Pindar Press – serie

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.

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.

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.

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.

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.

The publication of Professor Buchthal's work on Crusader miniature painting represented a landmark in medieval studies, and for nearly thirty years this book has remained the standard work of reference on the subject. For the first time the illuminated manuscripts produced in the Latin Kingdom of Jerusalem were assembled as a group, from the twelfth-century Melisende Psalter to the later manuscripts written in Acre, following the fall of Jerusalem itself. Professor Buchthal provides an exhaustive description of the individual manuscripts, with each miniature reproduced. The author's photographs have been used again for this reprint, to maintain the high quality of the original publication, and the format remains the same. Professor Buchthal's examination of the material remains unchallenged, and subsequent research has confirmed the links originally suggested with Byzantine, French and Italian illuminated manuscripts of the same period. The scope of this work, which includes a palaeographical and liturgical study of each of the manuscripts covered, set new standards for art-historical research, and it remains invaluable both as a detailed introduction to the manuscripts and as the most comprehensive study of Crusader miniature painting that has yet appeared. It has been almost unobtainable for a number of years, and this reprint will be welcomed by art-historians and manuscript specialists alike.

This book offers a comprehensive survey of descriptions of Constantinople written by visitors, from the pilgrims of the Middle Ages to the European travellers and diplomats of the 18th and 19th centuries. The author examines the evidence these accounts provide for the history of the city, and for monuments which have long disappeared. In its attractive synthesis of bibliographical, archaeological and historical detail, this work is a memorial to Ebersolt's scholarship and a personal tribute to the city itself.

This volume brings together twenty-four of Ralph Pinder-Wilson's studies on Islamic art, published over thirty years. These deal mainly with the decorative arts - lustre pottery, bronze, jade and glass - a field in which the author is an eminent authority. The objects covered range from early Islamic glass and lustre ware to the ivories produced in Norman Sicily and later Persian bronzes. The art of Mughal India and Afghanistan is also covered, in a number of important studies on manuscripts produced for Persian and Mughal rulers from the fifteenth to the seventeenth centuries. Two major papers reprinted here range outside the usual field of the art historian. The first, a study of the Malcolm celestial globe, explores the history and iconography of Islamic depictions of the constellations ; the second, a study of the Persian garden from the Achaemenid to the Qajar period, explores the textual evidence, and discusses the influence of this type of garden on the visual arts.

This second volume of Professor Sullivan's studies covers his work on modern Chinese art and the art and archaeology of South-East Asia. The break between traditional Chinese painting and the European-influenced art of the twentieth century is charted in detail, with an introductory paper that explores the value of the traditional aesthetic for the future of China and East Asia. The developments in Chinese art in the twentieth century are then examined. The conflict between traditional values and new ideas in art, particularly the Marxist legacy of modern China, are dealt with in three further papers, and a final study is devoted to new trends in Chinese art following the trauma of the Cultural Revolution. The author's work on the art of South-East Asia is introduced by three studies on finds of Chinese export porcelain in this region. The close links between Chinese civilization and the native cultures is covered in detail, but as the following studies show, there was much that was original in the art of the region, and Indian elements were also important. The volume concludes with a study of the nineteenth-century Japanese painter, Tessai, whose debt to Chinese art was considerable. Additional notes again draw attention to subsequent work in the field.

This second volume of Basil Robinson's Studies concentrates on Persian manuscript illumination, beginning with six studies of artists who worked in this medium. There then follows twenty-two studies of individual manuscripts, from the fourteenth century onwards.

Professor van Os has spent twenty years working on Tuscan painting, and his contributions to the study of the Sienese school are of great importance. This volume brings together for the first time his articles on Tuscan art in the period leading up to the Renaissance in Florence and Siena. They represent one of the most important individual approaches to the subject in recent decades. A number of the studies reprinted here have been specially translated from Dutch for this book. The volume begins with five studies on problems of methodology involved in dealing with the art of this period. Eight further studies follow on the iconography of early Tuscan art. Finally eight studies deal with individual Sienese painters.

Professor Nordenfalk's work over the last forty years has represented perhaps the most important effort made in these decades to clarify the development of book illumination in the late antique and early medieval periods. His papers on late antique and insular manuscript painting in particular are recognized as standard works on the subject. This volume brings together twenty-three of the author's most significant papers on manuscript illumination, covering the period from the origins of the art in late antiquity to the flowering of insular and Ottonian illumination. Seven articles cover the late antique period, seven subsequent papers deal with insular manuscripts, and six are concerned with Ottonian illumination. All of the studies have been reset, and have been extensively revised by the author just prior to his death in 1992. There is a comprehensive index.

Per Jonas Nordhagen's work on the frescoes of S. Maria Antiqua in Rome is of fundamental importance to the study of early medieval art in Italy. This volume brings together for the first time Professor Nordhagen's work on medieval Roman mosaics and fresco painting. The book begins with a section on Mosaics and Techniques, covering the mosaic techniques in use during this period in Rome. The subsequent section, on S. Maria Antiqua, includes the author's papers on the fresco decoration of this church, one of the most important monuments of early medieval art in Italy. There follows a selection of papers on iconography, derived from a study of the subjects treated in the mosaic and fresco cycles of this period. Four subsequent articles deal with various themes involved in studying the art of the early medieval period in Rome, and its links with the art of the British Isles. The author has added supplementary notes to correct mistakes in the earlier articles, and to draw attention to subsequent research on the monuments.

This volume bring together John Beckwith's papers on medieval and Byzantine art. They focus on those subjects which the author made his own, Coptic and Byzantine "textiles, Western European and Constantinopolitan ivory carving, and Byzantine metalwork. A final section includes a number of studies on cultural diffusion, from Islam and Byzantium to Western Europe, in the early Middle Ages.

This book by Professor Spatharakis is a study of the origin and development of a new iconographic type within the late Byzantine period, that of the left-handed Evangelist. Although mainly confined to manuscript illumination, it also takes account of the surviving depictions of the Evangelists in mosaic and fresco on the walls of the churches built during this period. The author examines the appearance of this new type of Evangelist portrait at the beginning of the fourteenth century, and how it came to be sufficiently influential to replace the tenth-century models used by the artists of this period. He investigates how long this new fashion lasted, and the subsequent influence of the left-handed Evangelist in later Byzantine art. This leads on to the question of whether the artists were content to follow older models, or were actively participating in the creation of fresh groupings. The isolation of the archetype, the contemporary parallels, and the subsequent influence of the group of Evangelist portraits examined in this study is based not only on iconographic similarities but on a detailed examination of the individual types. This work makes a significant contribution to our knowledge of Palaeologan iconography, and the working methods of the artists who were responsible for its creation.

Douglas Barrett was one of the leading western authorities on the arts of India. The articles brought together here are grouped into three separate sections. The first comprises six studies dealing with sculpture in North India. The following section covers painting and sculpture in the Deccan, with five papers on the Amaravati school. The final section is devoted to the sculpture of South India.

The eleven studies reprinted here were published by Professor Kauffmann over a period of twenty years, and reflect his interest in Romanesque and Gothic art in England and Europe. They include a number of studies on panel paintings, and a highly influential article on the art of the Bury Bible. The Bible in British Art is the catalogue to an exhibition at the Victoria and Albert Museum, reprinted here in full, and Professor Kauffmann's work in the field of English Romanesque book illumination is represented in two other papers. The author has contributed additional notes, updating these studies, and a preface and index.

This volume brings together for the first time Rosemary Cramp's seminal studies on Anglo-Saxon crosses and sculptural fragments. The papers are principally concerned with the kingdom of Northumbria but the essays also trace the influence of Northumbria's culture and iconography across Anglo-Saxon England.

The four volumes of Edward Garrison's Studies, published between 1953 and 1962, represented a landmark in the study of medieval Italian painting. They made available for the first time photographs of all miniatures of the region and period concerned - principally the former Papal States and Tuscany in the twelfth century - which the author was able to track down, along with a generous selection of ornamental initials from almost every decorated manuscript he examined. The contemporary wall-paintings and panels from these regions are also illustrated and discussed. They represent one of the most valuable sources of information about twelfth-century painting in existence, and everyone interested in European art of that period has at some time found himself gratefully using them. A serious attempt has been made to get all this material into order, and the general lines of development have been set out. Together with the author's two volumes already published in our Selected Studies Series (Early Italian Painting: Selected Studies, Vols. I & II) these four volumes make available the complete corpus of Edward Garrison's work on medieval Italian painting. The two principal studies are concerned with 'Twelfth-Century Initial Styles of Central Italy' (serialized here in eleven sections) and 'Twelfth-Century Umbro-Roman painting' (serialized in six sections). Most of the non-serialized items are studies of individual manuscripts, but one should note the presence here of Supplements IV-VI to Garrison's Italian Romanesque Panel-painting: an index (Nos. I-III are available in Early Italian Painting: Selected Studies. Vol. I). The reprinting of these four volumes should be particularly welcome to art-historians, since they were originally issued in fascicule form, and many art-historical libraries lack copies. Volume I Contents: Pictorial Histories I. The "Master of the Avila Bible" Revision and Amendment of the Historical Evidence for Dating the S. Clemente Frescoes, Pt. I Notes on Certain Twelfth-Century Central Italian Manuscripts of Importance for the History of Painting, Pt. II Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. I. Synthesis Pictorial Histories II. The "Second Pantheon Bible Master" Revision and Amendment of the Historical Evidence for Dating the S. Clemente Frescoes Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. I. Synthesis. Pt. II. Materials A New History of Bonaventura di Berlinghiero's St. Francis Dossal in Pescia Pictorial Histories III. The Master of the "S. Francesco in Agro Mugellano Bible" Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. II. Materials. The Transitional and Middle Geometric Styles in the Umbro-Roman Region A Lucchese Passionary of about 1125 (Lucca, Bibl. Capitolare, Cod. C) The Hagiological Evidence for Attributing Certain Manuscripts to Lucca: Suggestion of a Method to be Perfected for Other Centres as well Pictorial Histories IV. The Florentine "Master of the Morgan Sacramentary" and a Group of Related Works Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. II. Materials. The Transitional Geometrical Style in Tuscany in the Second Quarter of the Twelfth Century A Lucchese Passionary in the Lateran Comment on the Frescoes in S. Trinità di Saccargia Errata Corrige General Index of Volume I General Index of Manuscripts mentioned in Volume I.

The four volumes of Edward Garrison's Studies, published between 1953 and 1962, represented a landmark in the study of medieval Italian painting. They made available for the first time photographs of all miniatures of the region and period concerned - principally the former Papal States and Tuscany in the twelfth century - which the author was able to track down, along with a generous selection of ornamental initials from almost every decorated manuscript he examined. The contemporary wall-paintings and panels from these regions are also illustrated and discussed. They represent one of the most valuable sources of information about twelfth-century painting in existence, and everyone interested in European art of that period has at some time found himself gratefully using them. A serious attempt has been made to get all this material into order, and the general lines of development have been set out. Together with the author's two volumes already published in our Selected Studies Series (Early Italian Painting: Selected Studies, Vols. I & II) these four volumes make available the complete corpus of Edward Garrison's work on medieval Italian painting. The two principal studies are concerned with 'Twelfth-Century Initial Styles of Central Italy' (serialized here in eleven sections) and 'Twelfth-Century Umbro-Roman painting' (serialized in six sections). Most of the non-serialized items are studies of individual manuscripts, but one should note the presence here of Supplements IV-VI to Garrison's Italian Romanesque Panel-painting: an index (Nos. I-III are available in Early Italian Painting: Selected Studies. Vol. I). The reprinting of these four volumes should be particularly welcome to art-historians, since they were originally issued in fascicule form, and many art-historical libraries lack copies.

The four volumes of Edward Garrison's Studies, published between 1953 and 1962, represented a landmark in the study of medieval Italian painting. They made available for the first time photographs of all miniatures of the region and period concerned - principally the former Papal States and Tuscany in the twelfth century - which the author was able to track down, along with a generous selection of ornamental initials from almost every decorated manuscript he examined. The contemporary wall-paintings and panels from these regions are also illustrated and discussed. They represent one of the most valuable sources of information about twelfth-century painting in existence, and everyone interested in European art of that period has at some time found himself gratefully using them. A serious attempt has been made to get all this material into order, and the general lines of development have been set out. Together with the author's two volumes already published in our Selected Studies Series (Early Italian Painting: Selected Studies, Vols. I & II) these four volumes make available the complete corpus of Edward Garrison's work on medieval Italian painting. The two principal studies are concerned with 'Twelfth-Century Initial Styles of Central Italy' (serialized here in eleven sections) and 'Twelfth-Century Umbro-Roman painting' (serialized in six sections). Most of the non-serialized items are studies of individual manuscripts, but one should note the presence here of Supplements IV-VI to Garrison's Italian Romanesque Panel-painting: an index (Nos. I-III are available in Early Italian Painting: Selected Studies. Vol. I). The reprinting of these four volumes should be particularly welcome to art-historians, since they were originally issued in fascicule form, and many art-historical libraries lack copies.

The four volumes of Edward Garrison's Studies, published between 1953 and 1962, represented a landmark in the study of medieval Italian painting. They made available for the first time photographs of all miniatures of the region and period concerned - principally the former Papal States and Tuscany in the twelfth century - which the author was able to track down, along with a generous selection of ornamental initials from almost every decorated manuscript he examined. The contemporary wall-paintings and panels from these regions are also illustrated and discussed. They represent one of the most valuable sources of information about twelfth-century painting in existence, and everyone interested in European art of that period has at some time found himself gratefully using them. A serious attempt has been made to get all this material into order, and the general lines of development have been set out. Together with the author's two volumes already published in our Selected Studies Series (Early Italian Painting: Selected Studies, Vols. I & II) these four volumes make available the complete corpus of Edward Garrison's work on medieval Italian painting. The two principal studies are concerned with 'Twelfth-Century Initial Styles of Central Italy' (serialized here in eleven sections) and 'Twelfth-Century Umbro-Roman painting' (serialized in six sections). Most of the non-serialized items are studies of individual manuscripts, but one should note the presence here of Supplements IV-VI to Garrison's Italian Romanesque Panel-painting: an index (Nos. I-III are available in Early Italian Painting: Selected Studies. Vol. I). The reprinting of these four volumes should be particularly welcome to art-historians, since they were originally issued in fascicule form, and many art-historical libraries lack copies.

Professor Brilliant's work on Roman art over the last twenty-five years has changed many of the ways in which we look at the subject. The papers reprinted here document the development of the author's views on the art of the Roman world and its links with earlier phases of Greek art. There are three main divisions in the material here. The initial section deals with portraits, including five essays and a number of book reviews. Then follows a section on Rome and Greece, with five essays dealing with the methods by which Roman artists adapted earlier models. A final section deals with symbolic structures and characteristics of Roman art. This includes thirteen essays dealing with various aspects of the art of classical antiquity, including Jewish symbolism and the use of Greek myths in Roman art. Here again a number of the author's reviews of books on the subject are included. The volume makes available for the first time the major part of Professor Brilliant's work on Roman art, including a number of papers published here for the first time.

This selection of nineteen papers by the late Professor Donald Strong is grouped thematically into four sections: general papers, architectural studies, sculpture, and acquisitons made by the Department of Greek and Roman Antiquities at the British Museum. The selection has been made by Dr. Susan Walker, who has also contributed a preface, an updated bibliography, and editorial notes where necessary. The initial study on the Romans and archaeology, a hilariously personal view of the subject, was Donald Strong's inaugural lecture as Professor of the Archaeology of the Roman Provinces at London University. His early death in 1973 was a great loss to the world of classical art and archaeology, and the publication under one cover of his papers on Roman art charts the development of a talent that made significant contributions to the subject in a comparatively short career.

Written over the course of a quarter century, the nineteen essays reprinted in this volume reflect a continuing belief in the seriousness and complexity of the relationship between pictures and texts in medieval art. Professor Kessler has grouped his studies in three sections: Pictures and Scripture includes those essays which consider the various ways in which Christian pictorial representations are in continuous and varying dialogue with holy writ in Byzantium and the medieval west. Pictures in Scripture is about illustrated manuscripts, with six essays dealing with the complicated processes used to construct meaning in depictions within the texts they illustrate. Pictures as Scriptures contains nine essays which deal with pictorial cycles unassociated with the texts they serve, primarily monumental narratives in the Synagogue at Dura Europos and on the walls of Italian churches. Notes added to each article update the bibliography and consider issues that have been discussed in subsequent scholarly literature. There is a new preface and a comprehensive index.

Viktor Nikitich Lazarev was one of the founders of the Russian school of art history, and a major figure in the study of Byzantine and early Russian art. Immensely productive, he combined teaching, museum work and scholarship throughout a long and eventful life. His studies on Byzantine painting, and its links with the art of his native Russia, were of great importance in helping to clarify the stylistic development of Byzantine painting, and in drawing attention to the Byzantine roots of medieval Italian painting. This volume contains all of Professor Lazarev's papers on Byzantine painting, published between 1925 and 1964. Six of the papers were originally published in Russian, and are translated into English here for the first time. There is a comprehensive index to the volume.

Although Ernst Grube made the study of painting in the Muslim world a principal concern, he also dealt with other aspects of Islamic art in some depth. Over the last forty years he published a large number of studies dealing with specific materials: metal-work, stucco decoration, textiles, and especially pottery. Of the twelve selected articles from these areas of Professor Grube’s research published in this volume, six are concerned with pottery, one deals with Ilkhanid stucco work as represented in the mausoleum of the Shaykh Muhammad ibn Bakran, near Isfahan, and four deal with the decorative arts of the Timurid period. This last group is accompanied by an extensive bibliography on Timurid decorative arts which should be specially welcome as much of this material is difficult of access and much of it is in Russian.All articles are offered here with both additional notes and a considerably enhanced number of illustrations which greatly adds to the interest and value of the original publications.