––Colin McCabe, ‘Sense of an Ending’, Sunday Telegraph, 27 August 2010: ‘When asked to describe himself intellectually, Frank Kermode would identify with the Warburg Institute. The Warburg library was constituted around the ways in which the canon of classical antiquity had been interpreted and reinterpreted in the European Renaissance. This focus on the afterlife (nachleben) of texts was Kermode’s abiding intellectual concern. ... The deep influence of Warburg also meant that Kermode had no attachment to the fixed meaning of texts ... . By the early Seventies Kermode had become the country’s leading literary critic ... and it was inevitable that he would be offered the Regius Professorship at Cambridge ...’

–– David Ganz, ‘Freelance’, TLS, 11 December 2009, p. 16: ‘And oh for the Warburg, incomparable library, where each inherited offprint is bound and shelved for the browser and the researcher to find at their fingertips.’

–– John Carey, ed., Apocrypha Hiberniae. 2, Apocalyptica. 1, In Tenga Bithnua (Turnhout: Brepols, 2009), p. 7: ‘The Warburg Institute possesses what must be one of the best libraries anywhere for the study of cultural history; and it is precisely the strengths which render it so idiosyncratic – such as its fine collections of books on magic, on pre-modern cosmology, on monsters, on theology and liturgy, on the Gnostics and Manicheans – which made it the perfect environment in which to pursue the question on In Tenga Bithnua’s sources.’

–– Rita Copeland and Ineke Sluiter, eds, Medieval Grammar and Rhetoric: Language Arts and Literary Theory, AD 300–1475 (Oxford: Oxford University Press, 2009), p. vi: ‘Rita Copelands’s work during several long periods was carried out mainly at the Warburg Institute in London, which provided ideal conditions for research on classical learning and its later receptions; profound thanks are due to the Librarian of the Warburg ... and to the generous staff of the Institute.’

–– Stephen Gaukroger, The Emergence of Scientific Culture: Science and the Shaping of Modernity, 1210–1685 (Oxford: Oxford University Press, 2006), p. vi: ‘... generous hospitality has been provided by the School of Advanced Study of the University of London during the first half of 2005, where I was able to take advantage of the wonderful library of the Warburg Institute’.

–– Raphael Loewe, ed. and transl., Meshal haqadmoni: Fables from the Distant past. A Parallel Hebrew-English Text (Oxford and Portland OR: The Littman Library of Jewish Civilization, 2004), pp. ix–x: ‘I owe a debt of gratitude ... above all to the Warburg Institute in London, whose library is the most civilised – in every sense – in which it has been my privilege to work. Without its open access, and its generously integrative coverage of the interaction between east and west in the classical tradition of Europe, my annotation of the Meshal haqadmoni would often have been much more sketchy, and the book correspondingly poorer.’

–– Hiroko Takahashi, ‘Giorgio Vasari's St Luke Painting the Virgin: A Reconsideration of Its Possible Sources’, Jinbun 5 (2006), p. 23, n.*: ‘This article was written while I spent some time intermittently in 2005 and 2006 in an art historian’s earthly paradise in London, the Warburg Institute’.

–– Roberto Casati, La découverte de l’ombre (Paris: Albin Michel, 2002), p. 281: ‘Remerciements ... au Warburg Institute de Londres (la première merveille du monde bibliographique)...’ [‘Thanks ... to the Warburg Institute (the first marvel of the bibliographical world) ...’]