These are the editions currently available in our Studies of the Warburg Institute series
5. The Drawings of Nicolas Poussin: Catalogue Raisonné. Part IV. Studies for the Long Gallery. The Decorative Drawings. The Illustrations to Leonardo's Treatise. The Landscape Drawings. Walter Friedlaender and Anthony Blunt (eds) 9780854810390. Studies of the Warburg Institute. 1963. £5.00. 97808454810390
5 The Drawings of Nicolas Poussin: catalogue raisonné. )Part V: Drawings after the Antique. Miscellaneous Drawings. Addenda. Walter Friedlaender and Anthony Blunt (eds). 1974, £16.00. 9780 85481 048 2
24 Giovanni Rucellai ed il suo Zibaldone. Part II: A Florentine Patrician and his Palace. F. W. Kent, Alessandro Perosa, Brenda Preyer, Roberto Salvini and Piero Sanpaolesi. 1981, £25.00. £10.00 9780 95481 057 4
These studies make a companion to Alessandro Perosa’s edition (1960) of pagine sceltefrom the Zibaldone of Giovanni Rucellai (1403-1481). The Zibaldone was intended as a guide to Rucellai’s two sons in the conduct of their lives and is by turns family history, record of things done and seen, book of commercial management, chronicle of artistic patronage, Florentine history, and moral treatise.
The volume now published is centred on the character and achievement of Giovanni Rucellai and, in particular, on the palace which embodies the aspirations of this Florentine merchant patrician. It is the result of collaboration between three Italian, one Australian and one American scholar, under the general direction of Professor Nocolai Rubinstein who has written the Introduction. Two contributions are in Italian, the remainder are in English.
Professor Perosa, of the University of Florence, has followed his edition with a comprehensive account, in Italian, of Giovanni in his intellectual and ethical milieu. Dr F. W. Kent, of Monash University, contributes a monograph on Rucellai’s career as merchant, citizen, builder and patron. Dr Brenda Preyer, of the University of Texas at Austin, drawing heavily, like Dr Kent, on new archival evidence which both have uncovered, adds an exhaustive examination of Giovanni’s acquisition of land for his building projects and of the stages in which his palace was constructed. She also re-examines the involvement of Leon Battista Alberti in Giovanni’s enterprises. The late Professor Piero Sanpaolesi, of the University of Florence, has provided a brief chapter in Italian on the architecture of the Rucellai Palace, and Professor Roberto Salvini, also of the University of Florence, an essay on the frescoes in the altana of the palace, which were rediscovered in 1950 and which are here reproduced in full for the first time.
Benito Arias Montano (1527-1598), of the Order of Santiago, theologian, exegete, orientalist, humanist, representative of Spain at the Council of Trent and trusted political and religious adviser of Philip II, was perhaps the most famous Spanish scholar of his age. His chief monument is the great Antwerp Polyglot Bible in eight volumes, published by Plantin between 1569 and 1573, compiled under the supervision of Montano, with an apparatus largely written by him. This book is concerned with lesser-known but important aspects of Monano’s activity, his contacts with Netherlandish scholars of uncertain orthodoxy, his membership of the sect of Familists and his clandestine influence in the spread of Erasmianism in Spain. Based on a corpus of over six hundred surviving letters, it reviews Montano’s life from the point of view of his eirenic activities, and provides appendices with extracts from his correspondence, a list of documents cited and of his published and unpublished works.
Girolamo da Carpi’s sketchbook, here assembled and catalogued by Professor Canedy, comprises the largest single graphic repertory extant of the antiquities known to a fifteenth-or sixteenth-century artist. More than a thousand sketches survive in the album belonging to the Philip H. and A. S. Rosenbach Foundation in Philadelphia and the portfolio in the Biblioteca Reale, Turin. A few more sheets are preserved in the Department of Prints and Drawings of the British Museum. All the drawings are reproduced, with some comparative material.
Professor Canedy deals with the problems raised by the Sketchbook in a long Introduction. The corpus of Mannerist drawings after the antique and after other artists’ renderings of the antique stands alone in its extent and in its nature. There is no other collection by an Italian artist of stature where figure compositions – as distinct from architectural or ornamental designs – are so abundant. These drawings often supply our earliest evidence of the sixteenth century’s knowledge of individual works of classical art. Where there are invenzioni rather than ricardi, they are not original to Girolamo da Carpi, but copies of other artists’ compositions. Even where Cirolamo’s drawings are apparently made directly from the antique, there seems usually to have been an intermediate composition by another hand. Most frequently, the intermediary is a drawing of much wider importance for the study of the relation between antique and Mannerist art than at first appears. The publication of such a corpus also offers for the first time a secure basis for judging the attribution to Girolamo da Carpi of the seemingly endless succession of Cinquecento drawings of antique sculpture and grotteschi , which continue to appear in collections and on the art market.
36 The Hortus Deliciarum of Herrad of Hohenbourg (Landsberg). A Reconstruction by Rosalie Green, Michael Evans, Christine Bischoff, and Michael Curschmann. Withcontributions by T. Julian Brown and Kenneth Levy. Under the direction of Rosalie Green. 2 vols. 1979, £50.00. £30.00 9780 85481 055 0
This is the first reconstruction of the Hortus deliciarum, the unique manuscript of which was destroyed in 1870. The text has been established from 19th-century transcripts (principally those made for Comte A. De Bastard), from printed sources, and from C.M. Engelhardt’s record of the German glosses as edited by E. Von Steinmeyer. The miniatures are reproduced from the best copies, some in versions previously unpublished. Variants are also included. All the painted copies are reproduced in colour. The reconstruction restores the original sequence of text and illustration and is intended to replace the obsolete publication of Alexandre Straub and Gustave Keller (1879-99). The edition has been prepared under the supervision of Professor Rosalie Green, Director of the Index of Christian Art at Princeton University, who is responsible for the placing of illustrations and text, for the catalogue of the miniatures and for the comparative illustrations. Dr. Michael Evans, of the Warburg Institute, and Mlle Christine Bischoff have established and ordered the text. Professor Michael Curschmann of Princeton University has reconstructed the distribution of the German glosses. The commentary volume includes: Description of the Manuscript and the Reconstruction, by, Michael Evans; L’Histoire, par Christine Bischoff; The Miniatures, by Rosalie Green; Le Texte, par Christine Bischoff; The German Glosses, by Michael Curschmann; The Palaeography, by T. Julian Brown; The Musical Notation, by Kenneth Levy; Catalogue of Miniatures, by Rosalie Green.
Three extant volumes of drawings after the antique together with scattered leaves from yet another sketchbook, by the Bolognese artist, Amico Aspertini, give an unusual opportunity to students of the relations between Renaissance and classical art. One of the volumes dates from the beginning of the century, the other two from the 1530s and later. They make it possible to assess the antiquarian studies of a representative painter of the time in his progress from youth to maturity. They also throw much light on the specific nature of Renaissance use of the legacy of Antiquity.
In 1957 Phyllis Fray Bober’s Drawings after the Antique by Amicl Aspertini made available the relevant drawings from the two sketchbooks of Aspertini’s maturity, now preserved in the British Museum. The present volume by Gunter Schweikhart of the Gesamthochschule, Kassel is a companion to Professor Bober’s volume and completes the picture. Professor Schweikhart provides a full account of the young Appertini’s sketchbook, now in the Fürstliche Kunstsammlungen, Wolfgang (Codex Wolfegg). He deals with its history and its make-up, its relation to the tradition of sketchbooks after the antique, and the information it can be made to yield both concerning Appertini himself and concerning the artistic attitudes of his time. He provides a full catalogue of all the drawings in the Codex Wolfegg with notes on their derivation and their affiliations. All the drawings are illustrated and there is ample comparative illustration. There are indices of artists, of drawings after ancient monuments, and of the monuments themselves by present location.
The volume is published as a further instalment of the Warburg Institute’s programme of making available Renaissance sketchbooks after the antique. Publication has been supported by a grant from the Stiftung Volkswagenwerk.
41 Das Fossombroner Skizzenbuch. Ein Codex in der Biblioteca Civica Passionei zu Fossombrone mit Nachzeichnungen nach der Antike. Arnold Nesselrath. WINNER OF THE 1995 PREMIO SALIMBENI. 1993, £55.00. £15.00 9780 85481 084 0
42 Le Septième Siècle: Changements et Continuités/The Seventh Century: Change and Continuity. Jacques Fontaine and J. N. Hillgarth (eds). 1992, £35.00. 9780 85481 083 3
43 Erasmian Wit and Proverbial Wisdom: An Illustrated Moral Compendium for François I. Facsimile of a dismembered manuscript with introduction and description. Jean Michel Massing (ed). 1995, £25.00. £5.00 9780 85481 096 3 [Series ended]