Harvey Miller Publishers-Catalogue - Brepols Publishers

Harvey Miller Publishers 

CATALOGUE New Publications 

M A N U SC R I P T ST U DI E S ST U DI E S I N M E DI E VA L & 

RENAISSANCE ART HISTORY BAROQUE ART STUDIES ON 

ITALIAN ART 18 TH CENTURY PAINTING CORPUS VITREARUM 

HARVEY MILLER PUBLISHERS 

An imprint of Brepols Publishers 

A

Harvey Miller Publishers 

CATALOGUE New Publications 

Table of Contents 

MANUSCRIPT STUDIES 2 

STUDIES IN MEDIEVAL & RENAISSANCE ART HISTORY 

BAROQUE ART 8 

STUDIES ON ITALIAN ART 11 

18 TH CENTURY PAINTING 

CORPUS VITREARUM 

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Manuscript Studies 

2 vols., 720 pp., 900 colour ills., 230 x 330 mm, 

2012, HMIMC 2, HB, 

ISBN 978-1-905375-85-1, € 200 

Available 

I LLUMINATED 

MANUSCRIPTS IN 

CAMBRIDGE 

The catalogue of Western illuminated manuscripts and incunabula in the 

collections 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 3,000 

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. 

A Catalogue of Western Book Illumination in the 

Fitzwilliam Museum and the Cambridge Colleges 

Part Two: Italy and the Iberian Peninsula 

Edited by Nigel Morgan, Stella Panayotova and Suzanne Reynolds 

This new 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considerable number of previously unpublished cuttings, among them new attributions to 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. Entries for Italian manuscripts are arranged chronologically 

in the period up to 1200, while manuscripts produced after 1200 are catalogued by region 

of origin and within that division again by sequence of date. Manuscripts that cannot at 

present be allocated to a particular region are grouped in a special section, and Spanish 

books are again catalogued in chronological order. 

Previously published: 

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 Nigel Morgan and Stella Panayotova 

2 vols., 560 pp., 750 colour ills., 230 x 330 mm, 

2009, HMIMC 1, HB, 

ISBN 978-1-905375-47-9, € 200

A SURVEY OF 

MANUSCRIPTS 

ILLUMINATED IN FRANCE 

2 vols., c. 600 pp., 500 b/w ills., 32 colour ills., 230 x 330 mm, 

2012, HMMSF 3.1, HB, 

ISBN 978-1-872501-95-6, € 200 

Publication date: Autumn 2012 

A N INDEX OF IMAGES IN 

ENGLISH MANUSCRIPTS 

FROM CHAUCER TO HENRY VIII, 

C. 1380-C. 1509 

128 pp., 36 b/w ills., 210 x 270 mm, 

2011, HMIIEM 7, PB, 

ISBN 978-1-905375-81-3, € 65 

Available 

The Survey of Manuscripts Illuminated in France is a definitive multi-part reference 

work covering the output of French manuscript illumination from the seventh to 

the sixteenth century 

Alison Stones 

Gothic Manuscripts c. 1260-1320 

Part I: Paris, Normandy and the Province of Reims 

French culture in the period c. 1260-1320 is marked by a surge in demand for fine 

illustrated books of all kinds--science, medicine, law, philosophy, literature in verse and 

prose, alongside books for private devotion and liturgical celebration. Some patrons 

were well-known rulers, court figures, or members of the clergy, but others were less 

significant players on the political or ecclesiastical scene, many of them unimportant in 

rank or unknown by name. The so-called ‘courtly style’ emerges at the beginning of this 

period, yet books made in provincial centres manifest a vital independence and originality 

due to fruitful interaction with neighbouring cultures--the linguistic, literary, and artistic 

traditions of England, the Iberian kingdoms, the Empire. Ecclesiastical structures offered 

different and complementary cultural networks. By the end of this period French art had 

assimilated this rich variety of regional works and styles, and patterns to be played out 

in the following centuries were in place. This publication covers the output of Gothic 

manuscript illumination in Paris, Normandy and the Province of Reims. 

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. General Editor: Kathleen L. Scott. 

Ceridwen Lloyd-Morgan 

Welsh Manuscripts and English Manuscripts in Wales 

The present volume extends the survey to Wales and catalogues not only English 

manuscripts in Welsh collections but also Welsh manuscripts, including those held outside 

Wales. The catalogue contains entries for 128 manuscripts and notes the subject-matter 

of every illustration in each manuscript, from full-page miniatures and historiated initials 

to marginalia, added drawings and nota bene signs. A comprehensive index of pictorial 

subjects provides readers with complete references to the visual material with thematic 

groupings making the following categories easily accessible: animals, architecture, 

birds, Christ, containers, costume, furniture, kings, musical instruments, occupations/ 

professions, plants, saints, tools, Virgin Mary, weapons, and women. The volume also 

inclids a user’s guide, an extensive glossary of subjects and terms, including Welsh terms, 

and indexes of authors/texts and of manuscripts with coats of arms. 

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Studies in Medieval & Renaissance Art History 

T HE INVENTORY 

OF KING HENRY VIII 

xvii + 366 pp., 41 b/w ills., 148 colour ills., 215 x 275 mm, 

2012, HMINV 2, HB, 

ISBN 978-1-905375-42-4, € 140 

Available 

S TUDIES IN MEDIEVAL 

AND EARLY RENAISSANCE 

ART HISTORY 

c. 208 pp., 50 colour ills., 210 x 270 mm, 

2012, HMSAH 71, HB, 

ISBN 978-1-905375-93-6, c. € 100 

Publication date: Autumn 2012 

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. 

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 Dress 

Edited by Maria Hayward and Philip Ward 

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 series Studies in Medieval and Early Renaisance Art History aims to bring 

together current scholarship on European Medieval and Early Renaissance art. 

Jane Bridgeman 

A Renaissance Wedding 

The Celebrations at Pesaro for the Marriage of Costanzo 

Sforza & Camilla Marzano D’Aragona (26-30 May 1475) 

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. 

This present edition of the text includes all the images that illustrate the original 

manuscript – 32 full-page miniatures that depict the floats that welcomed the bride at 

the city gates of Pesaro; the costumed figures at the wedding banquet who represented 

the presiding Sun and Moon or the male and female messengers of the classical gods 

and goddesses who announced the exotic dishes of the 12-course banquet; and further 

colourful, unusually interesting illustrations of the ballets, fireworks and triumphs of the 

final two days of the celebrations. 

In addition to the Introduction that provides the reader with the historical background 

and biographical details of the protagonists and personalities of this special occasion, Dr 

Bridgeman also adds helpful and highly informative annotations to the narration itself. 

In addition she provides full descriptions and explanations of the illustrations – all 

reproduced here in colour – and devotes a separate appendix to listing and explaining 

all the dishes served at the wedding banquet, together with their ingredients and recipes.

viii + 273 pp., 234 b/w ills., 44 colour ills., 220 x 275 mm, 

2010, HMSAH 58, HB, 

ISBN 978-1-905375-45-5, € 125 

Available 

Alison Luchs 

The Mermaids of Venice 

Fantastic Sea Creatures in Venetian Renaissance Art 

The arts of Renaissance Venice teem with sea monsters. Chief among these are mermaids 

and mermen – graceful hybrid beings human from the waist up, but with the lower body 

and tail of a fish, dolphin or sea serpent. Other sea hybrids – horses, bulls, panthers, 

even an elephant – also swim through Venetian art in finned and fish-tailed forms. Such 

creatures emerge from stone in the shadowy churches and the sunlit courtyard of the 

Palazzo Ducale, crown the wooden frame of a Giovanni Bellini altarpiece, and encircle the 

bronze flagpole bases in Piazza San Marco. Their gilded sugar apparitions graced banquet 

tables for illustrious visitors, and their descendents still glide through the canals in the 

form of brass seahorses set above the sides of gondolas. 

This book focuses on the conceptions of artists who made marine hybrids as some of 

the most engaging inventions of the Renaissance in Venice and its subject city Padua. The 

chapters deal with five functional contexts: book decoration of the 1470s and 80s; tomb 

monuments of the 1480s and 90s; church decoration of the same years, particularly at 

Santa Maria dei Miracoli; centers of political activity, including civic settings in Venice and 

the palaces of powerful mainland employers of Venetian artists; and finally, private homes, 

where owners could hold small bronze sea hybrids in their hands, often as objects for use. 

A prologue introduces the “heritage of monsters” from the ancient and medieval worlds, 

the better to show how Venetian artists adapted these to new purposes. 

Exploring the ways in which artists could interpret and contemporary viewers might 

experience these wide-ranging sea-creatures, the book brings their best images together 

as a source of delight. 

REVIEW : 

« Ce genre de travail est non seulement plaisant, il peut se révéler aussi plein d’intérêt. (...) Il faut en savoir gré à l’auteur. » 

(L. Smolderen, dans: Revue Belge d’Archéologie et d’Histoire de l’Art, n° 80, 2011.1, p. 206) 

288 pp., 113 b/w ills., 59 colour ills., 220 x 280 mm, 

2011, HMSAH 60, HB, 

ISBN 978-1-905375-49-3, € 120 

Available 

Marie Tanner received her doctorate from the Institute 

of Fine Arts (New York University). Formerly on the faculty of 

Queens College, Rutgers University and the City University 

of New York, she is currently an independent scholar living 

in New York City. 

Marie Tanner 

Jerusalem on the Hill 

Rome and the Vision of Saint Peter’s Basilica in the Renaissance 

This author analyzes the Renaissance rebuilding of Saint Peter’s basilica as a mirror of 

the political fortunes of the papacy. The project to revitalize the basilica as the center of 

a resurgent Church proceeded in step with the goal to reassert papal authority across the 

Italian peninsula, and to extend that authority to the Eastern Mediterranean by mounting 

a crusade to recover the Holy Land. By embedding references to the Holy Land in the 

fabric of the new basilica, the architecture itself became the expressive voice of the 

papacy’s political agenda. Peter’s tomb provided the fulcrum of a program to transform 

the basilica, and all of Rome, into a new Jerusalem. As introduced by Nicholas V (1447- 

1455) and refined by Julius II (1503-1513), these ideas were translated into physical 

form by Donato Bramante. Drawing inspiration from innovations developed elsewhere 

in Italy, and with heightened sensitivity for the expressive power of ancient and medieval 

architecture, he forged a new vocabulary that would transform the entire subsequent 

history of the built environment. This book is about how that process of transformation 

was rooted in papal ideology. 

REVIEW: 

“There are a lot of intriguing ideas to ponder (in Dr. Tanner’s) book with its rich complement of illustrations and a text that should stir things up with bold proposals 

of iconographies that have not been dealt with previously in the huge bibliographies on St. Peter’s.” 

(James S. Ackerman, Arthur Kingsley Porter Professor of Fine Arts Emeritus, Harvard University) 

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581 pp., 530 b/w ills.,185 x 270 mm, 

2011, HMSAH 62, HB, 

ISBN 978-1-905375-60-8, € 150 

Available 

Philis Bober, Ruth Rubinstein 

Renaissance Artists and Antique Sculpture 

A Handbook of Sources. New, Revised and Updated Edition 

With contributions by Susan Woodford 

This publication offers a new, revised edition of a work that was hailed, when it first 

appeared, as “the most useful art-historical reference book to have been published in recent 

decades”. It is a Handbook of Sources, documenting and illustrating the most significant 

antique works of art known to Renaissance artists. More than five hundred illustrations show 

Greek and Roman statues, mythological and historical reliefs as well as triumphal arches 

together with Renaissance drawings, engravings, bronzes and paintings to demonstrate 

how and where these classical monuments were discovered and recorded, and how they 

were copied, adapted, combined and transformed into the style and iconography we now 

recognize as Renaissance art. 

The authors, Professor Phyllis Bober and Dr Ruth Rubinstein, based their selection on 

the Census of Antique Works of Art and Architecture known in the Renaissance, begun 

at the Warburg Institute in London as a reference catalogue, but continuously extended 

thereafter and now transferred into a modern web-based database system accessible on the 

internet. The auhors arranged their illustrative material and their encyclopaedic catalogue 

thematically, giving full descriptions and history of each antique work, listing Renaissance 

representations and adaptations, and citing relevant literature. In addition, the myths and 

legends featured in the classical works are retold briefly in each case to help the reader 

follow the narrative particularly in the many sarcophagus reliefs reproduced. 

Although the book has been reprinted twice since its first appearance, only minor revisions 

had until now been included. Sadly, neither author has lived to see the present publication, 

but corrections and additions to the Catalogue and the Appendices continued up to the time 

of their deaths, and Ruth Rubinstein spent the last decade of her life preparing this second 

edition with substantial catalogue revisions and significant additions to the Bibliography. 

In addition to Phyllis Bober’s introductory essay, which considers the cultural impact of 

classical Antiquity on Renaissance masters, the handbook also includes two important 

Appendices: an annotated Index of Renaissance Artists and Sketchbooks, and a descriptive 

and illustrated Index of Renaissance Collections. 

REVIEWS: 

“Most readers will be impressed by its dense and compendious character. It is certainly one of the most useful art-historical reference books to have been published 

in recent decades....The entries are highly readable, the scholarship is thorough but succinct, and the references are reliable.” – Burlington Magazine 

“The Bober and Rubinstein volume has already achieved that ultimate accolade of coming to be known simply by the names of its authors...This vast body 

of information, much of it completely new, is invaluable....[The authors] go beyond such particulars as source-spotting to provide the possibility of a real 

understanding of a whole repertory of forms.” – Times Literary Supplement 

xii + 227 pp., 109 b/w ills., 180 x 265 mm, 

2010, HMSAH 41, HB, 

ISBN 978-1-905375-09-7, € 110 

Available 

Sarit Shalev-Eyni 

Jews Among Christians 

Hebrew Book Illumination From Lake Constance 

Jews among Christians explores a corpus of illuminated Hebrew manuscripts of the Lake 

Constance region produced in the first decades of the fourteenth century. The author 

Sarit Shalev-Eyni, Professor at the Hebrew University of Jerusalem, provides a detailed 

and insightful study of the content, design, and iconography of the illustrations and 

decorations of a group of Ashkenahzi codices, thereby uncovering a surprising interface 

between Jews and Christians in the urban workshops of the time. Here, Christian artists 

would include midrashic components required by their Jewish instructor while drawing 

on the iconographic traditions of their Christian education, and artists of both religions 

were able to represent their own theological attitudes as well as profane tendencies and 

parody – in short, the various aspects of late medieval culture. 

A close comparison with the well-known Gradual of St. Katharinenthal, now in Zurich, 

and manuscripts such as the Schocken Bible, formerly in Jerusalem, and the Tripartite 

Mahzor – originally bound as two volumes, but now split between Budapest, London 

and Oxford – places the corpus firmly in the Lake Constance region and all but confirms 

the instructor to be one Hayyim, the scribe. The author’s discussion of Hayyim’s life and 

work and her historical overview of the relations between Jews and Christians in the final 

chapters of the book deepens our understanding of the religious and cultural dialogue 

between the two faiths not only in the production of this group of manuscripts but in the 

course of every-day life in the Middle Ages.

A CORPUS OF DRAWINGS 

IN MIDWESTERN COLLECTIONS 

xxiv + 253 pp., 141 b/w ills., 7 colour ills., 220 x 280 mm, 

2012, HMCDMC 2, HB, 

ISBN 978-1-905375-11-0, € 110 

Available 

386 pp., 148 b/w ills., 210 x 275 mm, 

2010, HMTRIB 5, HB, 

ISBN 978-1-905375-29-5, € 150 

Available 

T RIBUTES 

The Corpus series, published under the auspices of the Midwest Art History 

Society, deals with European drawings in Midwestern collections. Each volume of 

the Corpus is dedicated to a single century and makes each work visually available 

for study. 

Burton L. Dunbar, Robert Munman and Edward J. Olszewski 

Sixteenth-Century Northern European Drawings 

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 in Germany, Albrecht Altdorfer, Hans 

Beham, and Georg Pencz; in the Lowlands, Jan Wellens de Cock, Maerten van Heemskerck, 

Hendrick Goltzius, and Maerten de Vos; and from other countries, members of the 

Dumonstier family in France and the Swiss artists Tobias Stimmer and David Lindtmayer. 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. 


Edward J. Olszewski 

Italian Drawings from the Sixteenth Century 

2 vols., xxxiv + 628 pp., 572 b/w ills., 17 colour ills., 220 x 280 mm, 

2008, HMCDMC 1, HB, 

ISBN 978-1-905375-10-3, € 200 

This collection of tributes honors renowned art historians who transformed 

and reshaped our understanding of Medieval and Early Modern art. 

Tributes to Nigel J. Morgan 

Contexts of Medieval Art: Images, Objects & Ideas 

Edited by Julian M. Luxford, M. A. Michael 

This volume is published in honour of Nigel Morgan, whose meticulous scholarship and 

inspiring teaching have contributed so richly to the study of medieval art. The thematic 

and material variety of its essays reflect the range of Nigel Morgan’s interests, while the 

backgrounds of the various contributors suggest the truly international flavour of a long 

and influential career. 

Contributors: 

Jonathan Alexander – Joan Barclay Lloyd – Adelaide Bennett – Paul Binski – Marian 

Campbell – Lynda Dennison – Eamon Duffy – Robert Gibbs – George Henderson – T.A. 

Heslop – C.M. Kauffmann – David King – Peter K. Klein – Suzanne Lewis – Julian M. 

Luxford – Margaret Manion – Richard Marks – M.A. Michael – Richard Pfaff – Karl- 

Georg Pfändtner – Unn Plahter – Nicholas Rogers – Lucy Freeman Sandler – Jenny 

Stratford – Rodney Thomson – Pamela Tudor-Craig 

REVIEW: 

“This is an absorbing volume, kaleidoscopic in nature.” (R. Watson, in: AMARC Newsletter, no. 58, May 2012, p. 24-26) 

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Baroque Art 

400 pp., incl. ills., 180 x 265 mm, 

2011, HMCRLB 13.3, HB, 

ISBN 978-1-905375-86-8, € 150 

Available 

C ORPUS 

RUBENIANUM 

LUDWIG BURCHARD 

This definitive Catalogue Raisonné of the work of the great Flemish painter Peter 

Paul Rubens is being published in twenty-nine parts, each of which deals with a 

particular commission or group of subjects. 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. It has been considerably enlarged by the joined 

efforts of the Centrum voor de Vlaamse Kunst van de 16de en de 17de Eeuw and 

the Rubenianum. Each part is written by a well-known scholar and the aim is to 

embody 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) 

Koenraad Brosens 

Subjects from History: The Constantine Series 

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. Analysis of the 

entrepreneurial strategy of Marc Comans and François de la Planche, directors of the 

factory in the faubourg of Saint Marcel, the correspondence between Rubens and Peiresc, 

the provenance of the twelve oil sketches, and the iconographical programme reveals 

that the series was not commissioned by the French king Louis XIII, as has long been 

believed, but by Comans and de la Planche. A close reading of Rubens’s primary literary 

source, Caesar Baronius’s Annales Ecclesiastici, shows that the artist must have intended the 

twelve scenes to hang in a sequence different from the generally accepted one, though 

seventeenth-century buyers and viewers could have seen and interpreted the Constantine 

series quite differently, as their view was distorted by the jumble of Constantinian legends 

and motifs that had lodged in the cultural memory of Latin Christianity. Finally, 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: 

“Brosens’s interest and expertise in the fi elds of art market and strategy are clear from the decided tilt of the book’s contents.” 

(Elizabeth Cleland, in: HNA Review of Books, Fall 2012)

2 vols., 717 pp., 295 b/w ills., 16 colour ills., 180 x 265 mm, 

2010, HMCRLB 26.2.1, HB, 

ISBN 978-1-905375-39-4, € 180 

Available 

Jeremy Wood 

Copies and Adaptations from Renaissance and Later Artists: 

Italian Masters. Raphael and his School 

This section of the Corpus Rubenianum is concerned with Rubens’s remarkable study 

of Italian sixteenth-century art as shown through his numerous copies and adaptations. 

Rubens’s study of the Cinquecento lasted throughout his life and was not just the focus 

of his early years in Antwerp when he learned his craft. At that time he used secondary 

copies as models for pen drawings or as a basis for enlarged painted adaptations such as his 

famous version in Dresden after Michelangelo’s Leda. Rubens’s most important full-size 

painted copies, however, were made as late as 1628-30 when he had travelled to Madrid 

and London and was in his fifties, a point when many artists would have thought they no 

longer needed to study. He may have made these copies because he could not buy the 

originals for his collection, but the act of creating such detailed visual records shows how 

attentive he was to the art of the past. This process culminated in his large and very free 

adaptations of the 1630s, now in Stockholm, after Titian’s Andrians and Worship of Venus 

which are among the most famous copies in the history of art. 

Rubens made relatively few drawings from paintings while in Italy between 1600 and 1608, 

although some survive after frescoes by Pordenone that he saw in Treviso and there are also 

a number that record Michelangelo’s paintings in the Sistine Chapel in Rome. Most of the 

catalogue entries, however, discuss the Italian copy drawings that Rubens bought during his 

travels and brought home to Antwerp. It will be argued that these sheets were taken out and 

retouched by him throughout his career. In total, this material amounts to one of the largest 

collections of graphic art assembled by a late Renaissance painter, and as a result it reveals 

Rubens’s sophisticated and complex dialogue with Italian art. 

REVIEW: 

“Although the catalogue raisonné as an art-historical genre is no longer fashionable ...., there could be no better demonstration of its lasting value than the thorough 

assessment of the art of Rubens found in these volumes.” (K. De Clippel, in: The Burlington Magazine, vol. 154, n° 1307, February 2012, p.126) 


2010, HMCRLB 26.2.2, HB, 

ISBN 978-1-905375-40-0, € 180 

Available 

Jeremy Wood 

Copies and Adaptations from Renaissance and later Artists: 

Italian Masters. Titian and North Italian Art 

The present volume is the second of three devoted to the many copies and adaptations 

that Rubens made from Italian art, and it is dominated by his interest in the work of 

artists active in Venice during the sixteenth century. Rubens, when a mature master, 

decided to make a number of full-size painted replicas of works by Titian that he saw on 

his travels to Madrid and London. Perhaps surprisingly, he made far fewer copies after the 

works of Titian’s contemporaries, Tintoretto and Veronese, but, in addition, the volume 

examines his interest in the work of other masters active in North Italy at this time, 

notably Andrea Mantegna, Antonio da Correggio, and Girolamo Francesco Parmigianino. 

It is Rubens’s interest in Titian, however, that has been seen as crucial for art in the Early 

Modern period, a topic that has attracted the attention of critics and art historians from 

the seventeenth century to the present day. 


Kristin Belkin 

Copies and Adaptations from Renaissance and later Artists: 

German and Netherlandish Artists 


2009, HMCRLB 26.1, HB, 

ISBN 978-1-905375-38-7, € 190 

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vii + 654 pp., 336 colour ills., 225 x 300 mm, 

2011, HMSBA 1, HB, 

ISBN 978-1-905375-48-6, € 200 

Available 

S TUDIES IN 

BAROQUE ART 

Lorenzo Pericolo (Caracas, 1966) has received prestigious 

fellowships from the Center for Advanced Study in the Visual 

Arts (Washington DC), the Getty Research Center (Los 

Angeles), and the Alexander on Humboldt Stiftung. He is 

Associate Professor of the history of art at Warwick University. 

The series Studies in Baroque Art aims to bring together current scholarship on 

Baroque art, focusing both on Italian and North European Renaissance masters. 

Lorenzo Pericolo 

Caravaggio and Pictorial Narrative 

Dislocating the Istoria in Early Modern Painting 

A very important part of Caravaggio’s production consists of pictorial narratives, mostly 

religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre 

of the istoria: the most discussed and thoroughly defined pictorial institution of his time. 

Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggio’s 

art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of 

all these testimonies, Caravaggio’s innovations in and misuses of the techniques specific to early 

modern pictorial narrative have never been systematically studied, debated, and put into historical 

perspective. In this volume, Lorenzo Pericolo argues that Caravaggio’s multiple experimentations 

with the traditional devices of the istoria not only represent the core of an unprecedented “poetics 

of dislocation,” but also unsettled, dismantled, and expanded the scope of pictorial narrative 

in ways that would have redefined and deeply transformed the concept of painting and artistic 

creation, had Caravaggio’s enterprise not have been ferociously criticized and stigmatized as 

both aberrant and defective. To solidly establish the importance and groundbreaking charge of 

Caravaggio’s work, Pericolo examines the notion of Leon Battista Alberti’s istoria as interpreted 

and developed by early modern artists and theorists—from Leonardo to Vasari, from Lomazzo to 

Poussin, and from Michelangelo to Bellori—in vast surveys in which the concepts of diachrony, 

duration, eurythmy, propriety, verisimilitude, and pictorial truth— among others—are carefully 

examined on a theoretical and practical level. By analyzing the paintings of Caravaggio’s followers 

such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego 

Velázquez, Pericolo explores how Caravaggio’s innovations in the domain of pictorial narrative 

were variously construed, elaborated upon, and brought to fruition in the aftermath of the 

master’s death in 1610, thereby offering a critical explanation of the implosion and extinction of 

the Caravaggesque movement in the 1630s. 

REVIEW: 

“Its 654 pages give the most comprehensive and deftly nuanced interpretation of early modern narrative modes that I have read in years. As a master philologist 

of uncanny versatility, Pericolo elicits essential truths from complicated art theoretical texts, just as he renders complex the spare coding of Caravaggio’s visual 

language.” (Philip Sohm in: The Art Newspaper, No. 234, April 2012) 


2011, HMSBA 2, HB, 

ISBN 978-1-905375-04-2, € 100 

Available 

The Author, Gregory Martin, has been interested in 

the ceiling paintings of the Banqueting Hall ever since 

he worked at the National Gallery in the 1960s, when 

he wrote the catalogue of the Gallery’s Flemish paintings. 

Towards the end of his subsequent career at Christie’s, where 

he was a director concerned with old master paintings, he 

was commissioned to write the Corpus Rubenianum volume 

on the ceiling decoration of the Banqueting Hall which 

was published in 2005. In the present book he returns to 

the subject, treating it and the related matter of Rubens in 

London in a way designed to appeal to a wider readership. 

Gregory Martin 

Rubens in London 

Art and Diplomacy 

The Flemish artist Peter Paul Rubens is probably the most important foreign artist to have 

worked in England. The story of how this came to be, of what he did when he was in England 

and what he painted for King Charles I is the story of this book. Charles and his father, the 

first Stuart monarchs of Great Britain, led and promoted a great wave of interest in the arts, 

in particular the visual arts, that culminated in Rubens painting nine large canvases to decorate 

the ceiling of Inigo Jones’s Banqueting Hall, the ceremonial centre of the Court in Whitehall – a 

monument that is still intact today. It is this cycle, an hitherto unappreciated masterpiece of 

Baroque state art, that is the focus of this book. 

How Rubens came to obtain the commission is a tale of international politics and diplomacy 

in which the artist himself played a significant role. The author relates these complex political 

relationships and missions with great insight and clarity, and in doing so also describes the 

cultural and social setting in which Rubens found himself while in London. 

The illustrations that accompany the text include not only many of Rubens’s own paintings 

and drawings made when he was in London, but also some of the now well-known works 

by the Italian and North European Renaissance masters that Rubens would have seen in the 

magnificent art collections of the King and the English aristocracy. Foremost however among 

the illustrations are the reproductions of the Banqueting Hall ceiling itself: these are mostly in 

colour, showing each of the three central scenes both complete and with striking details that 

would be difficult to see in the Hall itself. Also the corner oval painting as well as the long, 

celebratory, exuberant processions on either side are reproduced in colour and in detail, so that 

the reader, guided by the author’s full descriptions and interpretations, can experience a unique 

viewing and understanding of Rubens’s masterpiece.

Studies on Italian Art 

C ARLO CESARE 

MALVASIA’S 

FELSINA PITTRICE 

LIVES OF THE 

BOLOGNESE PAINTERS 

xxvi + 536 pp., 7 b/w ills., 150 colour ills., 220 x 280 mm, 

HB, HMFP 1, 2012, 

ISBN 978-1-905375-84-4, c. € 150 

Planned in the same series: 

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. 

Volume I: Early Bolognese Painting 

Critical edition by Lorenzo Pericolo 

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 fourteenthcentury 

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. 

Detailed leafl et available on demand. 

Volume Two: 

Lives of Francesco Francia, Lorenzo Costa, and Marcantonio Raimondi; with Malvasia’s Critical 

Catalogue of Bolognese Printmakers from Giulio Bonasone to Giovan Battista Pasqualini 

Edited by Lorenzo Pericolo 

Volume Nine: 

Life of Guido Reni 


Volume Eleven: 

Lives of Alessandro Tiarini and Giacomo Cavedone 


Volume Thirteen: 

Lives of Domenichino and Francesco Gessi 


Volume Fourteen: 

Life of Guercino 


For a complete overview of volumes in the series please ask for a detailed leaflet. 

11

12 

F LORENCE DUOMO PROJECT 

iv + 324 pp., 52 colour ills., 220 x 280 mm, 

2009, HMFDP 1, HB, 

ISBN 978-1-905375-51-6, € 110 

Available 

Franklin Toker joined the archaeological excavation 

below the Florence Duomo in 1969, and directed it to its 

conclusion in 1974, with a secondary dig to establish the 

original project for S. Maria del Fiore in 1980. A past 

president of the International Society of Architectural 

Historians, Dr. Toker has since 1980 taught urban 

history and the history of medieval and American art 

and architecture at the University of Pittsburgh. A former 

Member of the Institute for Advanced Study at Princeton, 

New Jersey, and a Guggenheim and NEH Fellow, Dr. Toker 

has lectured widely in North America, Europe, and in 

India, China and Japan. 

The cathedral or Duomo of S. Maria del Fiore in Florence ranks as one of the 

most influential 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, p. 371-372) 

Franklin Toker 

Volume 1 

On Holy Ground: Liturgy, Architecture and Urbanism in the 

Cathedral and the Streets of Medieval Florence 

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

Medieval Florence 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 volume then reconstructs the canonry (torn down around 1840), where the 

officiating priests lived, and the neighboring buildings on the cathedral square: a hospital, 

a school, and a prominent city gate that long ago disappeared, and a Baptistery, bishop’s 

palace, and confraternity headquarters that are still standing. 

One chapter is devoted to the religious processions that ventured forth from S. Reparata 

to wind through the streets of Florence. Here the old texts are brought to life by the 

towers, bridges, churches, and monuments that survive from medieval Florence. The 

processional routes are examined for their social, political, and economic importance 

to the cathedral clergy, and the way the routes delineated the main lines of Roman 

Florence. The final chapter explores the food that poured onto the tables of the cathedral 

clergy from the farms and villages of the Florentine countryside. Altogether, the volume 

provides an exceptional look at the physical and spiritual impact of Florence’s thousandyear-old 

cathedral in the age of Dante. 

Planned in the same series: 


Volume 2: 

Archaeological Campaigns below the Florence Duomo 

and Baptistery (1895-1980) 

ISBN 978-1-905375-52-3 

Publication date: end 2012 


Volume 3: 

Reconstructing the Cathedral and Baptistery of Florence 

in Late Antiquity and the Middle Ages 

ISBN 978-1-905375-53-0 

Publication date: end 2013 


Volume 4: 

When Stones Speak: The Florence Cathedral Excavation 

Results in the Light of History 

ISBN 978-1-905375-54-7 

Publication date: end 2014

T THE PAPER MUSEUM 

OF CASSIANO 

DAL POZZO 

A CATALOGUE 

RAISONNÉ 


2012, HMPMA 6, HB, 

ISBN 978-1-905375-76-9, 

€ 141 

Amanda Claridge is Professor of Roman Archaeology 

at Royal Holloway, University of London, with a particular 

interest in antiquarian studies of the early modern period. 

Ingo Herklotz is Professor at the University of Marburg 

(Germany) where he specialises in the history of Italian art. 

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 Paper Museum was sold by Cassiano’s heirs to Pope Clement XI (Albani) in 

the early eighteenth century. It remained in the Albani collection until the bulk 

was acquired by George III in 1762, and today that portion is housed in the Royal 

Library at Windsor Castle, as part of the Royal Collection. Other fragments of 

the Paper Museum are to be found in the British Library, the British Museum, the 

Institut de France and other public and private collections. The catalogue raisonné 

will allow Cassiano’s PaperMuseum to be studied in its entirety for the first time 

since the seventeenth century. 

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. 

Further volumes will deal with Cassiano’s extensive print collection. 

The catalogue is published by the Royal Collection in association with Harvey 

Miller Publishers. 

SERIES A - ANTIQUITIES AND ARCHITECTURE 

Amanda Claridge and Ingo Herklotz 

Classical Manuscript Illustrations 

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 original 

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. 

13

14 

18 

C OLLECTORS The new series Collectors and Dealers provides a significant contribution to the 

AND DEALERS 

literature on the history of collecting. 

th Century Painting 

2 vols., 855 pp., 150 b/w ills., 195 x 270 mm, 

2012, HMCD 1, HB, 

ISBN 978-1-905375-59-2, € 175 

Available 

The author, Brendan Cassidy, took his Ph.D at Cambridge, 

and was Research Associate at the Warburg Institute before 

becoming Director of the Index of Christian Art, Princeton 

University. He is currently Professor and Head of the School 

of Art History at the University of St. Andrews. 

320 pp., 240 b/w ills., 238 x 280 mm, 

2012, HMPP 3, HB, 

ISBN 978-1-905375-34-9, € 125 

Available 

P AINTING AND 

PRACTICE 

Ann Massing has a degree in the History of Art and 

Fine Art from Indiana University, Bloomington, Indiana 

and has the title of Diplom-Restorator from the Institut 

für Technologie der Malerei, Stuttgart, Germany. She is a 

painting restorer and was Assistant to the Director of the 

Hamilton Kerr Institute from 1978 to 2007. 

Brendan Cassidy 

The Life & Letters of Gavin Hamilton (1723-1798) 

Artist & Art Dealer in Eighteenth-Century Rome 

Gavin Hamilton (1723 – 1798), the Scottish-born painter who spent most of his life in Italy, 

was one of the most prominent figures among the artists and collectors of 18 th -century Europe. 

Although he first went to Rome to further his career as a painter and pursue his interests in the 

Antique, he soon found himself in the circle of distinguished artists, critics and antiquarians, 

many of whom were British visitors to Italy on the Grand Tour seeking to build or augment 

their collections of paintings and ancient culture. It was thus an easy move for Hamilton to 

begin dealing in Old Master paintings and antiquities, and his activities as a dealer almost 

overshadowed his reputation as an innovative painter of classical themes. 

The present publication, with its introductory essay on Hamilton’s life and career, and the 

corpus of more than 300 edited and annotated letters, provides a significant contribution 

to the literature on the history of collecting. It brings evidence of Hamilton’s wide-ranging 

personal contacts with the most eminent collectors of the time and of the many great works 

of art that passed through his hands, among them Leonardo’s Madonna of the Rocks (now in 

London, National Gallery), Tintoretto’s large Adoration of the Shepherds (Cambridge, Fitzwilliam 

Museum), Salvator Rosa’s Pythagoras (Fort Worth, Kimbell Museum). The correspondence 

documents Hamilton’s dealings with agents and purchasers and provides new source material 

on the dispersal of Italian art collections, on the fate of individual pictures and more generally 

on British artistic taste in the second half of the eighteenth century. 

There is also a body of illustrations that includes both Hamilton’s own works – history paintings 

and portraits – as well reproductions of some of the works mentioned in the letters. 

The series Painting and Practice is published under the auspices of the Hamilton 

Kerr Institute, a department of the Fitzwilliam Museum. 

Ann Massing 

Painting Restoration before La Restauration 

The Origins of the Profession in France 

During the latter half of the eighteenth century, especially the period around and just after the 

French Revolution, what was happening in France in the field of painting restoration influenced 

all of Europe. In 1750 the museum in the Luxembourg Palace in Paris was opened to the 

public, and it became necessary to display to the public paintings which had been in storage 

for years. In the following decades King Louis XVI and his advisor, the Comte d’Angiviller, 

developed and enlarged the national collection of paintings. And with this came the need for 

painting restorers doing quality work – more than just the quick repairs as done by painters 

in the past – and several full-time painting restorers were employed. By the time the museum 

in the Louvre was opened to the public in 1793, in the midst of the French Revolution, the 

profession had been established. 

During the latter half of the eighteenth century, painting restoration techniques improved and 

French restorers began to travel to England and to other European countries more frequently, 

spreading their practical knowledge – especially about the lining and transfer of paintings. In 

Paris, a national concours was prepared to choose the most capable from a growing group of 

candidates, and in 1802 plans were drafted for a school of restoration. 

In this book the lives and careers of several of the more well-documented painting restorers 

for the French Royal Collection are traced one-by-one – including as much as possible about 

their restoration techniques.

Corpus Vitrearum 

C ORPUS 

VITREARUM USA 


2012, HMCV 6, HB, 

ISBN 978-1-872501-19-2, c. € 150 

Publication date scheduled for Autumn 2012 

iv + 235 pp., 140 colour ills., 250 x 320 mm, 

2010, HMCV 9, PB, 

ISBN 978-1-905375-56-1, € 80 

Available 

Following some years of preparatory research work, the United States Committee 

of the Corpus Vitrearum has begun publication, and Harvey Miller Publishers are 

producing the Corpus in a series of ten, fully illustrated Catalogues Raisonnés of the 

stained glass in collections throughout the United States. 

Renée Burnam 

Stained Glass before 1700 in the Philadelphia Museum of Art 

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 largescale 

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. Of equal importance is the holding of English armorial glass, considered to be 

the most extensive collection in the United States, while from the North and South Lowlands, the 

museum also owns an interesting group of unipartite glass panels. 

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. In addition to the main body of the catalogue, 

Dr Burnam also provides shorter descriptions of the figural glass acquired by the museum in 1945 

from the estate of George Gray Barnard and of a group of composite heraldic glass, either altered 

or dated after 1700; and finally she includes entries for further unipartite panels either damaged, 

fragmented or dated post-1700. Furthermore there is a most interesting and useful Appendix 

listing de-accessioned glass that had been acquired earlier in the museum’s history. 

How this substantial collection of stained glass was formed is the main theme of the author’s 

Introduction to this volume. She traces the acquisitions, gifts and bequests from the time of the 

founding of the museum and shows how the present collection benefitted from the enterprise and 

discernment of successive museum directors and curators, and how great the contribution has 

been by the many generous collectors, donors and benefactors. 

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. 

The Art of Collaboration: Stained-Glass Conservation in 

the 21 st Century 

Edited by Mary B. Shepard, Lisa Pilosi and Sebastian Strobl 

This publication presents current topics in stained glass conservation, with special 

consideration given to those which highlight the collaborative process. Topics include the 

transfer of technology across disciplines or national boundaries in the manufacture of stained 

glass; interdisciplinary approaches to the art historical and technical study of stained glass; 

discussions of the impact of the client on conservation decisions; etc. 

15

16 

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