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This book brings together seventeen important new papers published by Anna Muthesius since 1995. Many of the articles, plates and specially prepared figures are available only in this book. The volume acts as an essential companion to Dr Muthesius' earlier book in this series, Studies in Byzantine and Islamic Silk Weaving. The present book includes a group of seven papers (Studies II-VI, X, and XIV) originally entitled 'Silk in Byzantium'. These were prepared in the first instance for a seminar held in 1997 in Nicosia at the University of Cyprus. They offer an overall survey of Byzantine sericulture, silk manufacture, design, use and distribution. Study I has been added as an introduction to the Cyprus series, and to the book as a whole. Silk in an ecclesiastical context (the relationship between Imperial and monastic piety, ritual and Christological debate) forms the focus for a further five papers (Studies VIII-IX and XI-XIII). Study VIII acts to introduce a new subject, the theme of Byzantine Seafaring silks. The final three articles (Studies XV-XVII) explore the immense impact of Byzantine silks abroad between the fifth and fifteenth centuries, in regions as far apart as the British Isles and Central Asia.

This second volume of Viktor Lazarev's studies makes available a comprehensive selection of his papers on the history of early Russian art, principally fresco and panel painting. Most of the articles gathered in this collection were written between 1953 and 1971. Though they are grouped under the title 'Russian art' they are concerned with the art of a far larger community. All the objects discussed by Lazarev in this volume were produced for the Russian church, but not necessarily by Russians or even on Russian soil. The art discussed in these articles belongs, first and foremost, to a Christian tradition. The majority of these studies have previously been published in Russian, and their translation here into English makes them accessible for the first time to most western art historians. Dr Jana Howlett has contributed an Preface assessing the life and work of Viktor Lazarev.

Marilyn Aronberg Lavin has taught the history of art at Washington University, the University of Maryland, Yale, Princeton, and Università di Roma, La Sapienza. Specializing in Italian 13th-16th century painting, she is internationally known for her books and articles on Piero della Francesca. Her other books include The Place of Narrative: Mural Painting in Italian Churches, 431-1600 AD., and Seventeenth-Century Barberini Documents and Inventories of Art , both of which were recipients of international prizes for distinguished scholarship. She is one of the leaders in the use of computers and digitized imagery for research, teaching, and publication in the history of art. This book offers a series of case studies intended to introduce and define an important class of fifteenth-century Italian art not previously recognized. It is argued that the paintings and sculptures discussed were created privately by artists for personal satisfaction and internal needs, outside the traditional framework of patronage and commercial gain. Since there is no direct documentation from this period of a work being privately made, the selection presented here is necessarily speculative. Instead, the essays focus on works by Piero della Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear in the artists' testaments, letters of refusals to sell, and inventories showing ownership at the time of death. The task at hand is to uncover the motivation and meaning of works of art in which the medieval craftsman began to rise to the status of independent artist, and the maker and the viewer confront each other face to face for the first time.

In this third volume the regions covered are to the south and east of the Taurus range, beginning with the Upper and Lower Euphrates, which includes the Byzantine and Turkish buildings of Harput, Malatya and the Keban region, where there are also a number of churches and monastic sites. The following section, on the Tigris region, runs from the Taurus to the Tur 'Abdin, a historic centre of Syrian monasticism. In Diyarbakr and Mardin there are many important Christian and Islamic monuments. This was the centre of the medieval Artukid kingdom.

The initial section here covers the monuments of the important Hellenistic kingdom of Commagene, and includes Edessa (Urfa), the capital of a Crusader state, where there are also significant Islamic buildings. The final section, on the Hatay, focuses on the city of Antioch, with Seleucid, Roman and Byzantine remains, and the castles of the Crusader period in its vicinity. The neo-Hittite site of Karatepe and the Georgian and Syrian monasteries in the Hatay region are also dealt with. A comprehensive bibliography and index to all four volumes comes at the end.

Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders (1400-1800). In 1993, she was conferred O Grão Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eyck's diplomatic visits to the Iberian Peninsula.This manuscript investigates Van Eyck's patronage by the Crown of Portugal and his role as diplomat-painter of the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429 when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided in the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analyzed with regard to King João I's conquest of Ceuta, achieved by his sons who were hailed as an"illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitania 's sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henrique the Navigator's expedition to Tangier and King Duarte's attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy.

Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders (1400-1800). In 1993, she was conferred O Grão Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eyck's diplomatic visits to the Iberian Peninsula.This manuscript investigates Van Eyck's patronage by the Crown of Portugal and his role as diplomat-painter of the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429 when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided in the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analyzed with regard to King João I's conquest of Ceuta, achieved by his sons who were hailed as an"illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitania 's sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henrique the Navigator's expedition to Tangier and King Duarte's attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy.

This selection of twenty-one essays by Professor Kurz is a unique introduction to the art and culture of Europe and the Near East from the Renaissance onwards. His examination of the flow of artistic ideas and artefacts from Europe to the Islamic world is an important contribution to the study of the spread of Western European influence in this period; at the same time the reader is made aware of the extent of European borrowings from Islamic civilization, and the importance of a shared classical heritage. Characterized by an extensive acquaintance with both European and Islamic works of art, Professor Kurz's research in this field remains of fundamental importance. This volume also includes a number of important articles on several major figures in Renaissance and Baroque art, and a study of the patronage of the Emperor Rudolf II, previously available only in a Czech translation. The preface by Professor Sir Ernst Gombrich is both an introduction and a memoir. A bibliography of Otto Kurz's publications and an index are included. The volume is illustrated with 191 plates.

Since its first appearance over seventy years ago, this work has been recognised as one of the most important contributions to the study of the Byzantine churches of Istanbul, and a strikingly successful synthesis of scholarly research and scrupulous attention to architectural detail, with attention paid equally to the evidence of the historical sources and to the fabric of the actual buildings. The 123 original photographs which accompany the text are of considerable historical value, and the album of 58 architectural drawings by Adolphe Thiers contains detailed ground-plans and projections for each church. This album has been incorporated into the present volume in the form of folding folio plates, which preserve the scale and detail of the original. There is a new introduction by Professor Gilbert Dagron.

This selection of 57 studies by Dr. D. E. Rhodes focuses on the history of printing in Italy from the earliest printers of the 15th century to the flourishing of regional presses in the 16th and 17th centuries. The author is a leading authority on early printed books, and the present volume brings together for the first time a number of important articles on early printing in Venice, Rome, Mantua and Milan, and also covers the presses of Southern Italy, and the smaller Italian towns. The articles have been up-dated where necessary, with the addition of bibliographical notes and an index. There is a preface by George Painter.

The two previous volumes in Dr. Fussell’s study of The Old English Farming Books have become the standard works of reference on the agricultural literature of England from the fifteenth to the eighteenth centuries, and their value for the study of the development of farming over this period is well recognized.With the appearance of the present volume, long-awaited by specialists in agricultural history, this study now reaches the nineteenth century. Dr. Fussell examines the books on agriculture published during the Napoleonic wars and the period immediately following. He gives a complete description of all the editions of these works printed during this period which are still to be found. The period saw a major increase in population, with a larger proportion employed in occupations that denied them any part in food production. These novel conditions promoted a greater interest in new methods of farming, since overseas competition was not effective in influencing the food producers, especially the grain producers who were still protected by the Corn Laws. The agricultural literature of the time provided the medium by which these new methods were disseminated.In the Appendices Dr. Fussell examines one of the main sources for the period, the publications of the Board of Agriculture on farming in England, Scotland and Wales (the‘County Reports’) and gives a valuable analysis of the individual contributions. There is a separate study of other works on farming issued by the Board.

Dr. Fussell’s theme is the evolution of the study of farming history, which as a branch of historiography is no more than two centuries old. He charts the development of interest in the history of rural life in England and Western Europe in the course of the nineteenth century, which has led to the acceptance of the subject as an important branch of historical research. This important work attempts to place the writers of agricultural history in the nineteenth and early twentieth centuries within their social context. It forms an integral continuation of Dr. Fussell's previous bibliographical studies, and provides an indispensable work of reference for students of the subject.

Professor White's work on late medieval and Renaissance Italian art needs no introduction. His early articles on Renaissance perspective led on to a book, The Birth and Rebirth of Pictorial Space, which remains the standard work on the subject. His subsequent work on the reconstruction of such major works of art as Donatello's Padua altar and Duccio's Maestà has brought the methodology of reconstructing a damaged or altered work of art to a new level of scholarly seriousness. The present publication forms the first part of a two-volume edition of Professor White's studies which contains a total of two single and three double articles devoted to reconstructions. Between them they cover the methods, ranging from documentary and physical investigation to iconographic and stylistic analysis, which the author believes should be brought into play in tackling such problems. The selection of articles for this first volume has been made on the basis of chronology rather than method. The artists and their works dealt with here belong to the period of the Renaissance. Since both painting and sculpture are covered equally, the initial article, on the Paragone, the discussion as to primacy among the arts, is particularly appropriate. The Northern Renaissance is also featured, in the articles on Bruegel. Additional notes have been added at the end to review the subsequent literature on a number of the works of art dealt with.

This second volume of Professor Kurz's studies completes the comprehensive selection in Vol. I with a further thirty articles, published over forty years, and showing the extraordinary breadth of the author's interests. It begins with eight studies on Classical, Byzantine and Islamie art, continues to the Renaissanee and Baroque in Italy and Northern Europe, and ends with an entertaining section on the restoration, misattribution and faking of works of art. In these two volumes all of Professor Kurz's major studies are now available. Whether they throw fresh light on an old problem, or bring to attention an unnoticed work, they remain stimulating, and always highly intertaining. A sixteen-page memoir of Otto Kurz by Professor Sir Ernst Gombrich is included here as a preface to this second volume.

Edward Garrison's work on early Italian panels resulted in the publication in 1949 of the first comprehensive index of Romanesque Italian panel painting, which remains the standard work of reference on the subject. Subsequently, his four-volume Studies in the History of Medieval Italian Painting, published in Florence between 1953 and 1962, represents the most considerable body of research yet published on Italian miniature and panel painting from the eleventh to the thirteenth centuries. These two volumes collect together all the author's articles on Italian fresco and panel painting which have been published in art-historical journals since 1945. This provides both an indispensable supplement to the author's earlier Studies in the History of Medieval Italian Painting, and in including three successive Addenda to his Index of Italian Romanesque Panel Paintings, also serves the function of updating the earlier publications.

Edward Garrison's work on early Italian panels resulted in the publication in 1949 of the first comprehensive index of Romanesque Italian panel painting, which remains the standard work of reference on the subject. Subsequently, his four-volume Studies in the History of Medieval Italian Painting, published in Florence between 1953 and 1962, represents the most considerable body of research yet published on Italian miniature and panel painting from the eleventh to the thirteenth centuries. These two volumes collect together all the author's articles on Italian fresco and panel painting which have been published in art-historical journals since 1945. This provides both an indispensable supplement to the author's earlier Studies in the History of Medieval Italian Painting, and in including three successive Addenda to his Index of Italian Romanesque Panel Paintings, also serves the function of updating the earlier publications.

In this second volume of Professor White's studies, the emphasis shifts to Italian art in the thirteenth and fourteenth centuries, and the major figures who were responsible for the decisive changes in painting and sculpture that were to lead on to the Renaissance. Here again, however, there is the same concern with the actual monuments. The author devotes two major studies to the reconstruction of the "original appearance of Duccio's Maestà and of Nicola Pisano's Perugia Fountain. An important new study of the physical evidence for Cimabue's work at Assisi shows the value of an understanding of the working processes involved there. This conviction that the starting point in a thorough investigation into the original appearance or development of any work of art lies in the observation of the physical evidence is central to Professor White's approach, whether this may be the arrangement of panels on a polyptych, or the scrutiny of giornate on a painted ceiling.

Over the past fifty years, Françoise Henry has been the leading authority on the history of early Irish art. A pupil of Henri Focillon, she united two traditions of scholarship, one French and one Irish, and her understanding of the European context within which the art of early Christian Ireland developed has had a profound influence on subsequent research. These three volumes bring together the articles that Dr. Henry published on Irish art and its European links. The first volume is concerned with enamel and metalwork, a field in which the author specialized from the beginning. Émailleurs d'Occident looks at Western enamels, among which the Irish examples figure prominently, and the development of Irish enamelling is treated separately in the following study. Metalwork is also featured, in the form of a number of Dr. Henry's important studies on hanging-bowls, croziers, and chalices. Volume I contents include: Preface by C. Curle; Enamels; Émailleurs d'Occident; Irish Enamels of the Dark Ages and their Relation to the Cloisonné Techniques; Hanging Bowls, with Supplement; A Bronze Escutcheon Found in the River Bann; On Some Early Christian Objects in the Ulster Museum; Deux objets de bronze irlandais au Musée des Antiquités Nationales; Le calice trouvé a Derrynaflan; Les crosses pre-romanes; The Effects of the Viking Invasion on Irish Art; Additional Notes; Index.

This second volume of Dr. Rhodes' Studies covers the wider field of early printing in Western Europe outside of Italy. The spread of printing in England receives considerable attention, especially in the case of the London and Oxford presses. There are separate sections on printing in France, Germany, Spain and the Low Countries over this period. Of particular importance is the final series of articles on early collectors of printed books in Western Europe, which deals equally with the collectors and their libraries, including, in this case, the Italian collections.

The work of George D. Painter on incunabula and early printing needs no introduction. Ranging from Gutenberg and Caxton to the first printing in France and Spain, the author has done much to illuminate the tangled history of the earliest editions of some of the rarest and most attractive books in European printing. The articles reprinted here feature a number of studies which have become classics in their field. The author’s investigation of Gutenberg’s early work represents a major contribution to the age-old controversy surrounding the invention of printing. Similarly, his studies on Caxton have helped to clarify the date and development of the work of England’s first printer. Also included is his celebrated essay on the most outstanding illustrated book from the fifteenth century, Aldus Manutius’ edition of the Hypnerotomachia Poliphili There is a preface by Dennis E. Rhodes.

The development of landscape painting in England during the eighteenth and nineteenth centuries has attracted considerable attention. The art of Gainsborough, Stubbs, Constable, Turner and the Norwich School is accepted as part of the British heritage, and the countryside as depicted by these artists is familiar not only to the specialist, but to most of us today. Nevertheless, this was an artificial landscape, one that had been created by the improving farmers of the period. The changes in the British landscape as a result of the new farming methods introduced by the agricultural revolution of the seventeenth and eighteenth centuries is the theme of Dr. Fussell's study. The author examines the introduction of the new methods of farming in the seventeenth century, the growing adoption of the new systems that led to the numerous Enclosure Acts of the eighteenth century, the consequent transformation of the countryside, and the growth of demand for landscape painting among the nobility and richer landowners.

This selection of sixteen studies by Dr Fussell covers English topography and farming over a period of three hundred years, from the Tudor era to the aftermath of the Napoleonic Wars. The first study reprinted here is a 56-page bibliographical guide to works on English travel and topography from 1500-1815, published over forty years ago and now recognized as a basic reference book. Its republication in this volume will be welcomed by bibliographers and collectors alike. This is complemented by fourteen of the author's articles on the farming and landscape of England, published over a period of forty years, covering the changes in farming practice in this country during the Tudor and Stuart periods. and the agricultural revolution in the seventeenth and eighteenth centuries. This volume thus presents a unique selection of work on the development of English farming, and the consequent change in the landscape, over the most significant period in the history of British agriculture, a period that led to the creation of both the landscape and the farming systems that are still with us to-day.

This fourth volume of Dr. Fussell’s bibliography covers the period from the foundation of the Royal Agricultural Society of England to the agricultural repercussions of the abolition of the Corn Laws. The twenty years featured in this volume saw the publication of an enormous number of farming tracts and studies, reflecting the spread of the agricultural revolution across England and the final creation of the present-day system of agricultural production.

This second volume of Basil Gray's studies covers his work on Chinese ceramics and on Islamic art. Appropriately, Chinese ceramics proved the most potent medium in introducing Islamic artists to the motifs of Chinese painting, in view of their wide popularity in the Middle East. The articles on Islamic art were written over a period of forty years. Early studies on Persian manuscript painting of the Mongol period are followed by papers on Turkish and Indian manuscript illumination, and general studies on Chinese influence in Persian painting, and on textiles and glass.

Basil Gray's publications on Chinese and Islamic art have done much to introduce these subjects to a European public. This first volume deals with Chinese painting and luxury art. An introductory section on Chinese art attempts to chart the aesthetic and philosophical ideas that lie at the roots of Chinese culture, and which have succeeded in dictating the development of this highly individual civilization. A second section, on Chinese painting, examines the early development of Chinese scroll painting and its subsequent influence on Japanese and European artists. The influence of Chinese painting on the earliest Western visitors to the court at Peking and on subsequent European collectors, is of particular interest. The third section deals with lacquer and metalwork, and includes a number of studies which attempt to answer problems of attribution and influence. The volume concludes with two reports on the museums of modern China and Japan.

Over the past fifty years, Françoise Henry has been the leading authority on the history of early Irish art. A pupil of Henri Focillon, she united two traditions of scholarship, one French and one Irish, and her understanding of the European context within which the art of early Christian Ireland developed has had a profound influence on subsequent research. These three volumes bring together the articles that Dr. Henry published on Irish art and its European links. The first volume is concerned with enamel and metalwork, a field in which the author specialized from the beginning. Émailleurs d'Occident looks at Western enamels, among which the Irish examples figure prominently, and the development of Irish enamelling is treated separately in the following study. Metalwork is also featured, in the form of a number of Dr. Henry's important studies on hanging-bowls, croziers, and chalices. The second volume deals with Irish manuscript illumination. Since a number of the articles reprinted here were published in collaboration with Geneviève Marsh-Micheli, this volume, as Françoise Henry wished, is published as a joint work, and includes an independent article by Mrs. Marsh-Micheli on the Irish manuscripts of St. Gall and Reichenau. The manuscripts dealt with here cover the entire span of Christian Celtic art in Ireland, from the earliest works of the seventh and eighth centuries to the later manuscripts of the period between the Norman Conquest and the final collapse of Gaelic civilisation in Ireland in the late sixteenth century. There are joint studies of Irish manuscripts in Continental and English collections, and a valuable review by Françoise Henry of the facsimile edition of the Book of Lindisfarne. The third volume of Françoise Henry's Studies features her papers on early Christian architecture and sculpture in Ireland. They include one of the author's earliest contributions, Les origines de l'iconographie irlandaise, and the subject of Irish sculpture, particularly the high crosses and cross-slabs, remained one of Françoise Henry's main interests. Her list of dated inscriptions on early Irish graveslabs helps to provide a chronology for this type of monument that is of unique value. The author's studies of the monastic sites represent a particularly valuable contribution to the archaeology of early Christian Ireland. This comprises the results of nearly fifty years of field-work in some of the more inaccessible areas of Ireland. Two of the papers reprinted here carry the study of Irish sculpture into the post-Norman period, with notes on the carved decoration of the Irish Cistercian monasteries, and a figure in Lismore Cathedral.

This last volume of The Old English Farming Books brings the series up to 1900, and was completed shortly before the author’s death this year. It covers the period of intensive farming in the late nineteenth century, and the spread of agricultural education and textbooks. Science and technology are finally beginning to replace the old methods with new practices, and the improving farmers formed a ready market for books offering the new knowledge. The completion of G. E. Fussell’s Old English Farming Books in five volumes provides a complete bibliographical guide to the literature on English farming over five centuries, from 1523 to 1900, and is a fitting memorial to the work of the author, one of the great figures in the study of the history of farming.

The Alexander Romance, a fabulous pseudo-history of the life of Alexander the Great compiled in late Antiquity, was one of the most popular secular texts in Europe during the Middle Ages. Its subsequent influence on the development of French and German literature has been significant. Professor Ross was a leading authority on the history and transmission of the Latin and French versions of the Romance, and his work has done much to clarify the spread of the Alexander legend in medieval European literature. This volume brings together all of David Ross's papers on the Alexander Romance, dealing separately with the Latin versions and their French and German reworkings. These include the first publication of a number of original texts in Latin and in German. There is also a valuable section on the development of the accompanying picture-cycle to the Romance, which derives from late-antique sources.

George Henderson's work on English biblical illumination has thrown new light on the sources of some of the most celebrated Anglo-Saxon and Norman illustrated manuscripts and helped to place the astonishing creativity and skill of the artists who worked on these manuscripts within the developing tradition of Bible illumination in the Middle Ages. These two volumes make available Professor Henderson's studies published over twenty years. In the first volume, he traces the links with late-antique pictorial sources, and compares the innovations in interpreting the Bible text with contemporary developments in other artistic media. He also deals with those works of art from the Anglo-Saxon period known from historical sources but now lost, and with the influence that the art of this early period exerted on a later period, the seventeenth century, and its religious disputes. The second volume of Professor Henderson's studies deals mainly with the celebrated Anglo-French illuminated Apocalypses of the thirteenth century. The principal manuscripts are all covered, and the iconographic programmes are examined in detail. Two articles draw attention to newly-discovered fragments of other Apocalypse manuscripts. The volume also includes a number of the author's studies on medieval English seals, where the iconography is often of considerable art-historical importance.