for Avant-garde studies has presented a generally impressive first volume of a cultural history of the avant-garde in Northern Europe on which continuation we will wait with excitement. We really wish for both the network and the publisher that they will have the necessary long breath to bring cultural history of northern European avant-garde to its end." By Stephan Michael Schröder (Köln), Nordeuropaforum, 2014 pp. 42-46. Full tekst available: http://edoc.hu-berlin.de/nordeuropaforum/2014-/schroeder-stephan-michael-42/PDF/schroeder.pdfTable of ContentsPreface Introduction Hubert van den Berg: The Early Twentieth Century Avant-Garde and the Nordic Countries – An Introductory tour d’horizon Nordic Icons in the European Avant-Gardes Per Stounbjerg: Rebels and Renegades – Strindberg, Artaud and the Avant-Garde Erik Mørstad: Munch’s Impact on Europe Bodil Marie Stavning Thomsen: Die Asta and the Avant-Garde Geert Buelens: “the manifold in one/and the one manifold” – Asta Nielsen as an Icon for the European Avant-Garde Nordic Artists in the European Metropolises Frank Claustrat: Nordic Writers and Artists in Paris before, during and after World War I Shulamith Behr: Académie Matisse and its Relevance in the Life and Work of Sigrid Hjertén Frank Claustrat: Jean Börlin and Les Ballets Suédois Gertrude Cepl-Kaufmann and Anne M. N. Sokoll: “From the North comes the light to us!” – Scandinavian Artists in Friedrichshagen at the Turn of the Century Jan Torsten Ahlstrand: Berlin and the Swedish Avant-Garde – GAN, Nell Walden, Viking Eggeling, Axel Olson and Bengt Österblom Hubert van den Berg and Benedikt Hjartarson: Icelandic Artists in the Network of the European Avant-Garde – The Cases of Jón Stefánsson and Finnur Jónsson Locations of the Nordic Avant-Garde Sven-Olov Wallenstein: The Avant-Garde and the Market Andrea Kollnitz: Promoting the Young – Interactions between the Avant-Garde and the Swedish Art Market 1910-1925 Vibeke Petersen: The Avant-Garde and the Danish Art Market Dorthe Aagesen: Art Metropolis for a Day – Copenhagen during World War I Margareta Tillberg: Kandinsky in Sweden – Malmö 1914 and Stockholm 1916 Stefan Nygård: The National and the International in Ultra (1922) and Quosego (1928) Natalia Baschmakoff: Avant-Garde Encounters on Karelian Bedrock (1890s-1930s) Øivind Storm Bjerke: The Pavilion of De 14 Claes-Göran Holmberg: flamman Bjarne S. Bendtsen: Copenhagen Swordplay – Avant-Garde Manoeuvres and the Aesthetics of War in the Art Magazine Klingen (1917-1920) Torben Jelsbak: Dada Copenhagen Transmission, Appropriations and Responses Claes-Göran Holmberg: The Reception of the Early European Avant-Gardes in Sweden Rikard Schönström: Pär Lagerkvist’s Literary Art and Pictorial Art Fredrik Hertzberg, Vesa Haapala and Janna Kantola: The Finland-Swedish Avant-Garde Moments Per Stounbjerg and Torben Jelsbak: Danish Expressionism Lennart Gottlieb: Avant-Gardism Danish Style – Jais Nielsen as a Modern Genre Painter 1916-18 Kristín G. Guðnadóttir: Jóhannes Kjarval’s Appropriation of Progressive Attitudes in Painting between 1917 and 1920 Andreas Engström: The Modern Breakthrough in Swedish and Scandinavian Art Music Karen Vedel: Dancing across Copenhagen Politics, Ideology, Discourse Torben Jelsbak: Avant-Garde Activism – The Case of the New Student Society in Copenhagen (1922-24) Timo Huusko: Finnish Nationalism and the Avant-Garde Julia Tidigs: Multilingualism and (De)territorialisation in the Works of Elmer Diktonius Anna Maria Bernitz: Hilma af Klint and the New Art of Seeing Thomas Henrikson: Art as a Revolutionary Dionysian Jaguar – Otto Ville Kuusinen, Elmer Diktonius and the Emergence of Avant-Garde Poetry in Finland Benedikt Hjartarson: The Early Avant-Garde in Iceland Epilogue Legacies of the Early Nordic Avant-Gardes Abstracts Index

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Book SynopsisA Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 is the first publication to deal with the postwar avant-garde in the Nordic countries. The essays cover a wide range of avant-garde manifestations in arts and culture: literature, the visual arts, architecture and design, film, radio, television and the performative arts. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective that includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field but in a broader cultural and political context: The cultural politics, institutions and new cultural geographies after World War II, new technologies and media, performative strategies, interventions into everyday life and tensions between market and counterculture.Trade Review"Serien A Cultural History of the Avant-Garde in the Nordic Countries er utrolig viktig, både i seg selv og som en del av en økt oppmerksomhet rundt nordisk modernisme. I dette andre bindet, som strekker seg fra 1950 til 1975, får vi essays om nordisk kunst fra Öyvind Fahlström til den alternative Melodi Grand Prix. Blant de 85 (!) essayene beskrives Galleri Køpcke i København, Pistolteatern i Stockholm, De skandinaviske situasjonistene (selvfølgelig), Morten Krohgs periode som intendant på Kunstnernes Hus i Oslo, Lene Adler Pedersen og Bjørn Nørgaards kvinnelige kristus-performance på Børsen i København, Kjartan Slettemarks passprosjekt med portrettet til Nixon, og enormt mye annet. Når de to siste bindene foreligger vil vesentlige deler av det 20. århundres nordiske avantgarde være beskrevet i dette bokverket. Den virkelige revolusjonen kommer imidlertid når dette blir pensum for kommende kunstnere og kunsthistorikere. Da vil endelig den Paris- og New York-sentrerte fortellingen om modernismen kunne erstattes med en bredere, global fortelling, der også Norden inngår." - Jonas Ekeberg, Kunstkritikk www.kunstkritikk.dk/artikler/24-desember-jonas-ekeberg-2/Table of ContentsPreface Introduction Tania Ørum The Post-War Avant-Garde in the Nordic Countries 1. Paradigmatic Images of Scandinavia Jesper Olsson Politics & Play – The Impure Arts of Öyvind Fahlström Rune Gade The Female Christ at the Stock Exchange Tue Andersen Nexø Biological Avant-Garde – Inger Christensen’s det Birgitte Anderberg Images of Women Halldór Björn Runólfsson The Kitchen – An Offspring of Steina and Woody Vasulka 2. Cultural Politics and Institutions Christer Ekholm The Social Avant-Garde – The “Democratisation” of Literature in the Early 1960s in Sweden Tania Ørum Culture Wars in Denmark Annika Öhrner The Moderna Museet in Stockholm – The Institution and the Avant-Garde Sanne Krogh Groth The Fylkingen Concert Society, 1950–1975 Tania Ørum Self-Organisation in the Avant-Garde of the 1960s Fred Andersson Åke Hodell’s Kerberos –A Case Study Kari Brandtzæg Morten Krohg and Art’s Oppositional Role Sanne Krogh Groth EMS – Elektronmusik Studio in Stockholm Thomas Hvid Kroman Sub-Publications from a Basement in Snaregade 6, Copenhagen – Arena Sub-Pub (1969–1970) Dossier/Little Magazines Þröstur Helgason An Open Field of Play and Experimentation – The Little Magazine Birtingur Jesper Olsson Tvångs-Blandaren – Stuff in a Box Jesper Olsson Rondo and Gorilla – Magazine and Calendar Thomas Hvid Kromann Against Restrictions and Exclusions – For Expansion and Inclusions – The Little Magazine ta’ (1967–1968) Thomas Hvid Kromann A Time Capsule from the Sixties – The Little Magazine ta’ BOX (1969–1970) Thomas Hvid Kromann In the Service of the Revolution – The Little Magazine MAK (1969–1970) Sissel Furuseth Profil 1966–1969 – Triumph and Crisis of the Collective 3. New Cultural Geographies Harri Veivo Christian Dotremont’s Logogrammes and Logoneiges – European Avant-Garde Inspired by Lapland Anna Jóhannsdóttir Exile, Correspondence, Rebellion – Tracing the Interactive Relationship between Iceland and Dieter Roth Anneli Fuchs Galerie Køpcke – An Artist-Run Gallery in Copenhagen, 1958–1962 Søren Møller Sørensen Action Music! – Nam June Paik in Scandinavia, 1961 Árni Heimir Ingólfsson Clothing Irons and Whisky Bottles – Creating an Icelandic Musical Avant-Garde Danielle Kvaran Erró, or the Porousness of Borders Mikkel Bolt Rasmussen The Situationist Offensive in Scandinavia Halldór Björn Runólfsson SÚM – The Flux in Iceland Peter van der Meijden Fluxus, Eric Andersen and the Communist East Janna Kantola Making Choices – Debatable Translations and Publication Policies of Finnish Cultural Magazines Aikalainen, Parnasso and Uusi Kirjallisuuslehti in the 1960s 4. New Technologies and New Media John Sundholm Chance and Play, or Marvellous Machines – A Forgotten Swedish Film Avant-Garde Jesper Olsson Radiophonic Poetry and a Blind Movie – Öyvind Fahlström’s Sound Art Tania Ørum The Medium is the Message – Danish Radio Experiments in the 1960s Jonas Ingvarsson What’s Wrong with Billy Spafon? Tania Ørum Concrete Poetry as a Sign of Technological Change in Society Jesper Olsson Collaborators in Art and Technology – The Case of Billy Klüver Jonas Ingvarsson The Case[y] of Husberg Tanja Tiekso Art Has Opened People’s Eyes, Music People’s Ears, and Computers People’s Minds – Erkki Kurenniemi on Music and Technology Mikko Ojanen and Kai Lassfolk University of Helsinki Electronic Music Studio – Founding and Early Development Jesper Olsson The New Monument – Experimental TV and Remediation Tania Ørum ABCinema and Super 8 Technology Kari Yli-Annala Visions Seen through Felt Boots – “The Carriers of the Fire” of Avant-Garde Art in the 1950s and 1970s in Finland Thomas Hvid Kromann Artists’ Books in the 1960s Tania Ørum Telephone Art Teddy Hultberg Fylkingen’s Text-Sound Festivals, 1968–1974 Erling Kullberg The Detested Interval Music – On Per Nørgård’s Calendar Music as Interval Signal on TV 5. Performative Strategies Jesper Olsson “Hätila ragulpr på fåtskliaben” – Conceiving of Concrete Poetry Jesper Olsson Concrete Poetry as a Score for Performance – Bengt Emil Johnson’s Old Man Drowning Peter van der Meijden The Festum Fluxorum in Copenhagen, 23–28 November 1962 Tania Ørum To Play To-Day Merja Hottinen Experiment, Scam and Children’s Games – The Finnish Media on Ken Dewey’s Happenings in Finland, 1963–1964 Per Ringby Pistolteatern – Avant-Garde Performance and Political Theatre Annika Öhrner Yvonne Rainer and Robert Morris – An Evening of Talking and Dancing, 1964 Erik Exe Christoffersen Odin Teatret –¬ Between Tradition and the Avant-Garde Magnús Þór Þorbergsson Leiksmiðjan – Collaborating on a New Theatre Rasmus Graff Asger Jorn’s Work in The Archive of the Revolution in Havana Karsten Wind Meyhoff Showtime! Notes on the Performance Practice of Per Højholt Birgitte Anderberg Performing Feminism – Kirsten Justesen Mette Mortensen A Borderline Case – Facial Politics in Kjartan Slettemark’s The Passport 6. Interventions into Everyday Life Mikkel Bolt Rasmussen Raping the Whole World in a Warm Embrace of Fascination – Drakabygget’s Anti-Authoritarian Artistic Endeavours Sven-Olov Wallenstein 1966 – Thinking the City Lars Bang Larsen True Rulers of Their Own Realm – Political subjectivisation in Modellen – En modell för ett kvalitativt samhälle Jonas (J) Magnusson Jarl Hammarberg’s Concrete Poetry and Collective Books Ingvild Krogvig Linguistic Leakage in the Landscape – Early Land Art in Norway Lars Bang Larsen Kanonklubben – The Oslo Trip and The Garden Christine Buhl Andersen The Avant-Garde in Public Space – Two Danish Examples Elisabeth Friis and and and – A Device of One’s Own – Reproductive Parataxis in Rex, Thorup and Åkesson Malene Woltmann Christiana – Utopia Realised? Stig Jarl and Laura Luise Schultz A Sensuous Dramaturgy of Intervention – Solvognen (The Sun Chariot), Copenhagen, 1969–1983 Ingvild Krogvig Viggo Andersen’s Vigelandsinstallasjon – The History of a Forgotten Anti-Monument 7. Avant-Garde between Market and Counterculture Vibeke Petersen Gether Gunnar Aagaard Andersen – Commercial Design and Experimental Art Jens Tang Kristensen Angli Avant-Gardism – Paul Gadegaard’s Art Project in Herning, Denmark Lars Bukdahl Vagn is Also a Bit of a Soft Drink – Vagn Steen’s Advertisements for Himself and Concrete Poetry, 1964–1969 Jesper Olsson The Artist on Holiday, or “L’art pour l’or”, or Some Conceptual Investments of Carl Fredrik Reuterswärd Alf Arvidsson From Avant-Garde to Pop Culture to Alternative Scenes – The Case of Two Swedish Bands, Blå Tåget and Träd, Gräs & Stenar Harri Veivo Everyday High and Low – Finnish Avant-Garde Poetry of the 1960s Navigations in a Rapidly Changing Society Tania Ørum The Rose Campaign – John Davidsen’s Appropriation of Commercial Formats Lars Bang Larsen PUSS 1968–1973 Tania Ørum Counterculture Benedikt Hjartarson “A Furious Girl from Rome” – Róska and the Mythography of Avant-Garde Bohemianism Trond Haugen “From Everyone to Everyone” – The Countercultural Little Magazine Dikt & datt David Thyrén The Alternative Eurovision Song Contest in Sweden, 1975 Abstracts

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Book SynopsisTeaching Modernist Anglophone Literature features fresh classroom approaches to teaching modernism, with an emphasis on pedagogy grounded in educational theory and contemporary digital media tools. It offers techniques for improving students’ close reading, critical thinking/writing, and engagement with issues of gender, race, class, and social justice. Discussions are raised of subjectivity, perception, the nature of language, and the function of art. Innovative project ideas, assignments, and examples of student work are offered in a special annex. This volume fills a gap in higher education pedagogy uniquely suited to the experimental nature of modernism. Madden and McKenzie’s inspiring volume can steer the teaching of modernist literature in creative, new directions that benefit both teachers and students. Contributors are: Susan Hays Bussey, William A. Johnsen, Benjamin Johnson, Mary C. Madden, Laci Mattison, Precious McKenzie, Susan Rowland, and Kelsey Squire.

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Book SynopsisIn The Lyon Terence Giulia Torello-Hill and Andrew J. Turner take an unprecedented interdisciplinary approach to map out the influence of late-antique and medieval commentary and iconographic traditions over this seminal edition of the plays of Terence, published in Lyon in 1493, and examine its legacy. The work had a profound impact on the way Terence’s plays were read and understood throughout the sixteenth century, but its influence has been poorly recognised in modern scholarship. The authors establish the pivotal role that this book, and its editor Badius, played in the revitalisation of the theoretical understanding of classical comedy and in the revival of the plays of Terence that foreshadowed the establishment of early modern theatre in Italy and France.Trade Review“This (study) makes us not only grateful for what it teaches but eager to know still more.” Sander M. Goldberg, UCLA, in: Bryn Mawr Classical Review 2021.12.18Table of ContentsPreface List of Figures Abbreviations Note on Illustrations and the Use of Electronic Resources Introduction 1 The Lyon Terence and Its Initial Impact  1.1 Contents and mise-en-page  1.2 Publishing in Lyon  1.3 Composition, Printing, and Distribution 2 Terence’s Plays: Commentary and Illustration from Manuscript to Print  2.1 Terence as an Educational Classic: Text and Commentary from Antiquity to Medieval and Renaissance Europe  2.2 The Development of Manuscript Illustrations of Terence  2.3 The Impact of New Learning and Technologies: Donatus and the Advent of Printing The Editor of the Lyon Terence: Jodocus Badius Ascensius  3.1 Badius  3.2 Early Life and Literary Career to 1493   3.2.1 Flanders and Brabant   3.2.2 Italy   3.2.3 Lyon  3.3 Later Career to 1502 4 Text and Commentary in Badius’ Three Editions of Terence  4.1 The 1491 Edition and Donatus  4.2 The Lyon Terence: the Commentary of Guy Jouenneaux and Badius’ Revisions   4.2.1 The Commentary Edition of Guy Jouenneaux   4.2.2 Badius’ Re-edition of Guy  4.3 The 1502 Terence and Its Sources 5 The Illustrative Programme of the 1493 Edition  5.1 Badius’ Appropriation of the Carolingian Tradition  5.2 Gestures in Medieval and Early Modern Culture  5.3 Carolingian Gestures  5.4 Non-Carolingian Gestures   5.4.1 Manly Gestures   5.4.2 Female Gestures   5.4.3 Affective Gestures  5.5 Characterization through Costuming  5.6 Gestures, Illustrations and Commentary Derivative of Donatus in the Lyon Terence  5.7 The Illustrator of the Lyon Terence  Appendix: A Catalogue of Gestures 6 The Theatricality of the Lyon Terence  6.1 The Lyon Terence and Performance  6.2 Stage Design: the Lyon Terence and the Representation of Theatre Buildings  6.3 The Stage  6.4 Stage Conventions   6.4.1 Entrances and Exits   6.4.2 Asides, Eavesdropping, and Off-stage Scenes  6.5 Terence on Stage in Renaissance Italy and France 7 The Legacy of the Lyon Terence in the Sixteenth Century  7.1 Terence in Print in Late Fifteenth and Sixteenth Century  7.2 The Venetian Illustrated Editions of Terence of Lazzaro de’ Soardi  7.3 The Italian Illustrated Editions of the Sixteenth Century  7.4 The Influence of the Lyon Terence in Germany: the Illustrated Terence of Johann Grüninger and Its Tradition  7.5 The French Tradition of Terence after 1493  7.6 Conclusion Conclusion Bibliography Index Locorum Index of Manuscripts Index of Subjects Concordance of Images in the Lyon Terence Illustrations

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Book SynopsisPiero di Cosimo: Painter of Faith and Fable makes available the proceedings of a conference of the same name, hosted by the Dutch University Institute for Art History (NIKI), Florence, in September 2015, at the conclusion of the second of two exhibitions dedicated to Piero at the National Gallery of Art, Washington, and the Galleria degli Uffizi, Florence. It is the twelfth publication in the NIKI series and the first such anthology to be published by Brill.Trade Review“Extremely valuable for the ongoing study of Piero di Cosimo.” Gretchen A. Hirschauer, National Gallery of Art, Washington, DC. In: Renaissance Quarterly, Vol. 75, No. 1 (Spring 2022), pp. 229–231.Table of ContentsContents Foreword: Director’s Remarks List of Figures Notes on Contributors Introduction: Telling Tales: The Kaleidoscopic Art of Piero di Cosimo (1462-1522)  Dennis Geronimus 1 From Ancilla Domini to Madonna del Parto: Observations on Piero di Cosimo’s Marian Imagery  Alessandra Galizzi Kroegel 2 L’altare Del Pugliese nella chiesa dello Spedale degli Innocenti: un esempio di dialogo fra pittura e scultura  Elena Capretti 3 Real or Imagined? Exotic Animals in Piero di Cosimo’s Mythologies  Marina Belozerskaya 4 The ‘Fantasia’ of the Cricket in Piero di Cosimo’s Vulcan and Aeolus  Sarah Blake McHam 5 Rara Avis: Piero di Cosimo and the Birds He Painted  Roberta J.M. Olson 6 Piero di Cosimo’s Nymph and the Hallmark of Artemis  Ianthi Assimakopoulou 7 Beautiful Monsters: The Language of Empathy and Grief in Piero di Cosimo’s Representation of Animals and Human-Animal Hybrids  Dennis Geronimus 8 The Question of Centaurs: Lucretius, Ovid, and Empedokles in Piero di Cosimo  Guy Hedreen 9 Piero di Cosimo and Netherlandish Painting  Paula Nuttall 10 Piero and Ghirlandaio: Drawing the Figure  Jean K. Cadogan 11 Deconstructing the Underdrawing in Piero di Cosimo’s Construction of a Palace  Elizabeth Walmsley 12 La ricomposizione di un Piero di Cosimo perduto: il restauro della Pala con Lo Sposalizio mistico di S.Caterina e della Lunetta con i due Angeli che sorreggono la corona  Anna Teresa Monti e Lisa Venerosi Pesciolini 13 Piero di Cosimo: Two Angels Return to Florence from Edinburgh  Lesley Stevenson Index

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Book SynopsisThis book aims to analyze the genesis and evolution of late Gothic painting in the Crown of Aragon and the rest of the Hispanic kingdoms, examining this phenomenon in relation to the whole context of Europe in the second half of the fifteenth century. The authors consider the influence of the Flemish primitive movement on the art produced by their Spanish colleagues, the artistic relations and interchanges with the Netherlands and other countries, and the introduction and development of the Flemish language in the Spanish lands. The book also examines altarpieces, considering topics such as changes in shape and structure and liturgical links, along with offering stylistic analyses supported by new technologies. Contributors are Joan Aliaga, Maria Antonia Argelich, Marc Ballesté, Judith Berg Sobré, Carme Berlabé, Eduardo Carrero, Ximo Company, Francesca Español, Francesc Fité, Montserrat Jardí, Nicola Jennings, Fernando Marías, Didier Martens, Isidre Puig, Nuria Ramón, Pedro José Respaldiza, Stefania Rusconi, Tina Sabater, Albert Sierra, Pilar Silva, Lluïsa Tolosa, Alberto Velasco, and Joaquín Yarza (†).Table of ContentsContents Avant-propos List of Figures  Joaquin Yarza Luaces (†) List of Contributors Introduction: Late Gothic Painting in the Crown of Aragon and the Hispanic Kingdoms  Alberto Velasco Gonzàlez and Francesc Fité Llevot Part 1: Introductory Papers 1 L’obra de Flandes dans les territoires de la couronne d’Aragon. Marché et importations artistiques entre 1450 et 1500  Francesca Español Bertran 2 Some Questions About the Flemish Model in Aragonese Painting (1440-1500)  Alberto Velasco Gonzàlez 3 Bartolomé Bermejo and the Painting Business in the Crown of Aragon  Judith Berg Sobré 4 Late Gothic Painting in Majorca  Tina Sabater 5 Valencia and Late Gothic Painting  Ximo Company 6 Les Primitifs flamands et leur ‘réception’ dans la peinture castillane de la fin du Moyen ge  Didier Martens 7 On Hispano-Flemish Painting in the Kingdom of Castile  Pilar Silva Maroto Part 2: Contributions 8 Bermejo in Daroca  Fernando Marías 9 St. John the Baptist: A Work by the Juan de la Abadía Workshop at the Museu Nacional d’Art de Catalunya (Barcelona)  Montserrat Jardí Anguera 10 The Sales of Art Works from the Monastery of Sijena (Huesca) During the Twentieth Century: Late Gothic Painting  Carmen Berlabé 11 Late-Gothic Mural Painting at the Beginning of the Renaissance in the Aran Valley: Unha and Arties  Albert Sierra i Reguera 12 Identifying the Hand Involved in a Man of Sorrows Produced in the Workshop of the Master of Artés  Nicola Jennings and Isidro Puig 13 Valencian Late-Gothic Painting Documents: Contributions of the Medieval and Modern Research Center (CIMM, Polytechnic University of Valencia and University of Lleida)  Ximo Company, Joan Aliaga, Lluïsa Tolosa, Isidro Puig, Núria Ramón, Stefania Rusconi and Maria Antonia Argelich 14 Liturgy as Visual Argument: Monastic Churches and Retrochoirs in Donor Imagery by the Master of Sopetrán (Prado Museum)  Eduardo Carrero Santamaría 15 A Resurrection by the Master of Portillo: Underlying Drawings  Isidro Puig Sanchis and Marc Ballesté Escorihuela 16 Late Gothic Mural Paintings in the Monastery of San Isidoro del Campo, Seville  Pedro José Respaldiza Lama Bibliography Index

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Book SynopsisEmblems in the visual arts use motifs which have meanings, and in Emblems in Scotland Michael Bath, leading authority on Renaissance emblem books, shows how such symbolic motifs address major historical issues of Anglo-Scottish relations, the Reformation of the Church and the Union of the Crowns. Emblems are enigmas, and successive chapters ask for instance: Why does a late-medieval rood-screen show a jester at the Crucifixion? Why did Elizabeth I send Mary Queen of Scots tapestries showing the power of women to build a feminist City of God? Why did a presbyterian minister of Stirling decorate his manse with hieroglyphics? And why in the twentieth-century did Ian Hamilton Finlay publish a collection of Heroic Emblems?Trade Review“In this book, Professor Bath presents exciting new work together with revised and updated versions of some of his most important earlier publications addressing the contexts of early modern Scotland – a significantly under-studied field.” - Crawford Gribben, Queen’s University Belfast, Journal of the Northern Renaissance, 2020 "Emblems in Scotland is an outstanding contribution to the study of a genre that scholars from multiple disciplines often find elusive. This superb achievement consolidates its author’s standing in the field, while opening up some important new questions as to the valency of these enigmatic 'speaking pictures.'" -Crawford Gribben, Queen’s University Belfast, March 2020, Journal of the Northern Renaissance, 2020 “Michael Bath has done much to raise the awareness of a vibrant emblem culture in a region where few emblem books were ever published, and therefore often overlooked in the early years of modern emblem study. Owing to his determined efforts, the emblematic culture of Scotland is now on the radar. The broad contextualization of emblematic practices in Scotland is a service to the discipline and confirms the broad reach of emblematica beyond the book. Emblems in Scotland: Motifs and Meanings is a fine book and will be the defining book for emblems in Scotland for many years to come.” - Mara R. Wade, University of Illinois at Urbana-Champaign, US in Emblematica: Essays in Word and Image, Vol. 2 2018 pp. 420-426. "I commend this work and, although not an easy subject to grasp, this book brings it to life with much pictorial illustration to help the reader understand the place such emblems played, and to an extent still play." -Elizabeth Roads, Snawdoun Herald, in Journal of the Edinburgh Bibliographical SocietyTable of ContentsPreface Acknowledgements List of Illustrations 1 A Jester at the Crucifixion? The Fool at Fowlis 2 A City of Famous Women: Esther Inglis, Georgette de Montenay, and Christine de Pisan 3 Protestant Emblems: Building the House 4 ‘Rare shewes and singular inventions’: Court Festivals and Royal Baptisms 5 Alexander Seton’s Suburban Villa: Neostoical Emblems and United Nations 6 Presbyterian Preaching: Hieroglyphical Paintings in Stirling 7 Quarles Comes North: Scottish Reception of the Emblemes 8 Mobilising the Gap: Ian Hamilton Finlay’s Inheritance References Photograph Credits Index

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Book SynopsisFamagusta Maritima: Mariners, Merchants, Pilgrims and Mercenaries presents a collection of scholarly studies spanning the thousand year history of the port of Famagusta in Cyprus. This historic harbour city was at the heart of the Crusading Lusignan dynasty, a possession of both Genoa and Venice during the Renaissance, a port of the Ottoman Empire for three centuries, and in time, a strategic naval and intelligence node for the British Empire. It is a maritime space made famous by the realities of its extraordinary importance and influence, followed by its calamitous demise. Contributors are: Michele Bacci, Lucie Bonato, Tomasz Borowski, Mike Carr, Pierre-Vincent Claverie, Dragos Cosmescu, Nicholas Coureas, Marko Kiessel, Antonio Musarra, William Spates, Asu Tozan, Ahmet Usta, and Michael Walsh.Trade Review"This richly illustrated collection opens new perspectives on an old city, and the relationships between ports, islands, economic and geopolitical power". Andrew Lambert, in The Journal of Historical Association, 2020.

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Book SynopsisWinner of the 2019 SECAC Award for Excellence in Scholarly Research and Publication In The Riddle of Jael, Peter Scott Brown offers the first history of the Biblical heroine Jael in medieval and Renaissance art. Jael, who betrayed and killed the tyrant Sisera in the Book of Judges by hammering a tent peg through his brain as he slept under her care, was a blessed murderess and an especially fertile moral paradox in the art of the early modern period. Jael’s representations offer insights into key religious, intellectual, and social developments in late medieval and early modern society. They reflect the influence on art of exegesis, the Reformation and Counter-Reformation, humanism and moral philosophy, misogyny and the battle of the sexes, the emergence of syphilis, and the Renaissance ideal of the artist.Table of ContentsContents Acknowledgements List of Illustrations Introduction PART 1 
The Riddle of Jael 1 Jael under Erasure 2 Jael in Medieval and Early Modern Art and Thought PART 2 
Transformations of Jael (1400–1550) 3 Jan van Eyck and the Early Modern Re-imagination of Jael 4 Albrecht Altdorfer’s Jael, the Power of Women, and Syphilis in Sixteenth-Century Print 5 Lambert Lombard’s Jael, Poxied Penitents, and Northern Humanism PART 3 
Jael among the Haarlem Humanists (1550–1600) 6 Maarten van Heemskerck and Dirck Coornhert’s Power of Women: A Pasquinade on the Perfectibility of the Imperfect Soul 7 Maarten van Heemskerck and Hendrick Goltzius on Jael’s Nail and the Artist’s Hand 8 Philips Galle and Hadrianus Junius’ Jael: A Biblical Circe and Her Eloquent Riddle Epilogue Bibliography Index

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Book SynopsisHow were the relations among image, imagination and cognition characterized in the period 1500 – 1800? The authors of this volume argue that in those three centuries, a thoroughgoing transformation affected the following issues: (i) what it meant to understand phenomena in the natural world (cognition); (ii) how such phenomena were visualized or pictured (images, including novel types of diagrams, structural models, maps, etc.); and (iii) what role was attributed to the faculty of the imagination (psychology, creativity). The essays collected in this volume examine the new conceptions that were advanced and the novel ways of comprehending and expressing the relations among image, imagination, and cognition. They also shed light, from a variety of perspectives, on the elusive nexus of conceptions and practices.Trade Review"This book offers a wealth of thematic contributions concerning the status and role of images and the broader conception of human imagination, primarily in Renaissance and early modern Europe [...] in sum, Image, Imagination, and Cognition will be valuable for historians of science who possess a strong interest in images and a voracious appetite for philosophical aspects of imagination and cognition." Stefan Zieme, Humboldt University Berlin, in Isis 110.4 "The main task of Image, Imagination, and Cognition is to understand the variety of characteristics that the imagination accrued in the early modern period. Between 1500 and 1700 the relations among images, imagination, and cognition becomes a crucial topic for philosophers, artists, mathematicians, and astronomers [...] The essays collected in the volume trace the story of the imagination in early modern times through three perspectives: a philosophical inquiry (from Pomponazzi to Kant); an analysis of the role ascribed to this faculty in artistic creation; and the epistemological debate about the use of images in mathematical and astronomical treatises." Lucia Pappalardo, Università degli Studi di Salerno, in Renaissance Quarterly LXXIII.1 (doi:10.1017/rqx.2019.571)Table of ContentsNotes on the Editors Notes on the Contributors List of Illustrations Introduction  Paul Bakker, Christoph Lüthy, and Claudia Swan 1 Imagination, Images and (Im)Mortality  Sander W. De Boer 2 ‘Imaginatio’ and Visual Representation in Twelfth-Century Cosmology and Astronomy: Ibn al-Haytham, Stephen of Pisa (and Antioch), (Ps.) Māshāʾallāh, and (Ps.) Thābit ibn Qurra  Barbara Obrist 3 Minerva in the Forge of Vulcan: Ingegno, Fatica, and Imagination in Early Florentine Art Theory  David Zagoury 4 Bernardino Telesio on Spirit, Sense, and Imagination  Leen Spruit 5 Giovan Battista Della Porta’s Imagination  Sergius Kodera 6 Imagination in the Chamber of Sleep: Karel van Mander on Somnus and Morpheus  Christine Göttler 7 Agere Corporaliter: Otto Vaenius’s Theory of the Imagination  Ralph Dekoninck, Agnès Guiderdoni, Aline Smeesters 8 Sixteenth- and Seventeenth-Century Views on Mathematical Imagination  Guy Claessens 9 What Does a Diagram Prove that Other Images Do Not? Images and Imagination in the Kepler-Fludd Controversy  Christoph Lüthy 10 Aristotelian Proportioned Images and Descartes’s Dynamic Imagining  Dennis L. Sepper 11 Schematism, Imagination, and Pure Intuition in Kant  Sybille Krämer Index Nominum

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Book SynopsisMikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel, as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.Table of ContentsList of Illustrations Introduction. Mikhail Lifshitz: A Communist Contemporary  David Riff Foreword 1 Myth and Reality: The Legend of Cubism  ‘Scandal in Art’  Two Appraisals of Cubism  G.V. Plekhanov and Cubism  The Terms ‘Reactionary’ and ‘Bourgeois’  The Revolt against Things  Fusion with Objects as an Ideal  The Evolution of Cubism  Painting in the Other World 2 The Phenomenology of the Soup Can: The Quirks of Taste  The Economy of Painting  Reflection’s Malaise  Conclusion 3 Why am I Not a Modernist? References Index Illustration Section

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Book SynopsisIn Maternal Breast-Feeding and Its Substitutes in Nineteenth-Century French Art, Gal Ventura investigates the ideological concepts behind the endorsement of maternal breast-feeding in modern Western society. Using diverse visual and textual sources and surveying hundreds of artworks produced from the time of the French Revolution to the beginning of the twentieth century, Ventura reveals the historical, political, religious, and economic factors that shaped the representations of breast-feeding and its substitutes in French art. She thus sheds light on the changing attitudes toward maternal breast-feeding in nineteenth-century France, which have had a considerable impact on the glorification of breast-feeding in the Western world to this very day.Table of ContentsContents Preface List of Illustrations Part 1: Mothers, Wet Nurses and Feeding Bottles 1 The History of Breast-Feeding in France  1 The Return to Maternal Breast-Feeding  2 Images of Breast-Feeding Bourgeois Mothers  3 The Strengthening of the Institution of Wet-Nursing  4 Child-Care Manuals for Mothers  5 The Feeding Bottle and the Medicalization of Breast-Feeding Part 2: Death and Substitute Mothers 2 Breast-Feeding and Death  1 The Dead Mother in Flood Scenes  2 Death and Miraculous Salvation: The Dead Mother in Religious Art  3 Natural Disasters, Wars, Plagues, and Famine: The Dead Mother in Secular Art  4 From the Exotic to the Contemporary: Dying from Hunger in France 3 Breast-Feeding as Benevolence: Representations of Charity  1 “La Charité c’est moi!”: The Image of Charity from the French Revolution to the End of the Bourbon Restoration  2 Between Secularization and Religiosity: The Image of Charity during the July Monarchy  3 Charity as Obligation: The Image of Charity during the Second Republic  4 Christianity and Social Justice: The Image of Charity during the Second Empire  5 Christianity, Fertility and Nationalism: The Image of Charity During the Third Republic 4 From Sanctity to Promiscuity: The Wet Nurse  1 ‘La mère de lait et la mère de sang’: Wet-Nursing during the French Revolution  2 The Wet Nurse as a Second Mother: Wet-Nursing in Nineteenth-Century France  3 The Nourrice sur lieu and the Soldier: Sexuality and Low Class Part 3: Maternal Breast-feeding 5 Charity and Social Justice: Maternal Breast-Feeding among the Lower Classes  1 Socialism and Christian Generosity: Destitute Beggars Breast-Feeding Outdoors  2 Social Justice and Egalitarianism: Working-Class Mothers Breast-Feeding At Home 6 Fertility, Nature, and Work in the Fields: Maternal Breast-Feeding among the Peasantry  1 Serenity and Fertility: Peasants Breast-Feeding in the Fields  2 The Shattered Dream  3 Nostalgia and Pastorality 7 A Woman’s Virtue: Portrayals of Breast-Feeding among the Bourgeoisie  1 The Modern Madonna: Artists’ Spouses Breast-Feeding at Home  2 Religiosity and Allegory: Bourgeois Mothers Breast-feeding in the Garden  3 From the Personal to the Universal  4 The Feeding Bottle: Visual Silencing versus Historical Prominence Afterword  1 Lactivism: Breast-Feeding as an Ideology  2 Women and Breast-Feeding  3 Breast-Feeding in Art and Culture Today Bibliography Index

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Book SynopsisPieter Bruegel the Elder and Religion offers new insight into the religious dimension of Bruegel’s art. With a number of highly original and thorough case studies, the volume illuminates Bruegel’s inventive and multifaceted engagement with the contemporary religious concepts and practices of his day and age. Religion remains a vital question in the life and career of Bruegel, because it was so long believed to be more or less absent from his work. As a pioneer of the new genres of landscape and peasant scenes, Bruegel was heralded as a ground-breaking “secular” painter. This volume highlights the most recent scholarship on the artist, offering a much more nuanced portrait of Bruegel’s engagement with the dynamic religious landscape of the mid-sixteenth century. Contributors are: Jessica Buskirk, Ralph Dekoninck, Bertram Kaschek, Walter S. Melion, Jürgen Müller, Anna Pawlak, Gerd Schwerhoff, Larry Silver, and Michel Weemans.Trade Review“This book reveals how Pieter Bruegel, under the ban of controversies, developed a visual code to hint at traps laid by false prophets and the devil. Readers might feel themselves trapped in the intricate webs of visual exegesis in these essays, but the understanding obtained will deepen their comprehension of the vexed vision of an artist of universal importance.” Leopoldine Prosperetti, University of Houston. In: Renaissance Quarterly, Vol. 73 , No 4 (Winter 2020), pp. 1362–1363.Table of ContentsAcknowledgements List of Illustrations Notes on the Contributors 1 Pieter Bruegel the Elder and Religion: A Historiographical Introduction  Bertram Kaschek 2 Of Birdnesters and Godsearchers: A New Interpretation of Pieter Bruegel the Elder’s The Beekeepers  Jürgen Müller 3 Peter Bruegel and the Problem of Vision  Larry Silver 4 Virtue or Tyranny? Pieter Bruegel, Justitia, and the Myth of the Inquisition  Gerd Schwerhoff 5 The First Temptation of Christ: An Evolving Iconographic Trope in Sixteenth-Century Antwerp  Jessica Buskirk 6 The Imaginarium of Death: Pieter Bruegel’s The Triumph of Death  Anna Pawlak 7 Evidentiae Resurrectionis: On the Mystery Discerned but not Seen in Pieter Bruegel’s Resurrection of ca. 1562–1563  Walter S. Melion 8 Falling Idols, Rising Icons: Bruegel’s Flight into Egypt and the Embeddedness of Sacred Images in Nature  Ralph Dekoninck 9 Pieter Bruegel’s Hunters in the Snow and Insidiosus Auceps as Trap Images  Michel Weemans

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Book SynopsisIn Devotional Portraiture and Spiritual Experience Ingrid Falque analyses the meditative functions of early Netherlandish paintings including devotional portraits, that is portraits of people kneeling in prayer. Such paintings have been mainly studied in the context of commemorative and social practices, but as Ingrid Falque shows, they also served as devotional instruments. By drawing parallels between the visual strategies of these paintings and texts of the major spiritual writers of the medieval Low Countries, she demonstrates that paintings with devotional portraits functioned as a visualisation of the spiritual process of the sitters. The book is accompanied by the first exhaustive catalogue of paintings with devotional portraits produced in the Low Countries between c. 1400 and 1550. This catalogue is available at no costs in e-format (HERE) and can also be purchased as a printed hardcover book (HERE).Trade Review“With Falque’s lucid description of the complex visual language of the paintings, this project will be appreciated by art historians already familiar with the pictorial conventions of the era but it will also serve as an effective lens for scholars in neighboring disciplines – especially those concerned with devotional literature – who seek to explore the participation of the visual arts in theological and devotional discourse.” Mitzi Kirkland-Ives, Missouri State University. In: HNA Reviews, April 2020. “A monumental achievement.” Catherine Levesque, College of William and Mary. In: Renaissance Quarterly, Vol. 75, No. 1 (Spring 2022), pp. 213–216.Table of ContentsAcknowledgements List of Figures and Graph Abbreviations Note to the Reader Introduction 1 Ora pro me: The Forms and Locations of Devotional Portraits in Early Netherlandish Painting  1 From the Outside to the Inside: The Location of Portraits within the Physical Spaces of the Work 2 Via ad Deum: Devotional Portraiture and the Spiritual Journey  1 Spiritual Progress and the Meditative Process in the Medieval Religious Tradition  2 The Devotee on the Path  3 The Goal of the Spiritual Journey and the Status of the Sacred Space 3 Ascensiones in corde disposuit: Devotional Portraiture and Spiritual Ascent  1 Mise en Mots and Mise en Image of the Spiritual Ascent in the Medieval Spiritual Tradition  2 The Theme of the Spiritual Ascent in Devotional Literature of the Low Countries in the Late Middle Ages  3 Mise en Image of the Spiritual Ascent in Early Netherlandish Painting  4 Petrus Christus’ Exeter Madonna, an Emblematic Case of Spiritual Ascent  5 The Diptych of Lodovico Portinari and the Visualisation of the Meditative Process 4 Eene vergaderinghe van twee personen die comen van diverschen staden: Devotional Portraiture, Union with God and Spiritual Perfection  1 The Outcome of the Contemplative Process: Spiritual Perfection, Union with God and the Ghemeine Leven  2 Devotional Portraiture and the Visualisation of Spiritual Perfection  3 The Van der Burch Triptych of Jan Provoost, an Exemplary Image of Spiritual Perfection 5 In spiritualem quandam armoniam: Devotional Portraiture and the Role of Images in the Meditative Process  1 The Place of Images in Late Medieval Meditative Theory and Practices  2 Geert Grote’s Tractatus de Quattuor Generibus Meditabilium, the Ghemeine Leven and the Status of Images Conclusions Bibliography index

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Book SynopsisIn Mughal Occidentalism, Mika Natif elucidates the meaningful and complex ways in which Mughal artists engaged with European art and techniques from the 1580s-1630s. Using visual and textual sources, this book argues that artists repurposed Christian and Renaissance visual idioms to embody themes from classical Persian literature and represent Mughal policy, ideology and dynastic history. A reevaluation of illustrated manuscripts and album paintings incorporating landscape scenery, portraiture, and European objects demonstrates that the appropriation of European elements was highly motivated by Mughal concerns. This book aims to establish a better understanding of cross-cultural exchange from the Mughal perspective by emphasizing the agency of local artists active in the workshops of Emperors Akbar and Jahangir.Table of ContentsAcknowledgments List of Illustrations Abbreviations and Conventions Introduction  Brief Historical Background  Defining Mughal Occidentalism  Christian and European Elements in Islamic Art  Organization of the Book 1 Mughal Tolerance and the Encounters with Europe  Religious Tolerance under Akbar and Jahangir  Mughals and Europeans: The Encounters  The Challenge of Primary Sources  Diplomatic Gifts and “Special” Christian Articles  The Mughal Elite and Pictures of Mary and Jesus 2 Mughal Masters and European Art: Tradition and Innovation at the Royal Workshops  Copying and Innovation at the Imperial Workshops  Repurposing the European Masters 3 European Articles in Mughal Painting  European Prints in Mughal Albums  Visualizing European Articles in Mughal Painting  The Organ: Plato Making Music 4 Landscape Painting as Mughal Allegory: Micro-Architecture, Perspective and ṣulḥ-i kull  The Mughal Interest in Topography  Chronology of Change in Landscape Representation  Images of Urbanism and Agriculture: Diversity and Prosperity  The Virtuous City and the Circle of Justice  European Techniques: Sfumato and Atmospheric Perspective 5 Concepts of Portraiture under Akbar and Jahangir  Mughal Terminology and Praxis  Form, Essence, and Physiognomy  The Politics of Portraiture Epilogue Bibliography Index

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Book SynopsisAs the first extensive survey of the ancient Greek painters’ practice of writing nonsense on vases, The So-called Nonsense Inscriptions on Ancient Greek Vases by Sara Chiarini provides a systematic overview of the linguistic features of the phenomenon and discusses its forms and contexts of reception. While the origins of the practice lie in the impaired literacy of the painters involved in it, the extent of the phenomenon suggests that, at some point, it became a true fashion within Attic vase painting. This raises the question of the forms of interaction with this epigraphic material. An open approach is adopted: “reading” attempts, riddles and puns inspired by nonsense inscriptions could happen in a variety of circumstances, including the symposium but not limited to it. This book is the winner of the 2018 Géza Alföldy Publication Prize awarded by the AIEGL (Association Internationale d’Épigraphie Grecque et Latine).Trade ReviewThis book is the winner of the 2018 Géza Alföldy Publication Prize awarded by the AIEGL (Association Internationale d’Épigraphie Grecque et Latine).Table of ContentsPreface and Acknowledgements List of Illustrations List of Abbreviations 1 Introducing Nonsense  1 What are Nonsense Inscriptions?  2 What has been Said about Nonsense Inscriptions? 2 Rethinking Prior Approaches  1 Just for the ‘Beauty’ of grammata?  2 Just for the Prestige of Writing? 3 Περὶ παιδείας or Nonsense Inscriptions and Literacy  1 A Taxonomy of (Il)literacies  2 Learning to Write and to Read in Ancient Greece  3 Assessing the Nonsense Inscriptions Against the Scale of Literacy Competence 4 Περὶ παιδιᾶς or Nonsense Inscriptions and Intellectual Teasing  1 Literate Nonsense  2 The Symposion as καιρός for (Literate) Nonsense?  3 A Life Beyond the Symposion 5 What if Nonsense Did Make Sense?  1 Melodies and Musical Notes  2 Barbarika  3 Voices from Beyond  4 Summative Remarks Conclusion  1 Summary  2 Is it Nonsense? Appendix: Catalogue of Vases and Fragments Carrying Nonsense Inscriptions Bibliography Index

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Book SynopsisThe last decade has witnessed a striking upsurge of interest in Iberian hagiography. In painting and the fine arts through to poetic and narrative treatments composed in Castilian and Catalan, the legacies of Christ, Mary, and the saints have been approached from a range of perspectives and subjected to detailed critical scrutiny. This book, which focuses specifically on the application of theoretical and methodological approaches to analysis, asks what scholars of early Iberian hagiography can bring to the analysis of the sacred past and how the study of the discipline can be taken forward innovatively in the future. Its fourteen essays, each focusing on a different aspect of composition, seek in particular to explore interdisciplinary methodologies and the ways in which they intersect with broader discourses in other branches of research. Contributors are Carme Arronis Llopis, Fernando Baños Vallejo, Andrew M. Beresford, Sarah Jane Boss, Sarah V. Buxton, Marinela Garcia Sempere, Ryan D. Giles, Ariel Guiance, Lluís Ramon i Ferrer, Rebeca Sanmartín Bastida, Connie L. Scarborough, and Lesley K. Twomey.

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Book SynopsisWhile the term ‘Europe’ was used sporadically in ancient and medieval times, it proliferated between the fifteenth and sixteenth centuries, and gained a prevalence in the seventeenth and eighteenth centuries which it did not possess before. Although studies on the history of the idea of Europe abound, much of the vast body of early modern sources has still been neglected. Assuming that discourses tend to transcend linguistic, historical and generic boundaries, this book has gathered experts from various fields of study who examine vernacular and Latin negotiations of Europe from the late fifteenth to the early eighteenth century. This multi-angled approach serves to identify similarities and differences in the discourses on Europe within their different national and cultural communities. Contributors are: Ovanes Akopyan, Volker Bauer, Piotr Chmiel, Nicolas Detering, Stefan Ehrenpreis, Niels Grüne, Peter Hanenberg, Ulrich Heinen, Ronny Kaiser, Niall Oddy, Katharina N. Piechocki, Dennis Pulina, Marion Romberg, Lucie Storchová, Isabella Walser-Bürgler, Michael Wintle, and Enrico Zucchi.Trade Review"Compared to previous research on the discursive construction of “Europe”, the volume differs in three respects: Firstly, it takes into account little-noticed spatial peripheries and their sources in the various national languages and in Neo-Latin. This multi-perspectivity positively sets the volume apart from many other English-language compilations. Second, the contributions expand the range of sources to include a multitude of visual media and text genres. Third, with the 250 years from the late 15th to the early 18th century, it deals with the "pre-Enlightenment" part of the early modern period, which is often left out." (translated from German) Joachim Berger, Leibniz Institute of European History, in H-Soz-Kult, 15.12.2020 "Gegenüber bisherigen Forschungen zur diskursiven Konstruktion „Europas“ unterscheidet sich der Band in dreifacher Hinsicht: Er berücksichtigt erstens wenig beachtete räumliche Peripherien und ihre Quellen in den verschiedenen Landessprachen und im Neulateinischen. Diese Multiperspektivität erstreckt sich zudem auf die (auch osteuropäische) Forschungsliteratur, die rezipiert wird; das hebt den Band positiv von manch anderem englischsprachigen Sammelwerk ab. Zweitens besteigen die Beiträge nicht nur die Höhenkämme des Schrifttums und der bildenden Künste, sondern erweitern das Quellenspektrum um eine Vielzahl visueller Medien und Textgattungen. Drittens behandelt er mit den gut 250 Jahren vom späten 15. zum frühen 18. Jahrhundert den „voraufklärerischen“ Teil der Frühneuzeit, der aufgrund von Peter Burkes wirkmächtigem Zweifel, ob es vor 1700 ein auf Europa bezogenes "collective consciousness" gegeben habe, häufig ausgespart wurde." Joachim Berger, Leibniz Institute of European History, in H-Soz-Kult, 15.12.2020Table of ContentsList of Illustrations Notes on the Editors Notes on the Contributors Contesting Europe: Comparative Perspectives on Early Modern Discourses on Europe (1400–1800) — an Introduction  Nicolas Detering, Clementina Marsico and Isabella Walser-Bürgler Part 1: Embodying Europe: Allegories of the Self and the Other 1 Rivalry of Lament: Early Personifications of Europe in Neo-Latin Panegyrics for Charles V and Francis I  Nicolas Detering and Dennis Pulina 2 Tota caduca et dehiscens — Europe’s Critical Condition in Andrés Laguna’s Europa (1543)  Ronny Kaiser 3 The Early Modern Iconography of Europe: Visual Images and European Identity  Michael Wintle 4 Did Europe Exist in the Parish before 1800? The Allegory of Europe and Her Three Siblings in Folk Culture  Marion Romberg 5 Rubens’ Europe and the Pax Hispanica  Ulrich Heinen Part 2: Centralising Europe: Constructions of Peripheries and Boundaries 6 Cartographic Manipulations: Framing the Centre of Europe in ca. 1500  Katharina N. Piechocki 7 Conflicts of Meaning: the Word Europe in Sixteenth-Century French Writing  Niall Oddy 8 Portugal and the Early Modern Discourse on Europe  Peter Hanenberg 9 How Did Venetian Diplomatic Envoys Define Europe, Its Divisions, Centres and Peripheries (ca. 1570–1645)?  Piotr Chmiel 10 Conceptualising Asia, Africa and Europa in a Polemic on the Origin of Bohemians (1615–1617): Supranational Geographical Units and a Humanist Competition for ‘National Honour’  Lucie Storchová 11 Europe or Not? Early Sixteenth-Century European Descriptions of Muscovy and the Russian Responses  Ovanes Akopyan Part 3: Balancing Europe: Discourses of Plurality and Power 12 Liberty and Participation: Governance Ideals in the Self-Fashioning of Sixteenth- to Early-Eighteenth-Century Europe  Niels Grüne and Stefan Ehrenpreis 13 Geopolitical Instruction and the Construction of Europe in Seventeenth-Century Neo-Latin Texts  Isabella Walser-Bürgler 14 The European Network and National Identity: Italian Journalism in the Early Eighteenth Century from Il Giornale de’ letterati d’Italia to Il Gran giornale d’Europa  Enrico Zucchi 15 Europe as a Political System, an Ideal and a Selling Point: the Renger Series (1704–1718)  Volker Bauer Index Nominum

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Book SynopsisCrusade scholarship has exploded in popularity over the past two decades. This volume captures the resulting diversity of approaches, which often cross cultures and academic disciplines. The contributors to this volume offer new perspectives on topics as varied as the application of Roman law on slavery to the situation of Muslims in the Latin East, Muslim appropriation of Latin architectural spolia, the roles played by the crusade in medieval preaching, and the impact of Latin East refugees on religious geography in late medieval Cyprus. Together these essays demonstrate how pervasive the institution of crusade was in medieval Christendom, as much at home in Europe as in the Latin East, and how much impact it carried forth into the modern era. Contributors are Richard Allington, Jessalynn Bird, Adam M. Bishop, Tomasz Borowski, Yan Bourke, Sam Zeno Conedera, Charles W. Connell, Cathleen A. Fleck, Lisa Mahoney, and C. Matthew Phillips.Trade Review"This is an ambitious and truly interdisciplinary collection of essays, all studies which were presented at the third quadrennial International Symposium at Saint Louis University, most of them by early career researchers, the new generation of Crusade historians. It is rare to see gathered in one volume studies engaging with such a range of source materials, from seals and coins to archaeology, sermons to chronicles. Another strength is the use of texts and secondary materials in different languages bringing different perspectives to bear". Marianne Ailes, in The Medieval Review , May 2020.Table of ContentsList of Illustrations Notes on Contributors Introduction Part 1: Structures of Crusading 1 The Church of the Nativity and “Crusader” Kingship  Lisa Mahoney 2 Signs of Leadership: Buildings of Jerusalem in a Crusader Relief  Cathleen A. Fleck 3 Religion and Conflict: Investigating the Role of Relics and Holy Sites in the Religiously Diverse Society of Crusader Famagusta, Cyprus  Tomasz Borowski 4 Adaptations of the Roman Lex Aquiliain the Burgess Assizes of Jerusalem  Adam M. Bishop Part 2: Crusade Preaching 5 “Far be it from Me to Glory Save in the Cross of Our Lord Jesus Christ” (Galatians 6:14): Crusade Preaching and Sermons for Good Friday and Holy Week  Jessalynn Bird 6 The Typology of the Cross and Crusade Preaching  C. Matthew Phillips 7 Missing the Apocalypse in Preaching the Crusades  Charles W. Connell Part 3: Perceptions of Crusade and Combatants 8 Schismatics and Crusaders: The Role of Innocent II’s Condemnation of John Comnenus in the History of Byzantine and Papal Relations with Latin Antioch  Richard Allington 9 Muslims in the “Gesta Family”: Understanding of Muslim Religious Identity and the Use of Accounts of Violence to Depict Muslims as “Other” in the Gesta Francorum and Its Derivatives  Yan Bourke 10 Universal Monarchs: Crusading in the Life of St. Ignatius Loyola  Sam Zeno Conedera, SJ  Index

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Book SynopsisA Companion to Seals in the Middle Ages is a cross-disciplinary collection of fourteen essays on medieval sigillography. It is organized thematically, and it emphasizes important, often cutting-edge, methodologies for the study of medieval seals and sealing cultures. As the chronological, temporal and geographic scope of the essays in the volume suggests, the study of the medieval seal—its manufacture, materiality, usage, iconography, inscription, and preservation—is a rich endeavour that demands collaboration across disciplines as well as between scholars working on material from different regions and periods. It is hoped that this collection will make the study of medieval seals more accessible and will stimulate students and scholars to employ and further develop these material and methodological approaches to seals. Contributors are Adrian Ailes, Elka Cwiertnia, Paul Dryburgh, Emir O. Filipovi, Oliver Harris, Philippa Hoskin, Ashley Jones, Andreas Lehnertz, John McEwan, Elizabeth A. New, Jonathan Shea, Caroline Simonet, Angelina A. Volkoff, and Marek L. Wójcik.Trade Review''Un ouvrage transversal, véritable outil de développement de la recherche en sigillographie [...] Clairement présenté et abondamment illustré de nombreuses planches en couleur, cet ouvrage d’une grande richesse intellectuelle est aussi très agréable à consulter. Ainsi, comme son titre l’affirme, il se veut le fidèle compagnon de qui s’intéresse aux sceaux et à la sigillographie, ambitionnant de devenir un indispensable livre de chevet. Il est à espérer qu’il rendra plus accessible encore l’étude des sceaux et suscitera, parmi les professionnels comme les étudiants, de nouvelles et nombreuses recherches dans ce domaine''. Marie-Adélaïde Nielen, in Francia Recensio , 3, 2019.Table of ContentsAcknowledgements List of Illustrations Contributors Introduction: Approaches to Medieval Seals and Sealing Practices Laura J. Whatley PART 1 Materiality and Seals 1 Analysis of the Materiality of Royal and Governmental Seals of England with a Focus on the Great Seals (1100–1300): Methodology and Findings Elke Cwiertnia, Adrian Ailes and Paul Dryburgh 2 Material Analysis of the Seals Attached to the Barons’ Letter to the Pope Paul Dryburgh, Elke Cwiertnia and Adrian Ailes 3 Does Size Matter? Social Standing and Seal Dimensions in Medieval Britain John McEwan PART 2 Historiography and Seals 4 Fragments of the Past: The Early Antiquarian Perception and Study of Seals in England Oliver D. Harris 5 Medieval Armorial Seals in The National Archives (UK) Adrian Ailes PART 3 Seals in Bureaucracy and Diplomatic 6 The Seals of the Judges of the Hippodrome: Drawing Data from Seals Without Context Jonathan Shea 7 Administration and Identity: Episcopal Seals in England from the Eleventh to the Thirteenth Century Philippa Hoskin PART 4 Power and Aspiration on Medieval Seals 8 Power, Family, and Identity: Social and Individual Elements in Byzantine Sigillography Angelina Anne Volkoff 9 Two Seals of Muskinus the Jew (Moshe b. Yeḥiel, d. 1336), The Archbishop of Trier’s Negociator Andreas Lehnertz 10 ‘Creatio Regni’ in the Great Seal of Bosnian King Tvrtko Kotromanić Emir O. Filipović PART 5 Elusive Seal Owners and Users 11 Reconsidering the Silent Majority: Non- Heraldic Personal Seals in Medieval Britain Elizabeth New 12 The Seals of Knights’ Wives in Medieval Silesia Marek L. Wójcik PART 6 Visual Culture and Seals 13 Coins as Seals in Lombard Italy Ashley Jones 14 The Use of Ancient Gems and Coins: A Noticeable Presence of Antiquity in Medieval Sigillography Caroline Simonet Select Bibliography

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Book SynopsisA Companion to Medieval Lübeck offers an introduction to recent scholarship on the vibrant and source-rich medieval history of Lübeck. Focusing mainly on the twelfth to fifteenth centuries, the volume positions the city of Lübeck within the broader history of Northern Germany and the Baltic Sea area. Thematic contributions highlight the archaeological and architectonical development of a northern town, religious developments, buildings and art in a Hanseatic city, and its social institutions. This volume is the first English-language overview of the history of Lübeck and a corrective to the traditional narratives of German historiography. The volume thus offers a fresh perspective on the history of medieval Lübeck—as well as a handy introduction to the riches of the Lübeck archives—to undergraduates, graduate students, and scholars in related fields. Contributors are Manfred Finke, Hartmut Freytag, Antjekathrin Graßmann, Angela Huang, Carsten Jahnke, Ursula Radis, Anja Rasche, Dirk Rieger, Harm von Seggern and Ulf Stammwitz.Trade Review"This book must be wholeheartedly recommended to anyone working on medieval urban history. It fills an amazing gap in historical studies in English about the World Heritage Site the city of Lübeck. It provides an invaluable introduction to recent scholarship about many aspects of this leading Hanseatic city in the Middle Ages, each section written by an expert in that topic. [...] the authors of each of the different sections achieve a new, all embracing international overview of their different subjects. They examine the city in the wider historical context of the social and geographical area and achieve a remarkable depth of information about many of the crucial elements of its history, so making possible a precise comparison with major maritime cities elsewhere in Europe such as Venice and Marseille". Sybil Jack, in Parergon, 38.1 (2021). "Der Band erfüllt, um das Wesentliche vorwegzunehmen, den Anspruch, den die Reihe setzt, und dies nicht nur, weil er angesichts rarer angelsächsischer Studien über das mittelalterliche Lübeck ein langjähriges Desiderat schließt. Mit ihm liegt tatsächlich ein nahezu mustergültiger, durchweg von Fachexperten erstellter Zugang zu den verschiedenen Themenbereichen vor." Felskau in ZEITSCHRIFT FÜR LÜBECKISCHE GESCHICHTE, Band 100 (2020/2021).

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