Harvey Miller Publishers - New Titles 2013

A

NEW TITLES

2013

HARVEY MILLER PUBLISHERSAn imprint of Brepols Publishers

NEW TITLES 2013

Table of Contents

STUDIES IN MEDIEVAL, RENAISSANCE AND BAROQUE ART 1

MANUSCRIPTS STUDIES 12

CARLO CESARE MALVASIA’S FELSINA PITTRICE

THE LIVES OF THE BOLOGNESE PAINTERS 20

THE FLORENCE DUOMO PROJECT 22

THE PAPER MUSEUM OF CASSIANO DAL POZZO

A CATALOGUE RAISONNÉ 24

CORPUS VITREARUM USA 27

THE INVENTORY OF KING HENRY VIII 28

ORDER FORM 29

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NEW TITLES 2013

Harvey Miller Publishers

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The series Studies in Medieval and Early Renaissance Art History aims to bring together current scholarship on Euro-pean Medieval and Renaissance Art.

Michiel Coxcie (1499-1592) and the Giants of His AgeEdited by Koenraad Jonckheere

approx. 200 p, incl. col. ills., 220 x 280 mm, 2013, HMSAH 73, HB, ISBN 978-1-909400-14-6, approx. € 75Publication scheduled for winter 2013

STUDIES IN MEDIEVAL, RENAISSANCE AND BAROQUE ART

S TUDIES IN MEDIEVAL AND EARLY

RENAISSANCE ART HISTORY

Michiel Coxcie lived to the age of 93 and witnessed all the important political, religious, economic and artistic upheavals of the sixteenth century. He was born just before Gerard David raised the art of the Flemish Primitives to its final pinnacle and did not die until the young Rubens had returned to Antwerp from Cologne. He must have known Quinten Metsijs, Joos van Cleve and Pieter Coecke van Aelst. Willem Key and Frans Floris were younger contemporaries, and Bruegel was of the next generation. He outlived them all. During his time in Italy in the 1530s he knew Michelangelo, and was said to be a friend of Giorgio Vasari. Titian, the Venetian prodigy, sent him pigments to help him finish his copy of Jan van Eyck’s Adoration of the Mystic Lamb, and he even painted frescoes in the old Basilica of St Peter in Rome. Few people have led such a fascinating life as Michiel Coxcie. He was a celebrated painter, inundated with prestigious commissions from important clients. He had spent some ten years in Rome where he studied classical antiquity and the art of Renaissance masters like Raphael, Michelangelo and Da Vinci. Back in his the low Countries, Coxcie designed altarpieces, stained-glass windows and tapestries for clients in Brussels, Antwerp and Mechelen. The pinnacle of his career was his appointment as court painter to Emperor Charles V and Philip I. This book explores the multifaceted oeuvre of this talented master.

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Alfred Acres

Renaissance Invention and the Haunted Infancy

325 p., 20 col. ills., 165 b/w ills., 210 x 280 mm, 2013, HMSAH 67, HB, ISBN 978-1-905375-71-4, € 100Publication scheduled for winter 2013

Renaissance Invention and the Haunted Infancy examines how and why a vast range of fifteenth- and early sixteenth-century European images of Christ’s infancy allude either to his death or to the devil, and sometimes to both. Written as an essay on interpretation, the book addresses the bottomless ingenuity with which artists worked to embody two central yet ultimately elusive ideas: the sacrifice for which the Incarnation was necessary and evil poised to thwart the scheme of salvation. Because both are nominally nonexistent or suppressed in the moment pictured - a death not yet present for the Infant and a menace resisted by his coming - they convey absence or imminence in ways rarely attempted in earlier art. Although both kinds of allusion became pervasive in painting, prints, and sculpture and are widely familiar to modern observers, neither has ever been systematically addressed in art historical scholarship.

Alfred Acres is an associate professor of Art History at Georgetown University. In addition to European art c. 1300-1700, his research addresses the history of prints and conceptual topics ranging further afi eld in the western tradition since the Renaissance.

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Jane Bridgeman

A Renaissance WeddingThe Celebrations at Pesaro for the Marriage of Costanzo Sforza & Camilla Marzano d’Aragona (26 – 30 May 1475)

198 p., 50 col. ills., 210 x 270 mm, 2013, HMSAH 71, HB, ISBN 978-1-905375-93-6, € 75Available

This publication is the first English translation from the Italian of the fascinating contemporary account of the spectacular four-day celebrations that took place in Pesaro in May 1475 to mark the marriage of Costanzo Sforza Lord of Pesaro and Camilla d’Aragona of Naples. The event was commemorated both in manuscript and early print in an anonymous narration that describes in great detail the arrival of the bride and her welcome procession into Pesaro; the actual marriage ceremony and the celebratory banquet that followed; the pageants, presentation of gifts and fireworks that filled the third day; and the final day’s excitement of jousts and yet more theatrical entertainment.The translation has been made from the early printed text (the incunable in the British Library, I.A.31753 Sforza, Costantio Signore di Pesaro, 1475) and also directly from the unique illustrated presentation manuscript in the Vatican Library (MS Vat. Urb. Lat. 899) which, though previously thought to have been produced in 1480, may in fact have been made at the same time as the incunable edition. This present edition of the text includes all the images that illustrate the original manuscript – 32 full-page miniatures - that depict the colourful celebrations.Dr Bridgeman also provides full descriptions and explanations of the illustrations and devotes a separate appendix to listing and explaining all the dishes served at the wedding banquet, together with their ingredients and recipes.

Dr Jane Bridgeman is an Associate Lecturer in Fashion History and Theory at Central St Martin’s College of Art, London. She has taught at a number of universities and art colleges in the UK and has published numerous articles in English and Italian on the iconography of dress and the history of textiles.

LOOK INSIDE THE BOOK Browse a selection of sample pages onlinehttp://bit.ly/1abOmqf

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Carolyn D. Muir

Saintly Brides and BridegroomsThe Mystic Marriage in Northern Renaissance Art

x + 198 p., 17 col. ills., 100 b/w ills., 220 x 280 mm, 2013, HMSAH 70, HB, ISBN 978-1-905375-87-5, € 100Available

Building upon recent scholarly interest in mystics and mysticism in late medieval Europe, this book explores the visual representation of female and male saints depicted as brides or bridegrooms of Christ in northern European art from 1300 to 1550. The mystic marriage imagery of St. Catherine of Alexandria, St. Agnes of Rome, St. John the Evangelist, St. Bernard of Clairvaux, and the Blessed Henry Suso is studied through an analysis of a wide range of paintings, illuminated manuscripts, prints, and sculpture. From these case studies, Muir argues that different visual conventions were used in the art of this period to portray the male and female experiences of mystic marriage and suggests possible reasons for these differences. Providing insights into the meanings of the mystical experience when portrayed in visual terms, this book will appeal to art historians as well as to other medievalists with an interest in the intersections of art, religion, and gender.

Carolyn Diskant Muir is an Associate Professor of art history at the University of Hong Kong. Her research focuses on religious iconography in late medieval and Renaissance Europe, with special attention to the imagery of saints.

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Staging the Court of BurgundyEdited by Till-Holger Borchert, Wim Blockmans, Nele Gabriëls, Johan Oosterman, Anne Van Oosterwijk

iv + 396 p., 50 col. ills., 200 b/w ills., 220 x 280 mm, 2013, HMSAH 69, HB, ISBN 978-1-905375-82-0, € 115Available

In the course of the fifteenth century, the reputation of the Burgundian court rose to an unprecedented level, catapulted forward by ever growing territorial ambitions and accumulation of wealth. This reached a climax during the reign of Charles the Bold (1433-1477), the living embodiment of the pomp and pageantry of the Burgundian court and a generous patron of the fine arts. Rather than focusing on a single domain, this volume aims to shed light on Burgundian court culture as an organic whole, between the start of the reign of Philip the Good (1419) and the death of Mary of Burgundy (1482). It is intended to provide a forum for new research from the fields of History, History of Art, Literature and Musicology.

With contributions from Wim Blockmans, Herman Brinkman, Barbara Haggh, Andrea Berlin, James Bloom, Till-Holger Borchert, Andrew Brown, Hendrik Callewier, Anna Campbell, Mario Damen, Sonja Duennebeil, Jonas Goossenaerts, Bieke Hillewaert, Andrew Hamilton, Eva Helfenstein, Jesse Hurlbut, Sophie Jolivet, Sascha Köhl, Sherry Lindquist, Jana Lucas, Samuel Mareel, Elizabeth J. Moodey, Klaus Oschema, Kathryn Rudy, Emily Snow, Olga Vassilieva-Codognet, Hanno Wijsman.

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Sytske Weidema, Anna Koopstra

Jan Gossart:

The Documentary Evidence

vi + 177 p., 90 b/w ills., 220 x 280 mm, 2012, HMSAH 65, HB, ISBN 978-1-905375-69-1, € 100Available

This tome covers more than 130 documents, including inventories, accounts, biographies, descriptions and other records about Gossart’s life and works, up until the mid-18th century. These mainly archival records have been re-examined and transcribed anew, and subsequently discovered documents have been added. Each transcription is accompanied by a short description and comment as well as published references. The book includes photographs of original records. Additionally, two of Gossart’s works for which most of our knowledge is based on documentary evidence are discussed: the so-called Salamanca Triptych and the famous, now lost, Middelburg Altarpiece.

REVIEW:“In short, [this book] will long remain an essential point of reference, but one to be consulted wisely.”

Marisa Bass, HNA Review of Books, July 2013

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This series collects various contri-butions to the study of the arts in the Burgundian Netherlands by notable scholars in the field with an inter-disciplinary perspective.

D ISTINGUISHED CONTRIBUTIONS TO

THE STUDY OF THE ARTS IN THE

BURGUNDIAN

NETHERLANDS

Bart Fransen

Rogier Van der Weyden and Stone Sculpture

230 p., 65 col. ills., 170 b/w ills., 220 x 280 mm, 2013, HMDC 1, HB, ISBN 978-2-503-54598-1, approx. € 100Publication sche duled for winter 2013

En Brabant c’était le bois, à Tournai c’était la pierre – in Brabant it was wood, in Tournai it was stone. With this sweeping generalization Paul Rolland concluded his 1931 article on the fifteenth-century Tournai school of sculpture and painting. His thesis has burdened subsequent art historical research with preconceptions that continue to dominate the literature on the topic even today. The study of sculpture in Brabant is all too often limited to wooden altarpieces, with works in stone receiving barely a mention, while the study of sculpture in Tournai (a name wrongly used by many as pars pro toto for the sculptural production of all Hainaut) is usually restricted to stone sculpture, with the importance of the local blue stone being emphasized all too often. Wood sculpture in Tournai and stone sculpture in Brabant are therefore pretty much terra incognita. All the same, thanks to data in a contract of 1466, Robert Didier has convincingly identified some fragments of a wooden Passion altarpiece (private collection), which stylistic criteria had previously led him to attribute to Antwerp or Utrecht, with the Tournai-made altarpiece of Vezon. Thus attributions and datings can vary considerably depending on the criteria applied. This is not only the case for Brabantine sculpture; it probably goes for sculpture in general. In painting the problem arises less often. No one is likely to confuse a Van Eyck with a Van der Weyden, for instance, or a fifteenth-century painting with one from the sixteenth century. Moreover, the painting of the Flemish Primitives has been the subject of systematic scholarly study for a much greater length of time. That fifteenth-century sculpture has not yet received the same degree of attention has been remarked upon by several authors.

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Art, Music and Spectacle in the Age of RubensEdited by Atien Knaap, Michael Putnam

approx. 350 p., incl. ills., 210 x 280 mm, 2013, HMSBA 3, HB, ISBN 978-1-905375-83-7, approx. € 100Publication scheduled for autumn 2013

The series Studies in Baroque Art aims to bring together current scholarship on Baroque art, focusing both on Italian and North European Renais-sance Masters.

S TUDIES IN BAROQUE ART

This volume deals with the triumphal entry of the Cardinal-Infante Ferdinand, brother of King Philip IV of Spain, into Antwerp in 1635, one of the largest and most spectacular festivals ever mounted in an early modern city. The outdoor festivities in honor of the city’s new governor included a citywide procession, performances, fireworks, music, and political speeches. Along the processional route appeared nine richly ornamented stages and arches designed by Peter Paul Rubens and executed by a group of local painters and sculptors, including Jacob Jordaens, Theodoor van Thulden, and Jan van den Hoecke. To commemorate the event, the city commissioned a lavish festival book, entitled the Pompa Introitus Ferdinandi (1641), which contains learned commentaries by Jan Gaspar Gevaerts, a city official and Latinist, as well as folio engravings by Theodoor van Thulden after Rubens’s stages. More than a simple description of the event, Gevaerts’ volume offers a rich compilation of references to ancient writers and reproductions of ancient coins.While most literature on the subject has focused on Rubens’s nine monumental arches and his twelve preparatory oil sketches for the designs, this volume will examine the entry and its accompanying festival book as a whole. A group of highly distinguished specialists from different disciplines will discuss the entry and Gevaerts’ book from a myriad of viewpoints, including art, architecture, music, theater, history, politics, classical knowledge, and economic and intellectual networks. It is the first time that the entry will be examined from a truly interdisciplinary perspective. The book draws on a wide variety of primary sources, including Rubens’s preparatory oil sketches, Gevaerts’ festival book, pamphlets describing the entry, and political songs from the period.

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Burton Dunbar, Robert Munman, Edward J. Olszewski

Sixteenth-Century Northern European Drawings

xxiv + 253 p., 7 col. ills., 141 b/w ills., 220 x 280 mm, 2012, HMCDMC 2, HB, ISBN 978-1-905375-11-0, € 110Available

REVIEW:“Rarely does one see any catalogue about Northern drawings from the sixteenth century, let alone one that illustrates works from across the Midwest of the United States. The very appearance of this catalogue, third volume in an ongoing series by the Midwest Art History Society, should excite not only curators but academics alike.”

Freyda Spira, in: HNA Review of Books, July 2013

This series, published under the auspices of the Midwest Art History Society, deals with European draw-ings in Midwestern collections. Each volume of the Corpus is dedicated to a single century and makes each work visually available for study.

C ORPUS OF DRAWINGS

IN MIDWESTERN COLLECTIONS

This volume catalogues 137 drawings by nearly one hundred artists active in the Netherlands, Germany, France, Switzerland, and Spain from the very end of the fifteenth century through 1600. Compiled by a team of twenty-two scholars, the book fully documents each of the drawings from twenty-four museums, outside of Chicago, with detailed scholarly entries and photographs of every work. Taken as a group, the drawings in this book present some of the most able draughtsmen of the period active north of the Alps. A sampling of the artists include Albrecht Dürer and his contemporaries. The volume also presents over forty drawings which are published here for the first time with attributions to such artists as Christopher Amberger, Wouter Pietersz. Crabeth, Virgil Solis, and Otto van Veen, among others. In sum, the compilation of 73 Netherlandish drawings, 42 German works, and 22 sheets from other countries presents an important cross-section of the brilliant evolution of the drawing medium during the century. It is during this period that drawings become truly of age, for both artists who view their creations as works in themselves (as well as models for paintings and prints) and now their public, who become fascinated with the collecting of drawings as glimpses into the most personal and immediate artistic thoughts of the skillful artists who made them.

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This definitive Catalogue Raisonné of the work of the great Flemish painter Peter Paul Rubens is being published in twenty-nine parts, some parts appearing in more than one volume. The Corpus is based on the material assembled over several decades by Ludwig Burchard, universally recognized as the foremost scholar in this field. After Dr Burchard’s death in 1960, his material was handed over to the City of Antwerp to be edited by the Centrum voor de Vlaamse Kunst in de 16e en 17e eeuw and The Rubenianum. Each part is written by a well-known scholar and the aim is to realize Burchard’s intention of embodying all present-day knowledge of the work of Rubens.

“This series is one of the greatest collaborative art-historical enterprises of the late

twentieth century”

J. Douglas Stewart, in: Revue d’art canadienne, 1988

C ORPUS RUBENIANUM

LUDWIG BURCHARD

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Koenraad Brosens

Subjects from History: The Constantine Series

400 p., incl. ills., 180 x 265 mm, 2011, HMCRLB 13.3, HB, ISBN 978-1-905375-86-8, € 150Available

In 1622, Rubens designed his second tapestry series, The Story of Constantine, for which he executed twelve oil sketches, all of which are currently preserved in public and private collections in America and Europe. Tapestries produced after the lost cartoons, which were in turn painted after the oil sketches, were woven in the tapestry factories in the faubourgs of Saint Marcel and Saint Germain in Paris. Based on new archival research and a critical examination of the literature on the Constantine series, this book firmly embeds the genesis, and iconographical and stylistic features of the set in its specific artistic, manufactural, and commercial matrix, and thus develops the first truly inclusive approach to Rubens’s Story of Constantine. The book explores the area of tension between the set’s austere monumentality and highly sophisticated aesthetic, which was rooted in Rubens’s profound knowledge of classical and Renaissance art and in his earlier forays into the free and creative application of these sources, contemporary French and Brussels tapestry sets, and the pictorial and decorative qualities, possibilities and challenges inherent in the medium itself.

REVIEW:“The result pays off magnifi cently, resulting in a book which not only contributes another installment to the worthy Corpus Rubenianum Ludwig Burchard, but should also be recognized on its own merits as a vital account of the virtual rebirth of tapestry production in Paris (...)”

Elizabeth Cleland, in: Historians of Netherlandish Art, September 2012

A complete overview of published volumes in the Series Corpus Rubenianum Ludwig Burchard is available on our website: www.brepols.net

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The catalogue of Western illuminated manuscripts and incunabula in the col-lections of the Fitzwilliam Museum and the Cambridge Colleges is based on the studies undertaken by the Cambridge Illuminations Research Project under the direction of Professor Nigel Morgan and Dr. Stella Panayotova. Some 3000 manuscripts are being catalogued according to their place of origin and school of illumination, dating from the sixth to the sixteenth century and covering a wide range of texts both in Latin and in vernacular languages. The catalogue is in five multi-volume parts.

REVIEW:“The series will be a landmark in manuscript studies, and one can only hope that further support will hasten further projected volumes.”

Rowan Watson, in: The Burlington Magazine, CLIV,

December 2012, p. 847

MANUSCRIPT STUDIES

I ILLUMINATED MANUSCRIPTS

IN CAMBRIDGE

A CATALOGUE OF WESTERN BOOK

ILLUMINATION IN THE FITZWILLIAM

MUSEUM AND THE CAMBRIDGE

COLLEGES

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This publication is the first volume to appear in the catalogue series devoted to the British Isles and covers Insular and Anglo-Saxon manuscripts produced between c. 700 and c. 1100 AD. This was a period in which Britain witnessed a great blossoming of cultural awareness and artistic craftsmanship. Under the reign of King Alfred towards the end of the ninth century England experienced a renewed impetus for scholarly activity, and as a result the production of books intensified greatly. By the early tenth century, influenced and inspired by new trends and ideas from Continental Europe, English art began to flourish, and manuscript illumination especially made a great impact with the high quality of its figure style and decorated initials, and with its elegance of script and mise-en-page. Cambridge is fortunate in having a significant collection of manuscripts from this period, and the ninety-seven works catalogued and richly illustrated here are amongst the finest surviving examples of Anglo-Saxon decoration. In addition to the detailed catalogue of Anglo-Saxon manuscripts produced in England, Ireland and Wales, the volume also includes an Addenda to the previously published Part One of this series, listing thirteen Frankish manuscripts from the eighth to the tenth century that had not been catalogued before. Every manuscript catalogued is illustrated in full colour, mostly with several illustrations, and frequently with special detail images. There is also an exhaustive bibliography and the catalogue is fully indexed including a comprehensive iconographic index.

A Catalogue of Western Book Illumination inthe Fitzwilliam Museum and the Cambridge CollegePart Four: England, Ireland, Scotland, Wales. Volume One: Insular Manuscripts Edited by Stella Panayotova, Nigel Morgan

360 p., 440 col. ills., 230 x 330 mm, 2013, HMIMC 4, HB,ISBN 978-1-909400-04-7, approx. € 175Publication scheduled for winter 2013

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A Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge CollegePart Two: Italy and the Iberian PeninsulaEdited by Stella Panayotova, Nigel Morgan, Susanne Reynolds

2 vols., 720 p., 900 col. ills., 230 x 330 mm, 2012, HMIMC 2, HB, ISBN 978-1-905375-85-1, € 200Available

This publication constitutes Part Two of the multi-volume Cambridge Illuminations Research Project cataloguing all western illuminated manuscripts in the Fitzwilliam Museum and the Cambridge Colleges. It covers manuscripts produced in Italy and the Iberian Peninsula, ranging from the early Gospels of St Augustine made in sixth-century Rome, through the carefully designed patristic texts from twelfth-century Tuscany and Lombardy, the great law books of thirteenth- and fourteenth-century Bologna, the opulent Books of Hours, elegant Humanistic volumes and enormous Choir Books of the fifteenth century, and finally to the richly decorated and densely ornamented books of sixteenth-century Spain. In addition to the famous treasures, these catalogues include a considerable number of previously unpublished cuttings, among them new attributions to leading artists and exciting discoveries, all of which offer a stimulating source for further research. Every manuscript catalogued is also illustrated, frequently with several images, all reproduced in full colour.

Also Available:

A Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges. Part One: The Frankish Kingdoms, the Netherlands, Germany, Bohemia, Hungary and Austria

Edited by Stella Panayotova, Nigel Morgan

2 vols., 560 p., 750 col. ills., 230 x 330 mm, 2009, HMIMC 2, HB, ISBN 978-1-905375-47-9, € 200Available

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Alison Stones

Gothic Manuscripts: 1260-1320. Part One

2 vols., 1130 p., 70 col. ills., 838 b/w ills.,230 x 330 mm, 2013, HMMSF 3.1, HB, ISBN 978-1-872501-95-6, € 250Available

The Survey of Manuscripts Illuminated in France is a definitive multi-part reference work covering the output of French manuscript illumination from the 7th to the 16th century.

A SURVEY OF MANUSCRIPTS

ILLUMINATED IN FRANCE

The period c. 1260-1320 marks the emergence and the flowering of what has come to be known as the ‘courtly style’ in French painting, whose dynamic vitality is manifest throughout the region we now call France. By the end of this period French art had assimilated a rich variety of regional works and styles. New texts had been introduced to a range of patrons, and patterns to be played out in the following centuries were in place.This book traces the cultural context of book illustration, its production, owners, and makers in the various regions of France in the last third of the thirteenth and beginning of the fourteenth centuries. These years witnessed an explosion in the range of texts that were deemed worthy of illustration, extending far beyond the usual liturgical and devotional material to include works of science, medicine, law, philosophy, history and literature in verse and prose, offering a wealth of material for comparative study which is only beginning to be exploited in modern scholarship.This book is organized according to production in regional centres based on stylistic analysis and by comparative tables of the illustration of liturgical and devotional books, and a selection of romances, legal and historical works.

Alison Stones is Professor of History of Art and Architecture at the University of Pittsburgh, a Fellow of the Society of Antiquaries of London and a membre correspondant étranger of the Société nationale des antiquaires de France.

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Kathleen L. Scott

The British Library: the Additional and Egerton Collections

352 p., 37 b/w ills., 210 x 270 mm, 2013, HMIIEM 5, PB, ISBN 978-1-905375-63-9, € 150Publication scheduled for autumn 2013

The series is intended to list and identify all illustrations contained in English manuscripts from the time of Chaucer to Henry VIII. This was an important period in the history of book production in Britain, and the range of subjectmatter illustrated is of significance to historians of art, religion, literature, costume, natural science, and social custom.

A N INDEX OF IMAGES IN ENGLISH

MANUSCRIPTS FROM CHAUCER

TO HENRY VIII

This fascicle in the series An Index of Images in English Manuscripts from the Time of Chaucer to Henry VIII reports on the Additional collection, the largest group of medieval (and other) manuscripts in the British Library. The Additional manuscripts, which are catalogued by the British Library together with the Egerton manuscripts, contain many little known manuscripts with imagery as well as a considerable number of books famous for their illustration, i.e. the Bedford Hours and Psalter, the Hours of Elizabeth the Queen, and the Rous Roll. Others such as the Old Hall Manuscript, Mallory’s Le morte Darthur, and the Book of Margery Kemp, are known for their texts. The fascicle describes 322 Additional manuscripts and sixty-three from the Egerton collection. In addition, 431 other Additional and Egerton manuscripts of the period were also examined for images relevant to the project. The textual content of the indexed books include an exceptional number of historical materials as well as numerous literary manuscripts by prominent authors of the period such as John Gower, Chaucer, John Lydgate, and Nicholas Love. This Index listing of representations of all types -- from miniatures to catchwords -- in manuscripts between the dates c. 1380 to c. 1510 is an unparalleled reference work to imagery of the period, which can also be used as a search tool for illuminated manuscripts in the British Library published on-line.

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Jean Pucelle Innovation and collaboration in Manuscript PaintingEdited by Kyunghee Pyun, Anna Russakoff

220 p., 110 col. ills., 40 b/w ills., 220 x 280 mm,2013, HMSAH 59, HB, ISBN 978-1-905375-46-2, € 120Publication scheduled for autumn 2013

The series Studies in Medieval and Early Renaissance Art History aims to bring together current scholarship on European Medieval and Renaissance Art.

S TUDIES IN MEDIEVAL AND

EARLY RENAISSANCE ART HISTORY

Jean Pucelle was one of the most prominent artists of the first half of the fourteenth century, an influential illuminator who worked closely with a number of collaborators both known and anonymous. A large number of lavishly-illuminated manuscripts have been attributed to him based on stylistic analysis.Scholarly essays in this book explore issues crucial to the establishment of his distinctinve style: originality, technique, color palette, influence, levels of resemblance, the relationships between artistic media, and patronage. The contributors to this volume analyze the major works associated with Pucelle or the Pucellian style, and interpret pictorial elements in the tradition of artistic collaboration. This is the first collective work devoted entirely to Jean Pucelle and his legacy.

Kyunghee Pyun is Assistant Professor in the Department of History of Art at the State University of New York, Fashion Institute of Technology in New York City.

Anna Russakoff is Assistant Professor and Co-Chair of Art History at the American University of Paris. Both editors received a Ph.D. in Art History from the Institute of Fine Arts, New York University.

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Kerstin Carlvant

Manuscript Painting in Thirteenth-Century FlandersBruges, Ghent and the Circle of the Counts

ix + 542 p., 19 col. ills., 280 b/w ills., 220 x 280 mm, 2013, HMSAH 63, HB, ISBN 978-1-905375-67-7, € 125Available

This is the first comprehensive and in-depth study of the earliest figural painting ever to have been produced in Flanders on a continual basis. Most of the manuscripts are Psalters, but Bibles, a Breviary, a Missal, a Netherlandic life of a saint, and yet other texts occur. Three main categories of illuminator are distinguishable: those working in Bruges, in Ghent, and, at least in part, for the circle of the counts of Flanders. The principal chapters and the catalog segments are organized around their individual contributions. An arrangement in time and place of the total body of work was obtained through a lengthy and rigorous process of comparison of figural, ornamental and writing styles, codicological and textual features. Several distinctive Flemish patterns of Psalter iconography have emerged; these are presented in tabular form with accompanying commentaries. A surprising amount of information about the early owners of the books, mostly well-to-do members of the laity, was yielded in the analysis for the manuscript catalogs.

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Books of Hours Reconsidered Edited by Sandra Hindman, James Marrow

486 p., 343 b/w ills., 220 x 280 mm, 2013, HMSAH 72, HB, ISBN 978-1-905375-94-3, € 135Available

For over three hundred years, more Books of Hours were made than any other type of book, even the Bible. From c. 1225, when the first Books of Hours began to appear, to 1571, when during the Counter-Reformation Pope Pius V prohibited the use of all existing Books of Hours, nearly every European family of a certain means owned a Book of Hours. Books of Hours Reconsidered presents recent research on this “medieval bestseller” in twenty-one essays written by international scholars. The contributions are divided into six sections: “The Prehistory of Books of Hours and the Growth of Their Modern-Day Appreciation,” “Centers of Production: England, Germany, and Italy,” “Toward a History of Use,” “Problems of Workshops,” “Cycles of Illustration and their Texts,” and “The Book of Hours in the Age of Print.” The scholarship in this volume helps instill Books of Hours with new life and give them new meaning at a moment when interest in Books of Hours is on the rise.

Table of contents available: www.brepols.net

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Volume XIII Lives of Domenichino and Francesco GessiEdited by Elizabeth Cropper, Lorenzo Pericolo

528 p., 135 col. ills., 220 x 280 mm, 2013, HMFP 13, HB, ISBN 978-1-909400-00-9, € 150Publication scheduled for autumn 2013

Richly illustrated, this critical edition and English translation of Malvasia’s lives of Domenichino and Francesco Gessi from his Felsina pittrice offer access to the life and work of two great masters of seventeenth-century Bologna. Domenichino’s life plays a seminal role in Malvasia’s definition of the “fourth age” of painting in Italy. From the very beginning, Malvasia pits against each other Guido Reni and Domenichino, the two champions of the vanguard style that emerged from the Carracci reform of painting. If Guido becomes the idol of the Lombard and Bolognese school, “more attuned to tenderness and audacity,” Domenichino embodies an ideal of perfection more in keeping with the Florentine and Roman school, “fond of finish and diligence.” Malvasia’s assessment of the artistic personality of Francesco Gessi turns upon the painter’s rivalry with his master, Guido Reni, whose perfection in paint-ing nevertheless remains unmatchable. In relating how Domenichino snatched away the highly talented Giovan Battista Ruggeri from his previous master, Francesco Gessi, Malvasia turns the conflicts inherent in Domenichino’s life into a generational struggle between artistic factions. In the process, Malvasia provides important biographical information about Giovan Giacomo Sementi, another of Guido’s disciples and Gessi’s lifelong rival.

Count Carlo Cesare Malvasia’s Felsina pittrice, or Lives of the Bolognese Painters, first published in two volumes in Bologna in 1678, is one of the most important sources for the history and criticism of painting in Italy. In this new critical edition by Lorenzo Pericolo, which will appear in a series of volumes, there will also be published for the first time in their entirety Malvasia’s relevant preparatory notes to the Felsina pittrice, or the Scritti originali. Careful analysis of all these materials will make it possible to reevaluate Malvasia’s status as a historian, and provide new information about the construction of the Felsina pittrice as a book.

C ARLO CESARE

MALVASIA’S FELSINA PITTRICE: THE LIVES OF THE

BOLOGNESE PA INTERS

CARLO CESARE MALVASIA’S FELSINA PITTRICE

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Edited by Elizabeth Cropper, Lorenzo Pericolo

Volume IEarly Bolognese Painting

xxvi + 536 p., 150 col ills., 7 b/w ills., 220 x 280 mm, 2012, HMFP 1, HB, ISBN 978-1-905375-84-4, € 150Available

This richly illustrated volume provides a translation and critical edition of the opening part of the Felsina pittrice, which focuses on the art of late medieval Bologna. The text is unusual in the context of the Felsina pittrice as a whole in that it seeks to record what survives in the city, rather than focusing on individual artists. In response to Vasari’s account of the Renaissance of painting in Florence, Malvasia offers a colorful and valuable portrait of Trecento painting in Bologna, noting the location and condition of destroyed or whitewashed frescoes, dismantled polyptychs, and paintings for which no other record survives. Malvasia provides crucial information on works by important fourteenth-century painters such as Lippo di Dalmasio, Simone dei Crocefissi, and Vitale da Bologna. Included in the volume are historical notes to the text and to the transcriptions of the Scritti originali, published here in their entirety for the first time. The notes enrich our understanding of individual works and identify the sources Malvasia used. Elizabeth Cropper’s introductory essay serves to establish the significance of Malvasia as a historian of art, while Carlo Alberto Girotto’s bibliographical essay analyses the production and reception of the Felsina pittrice as a whole.

REVIEW:“Overall this inaugural volume surveying a vast and challenging body of mate-rial is a work of profound and intimate scholarship and an invaluable source of provenance and historiography.”

Robert Gibbs, in: The Burlington Magazine, July 2013, p. 491

Download a detailed leaflet on this series www.brepols.net/Pages/Downloads.aspx

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The cathedral or Duomo of S. Maria del Fiore in Florence ranks as one of the most inf luential buildings of western architecture. The Florence Duomo Project is a study of everything that preceded, and still lies beneath, S. Maria del Fiore and its Baptistery. These four volumes interweave church liturgy, field archaeology, art history, and social and political history to give the Florence Duomo (and, in some cases, early medieval Florence itself) the context that until now it lacked.

Review“The projected four-volume publication is a serious enterprise that deserves praise (...)”

B. Ward-Perkins, in: Journal of Medieval Archaeology, vol. 55, 2011

Franklin Toker

On Holy Ground: Liturgy, Architecture and Urbanism in the Cathedral and the Streets of Medieval Florence

iv +324 p., 52 b/w ill., 220 x 280 mm, 2009, HMFDP 1, HB, ISBN 978-1-905375-51-6, € 110Available

This first volume in this series asks just one question: had the Florence Duomo never been excavated, what could we have known of the legendary cathedral of S. Reparata below it? The answer comes through the transcription of two key texts: one, never published until now, was written for the cathedral clergy around 1190; the other was composed around 1230, and printed just once, in the eighteenth century. English translations bring to life the liturgical year in medieval Florence, from the gorgeous pageantry of Christmas to the plaintive rites of Easter. The archaeological finds now make sense of the chapels, altars, and hallowed tombs that are cited in the texts.

THE FLORENCE DUOMO PROJECT

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Franklin Toker

Archaeological Campaigns below the Florence Duomo and Baptistery, 1895-1980

536 p., 124 col. ills., 591 b/w ills., 220 x 280 mm, 2013, HMFDP 2, HB, ISBN 978-1-905375-52-3, € 175Available

This publication collects the results of one of the major archaeological campaigns of our times: the decade-long excavation below Florence’s cathedral of S. Maria del Fiore.The book presents a cutaway vision of a great city that would be hard to match anywhere, exploring a site that was in use for 1500 years, from the founding of the Roman settlement of Florence to the burial there of Giotto and Brunelleschi. In terms of structures, the excavation uncovered a Roman house, an Early Christian basilica, a Carolingian crypt, and further rebuildings from the eleventh century and later. For artifacts, the findings constitute a virtual encyclopedia of ancient and medieval art in mosaics, frescoes, the grave of Florence’s earliest documented saint, the first elaborate tomb of the Medici, and outstanding examples of Roman and medieval glass, metalwork, and ceramics. Forty-one specialists in material culture and archaeological science report on those finds in the book.But the findings from below the Florence Duomo are not limited to art history. The Roman house gives a glimpse of life on the Italian peninsula in the half-millennium between Emperor Augustus and the Ostrogoth king Theodoric. The construction of a large basilica with its rich mosaic floor marks the evident revival of a battered city: a turn of events entirely unexpected from the few other fragments of early Florentine history that survive. The later additions to the church of S. Reparata (as the early cathedral was titled by then) also constitute rare remains from the turbulent centuries that followed.

Dr Franklin Toker joined the archaeological excavations of the Roman and early medieval buildings below the Florence Duomo in 1969, then directed the work through its conclusion in 1974. Dr Toker has since 1980 taught urban history and the history of medieval art and architecture at the University of Pittsburgh and was the fi rst non-Italian called to teach the history of art within the University of Florence.

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The ‘Museo Cartaceo’ (‘Paper Museum’) is a collection of some 10,000 watercolours, drawings and prints, assembled during the seventeenth century by the Roman patron and collector Cassiano dal Pozzo and his brother Carlo Antonio. It represents one of the most significant attempts before the age of photography to embrace human knowledge in visual form. The collection documents ancient art and culture, architecture, zoology, botany, geology and social customs, and provides us with a major tool for understanding the intellectual concerns of a period during which the foundations of our own scientific methods were established.The catalogue raisonné, in 35 volumes, will give unprecedented access to this major source of reference for the intellectual, cultural, artistic and scientific history of seventeenth-century Europe. The drawings are being catalogued in two series, Series A, covering Antiquities and Architecture, and Series B, Natural History.

T HE PAPER MUSEUM

OF CASSIANO DAL POZZO

A CATALOGUE RAISONNÉ

THE PAPER MUSEUM OF CASSIANO DAL POZZO

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Paul Davies, David Hemsoll

Renaissance and Later Architecture and Ornament

2 vols., 784 p., 227 col. ills., 362 b/w ills.,210 x 280 mm, 2013, HMPMA 10, HB, ISBN 978-1-905375-77-6, € 206Available

This two-volume catalogue is the second part of the catalogue raisonné devoted to architectural and topographical drawings from the Paper Museum commissioned and collected by Cassiano dal Pozzo (1588–1657) and his younger brother Carlo Antonio (1606–89). The first Part (A.IX), published in 2004, was dedicated to drawings of ancient Roman topography and architecture; this one covers Renaissance and seventeenth-century architectural drawings.

The introductory essay in Volume One explores the distinctive character of this part of the dal Pozzo collection. It is followed by the catalogue entries, grouped into schemes for whole buildings, with the plans and elevations (or both) of ecclesiastical and secular works arranged according to their location in Italy or, occasionally, France, Spain and elsewhere. Volume Two is principally concerned with architectural fitments, such as church furnishings, doorways and chimneys, as well as painted decorations and carved ornaments. It then moves to military subjects, cataloguing drawings of fortifications, sieges and related subjects, followed by drawings of topographical views and two drawings, omitted in A.IX, of ancient decorative designs.

The principal authors, Paul Davies and David Hemsoll, are among the leading historians of Italian Renaissance architecture in the UK and have previously collaborated on the landmark monograph dedicated to the sixteenth-century architect Michele Sanmicheli (Electa Mondadori 2004), as well as on many other projects. Paul Davies is Reader of Architectural History at the University of Reading, and David Hemsoll is Senior Lecturer in the History of Art at the University of Birmingham.

Simon Pepper, Emeritus Professor in the School of Architecture at the University of Liverpool, has contributed the section dedicated to fortifi cations, and Ian Campbell, Professor of Architectural History and Theory at Edinburgh College of Art, a number of the entries on architectural drawings.

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Amanda Claridge, Ingo Herklotz

Classical Manuscript Illustrations

424 p., 224 col. ills., 46 b/w ills. , 220 x 285 mm, 2012, HMPMA 6, HB, ISBN 978-1-905375-76-9, € 141Available

The 160 drawings catalogued in this volume are derived from five ancient manuscripts: the famous Vatican Vergil, the so-called ‘Roman’ Vergil, the Vatican Terence, and the less well-known Palatine Agrimensores, all in the Vatican Library, and from a fifth codex, now lost, known as the Chronography or Calendar of the year 354.The bulk of the drawings were copied for Cassiano between 1632 and 1634 for the purpose of studying both the characters depicted and the allied evidence of ancient costume and artefacts. By the later seventeenth century, when Pietro Santi Bartoli executed the last group of drawings in the present volume for Carlo Antonio, manuscript illustrations had come to be cherished as much for their rarity as examples of ancient painting as for their documentary value.Introductory essays provide an overview of the dal Pozzo commissions, the manuscripts and their history down to Cassiano’s day, as well as their study in the wider context of classical scholarship through to the eighteenth century. All the drawings are reproduced in colour at full page, with accompanying descriptions of the subjects or relevant ancient verses in modern translation and brief commentaries.

CORPUS VITREARUM USA

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The Corpus Vitrearum for the United States of America is published under the auspices of the Comité International de l’Histoire de l’Art and the Union Académique Internationale as part of the series of definitive catalogues covering all surviving European medieval and Renaissance stained glass. The United States Corpus also includes later panels, ranging up to 1700. The Corpus USA is arranged geographically, collections being grouped by State or region. Volumes are of uniform format, conforming to the standards set by the International Committee. Illustrations are in color as well as in monochrome, and every panel is illustrated, frequently with relevant comparative material and high-quality restoration diagrams.

Renée Burnam

Stained Glass before 1700 in the Philadelphia Museum of Art

432 p., 300 col. ills., 60 b/w ills., 230 x 315 mm, 2013, HMCV 6, HB, ISBN 978-1-872501-19-2, € 150Available

The present volume, Part VI/1 of the series Corpus Vitrearum USA, illustrates and catalogues in great detail the entire holdings of more than 140 stained glass panels now in the Philadelphia Museum of Art. The collection is wide-ranging in both date and origin of production : it includes panels of high quality from the early thirteenth to the seventeenth century, and from a number of different countries and regions. Pride of place among the items catalogued are the large-scale ecclesiastical windows from France, the most precious of which are the three stained glass medallions commissioned in mid-thirteenth century by Louis IX for his palace chapel in Paris, the Sainte-Chapelle. The author, Dr Renée Burnam, provides an exceptionally detailed and well-researched catalogue entry for each panel, and gives not only a full description of its iconography, style, technique and condition, but introduces every item with a lengthy account of the history of the glass, enlivening her text with a wealth of comparative illustrations. All catalogued panels are reproduced in colour and juxtaposed with their relevant restoration charts. The volume also includes a Glossary, an exhaustive Bibliography and a comprehensive Index.

CORPUS VITREARUM USA

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The aim of the Inventory Project, established in 1991 by David Starkey and supported by the Society of Antiquaries of London, is to publish the text of the 1547 Inventory together with specialist essays on each of the principal categories of art and artefacts that it lists. The text of the Inventory consists of more than 18,000 numbered entries, which record over 50,000 items.

The Inventory of King Henry VIII:Textiles and DressEdited by Maria Hayward and Philip Ward

xvii + 366 pp., 41 b/w ills., 148 colour ills., 215 x 275 mm, 2012, HMINV 2, HB, ISBN 978-1-905375-42-4, € 140Available

This is the first of three volumes of commentary to be published, which will consist of twenty-four essays written by the leading experts on Tudor art and artefacts and which will discuss the principal categories recorded in the Inventory in their historical and archaeological context. Among the subjects covered in Volume II are the tapestry collection of Henry VIII, accounts of the tents and revels, which provided the settings and costumes for court entertainments, and the Great Wardrobe, which served as a warehouse for the King’s large and valuable stores of textiles, and a study of the vestments and textiles associated with royal worship. Altogether, the essays in this volume combine the histories of material culture, religion, politics and ceremony in a unique way that would not have been possible before the establishment of the Inventory Project twenty years ago.

The essays are richly illustrated, with many of the plates in colour and where possible, images of surviving pieces have been included. Volume II will be followed by two further volumes, entitled Arms, Armour and Ordnance and Decorative Arts and Everyday Objects.

THE INVENTORY OF KING HENRY VIII

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