bluuebunny/crossref_metadata_2025 huggingface dataset:
The Urban Landscape of Hyde Park: Adrian Stokes, Conrad and the topos of negation
Authors: Kite Stephen
Published: December 2003

Adrian Stokes's (1902‐72) construct of the urban landscape of Hyde Park as a topos of negation is a remarkable recorded instance in twentieth century criticism of the influence of environment in directing an aesthetic position. Stokes's London landscape of Hyde Park and the monuments embedded within it represented, for him, a powerful negative heuristic; a set of negative rules inscribed within his personal cultural system for the purposes of rejection, and deployed to define — in antithesis — his critical direction. His accounts of Hyde Park are, outwardly, a withering critique of Edwardian moral vacuity and Victorian eclecticism while inwardly — on the psycho‐analytic level — they register projections of inner anxiety and personal guilt at the ‘destroyed mother’ that the Park represents and drive his need to make reparation. The paper examines the formation of Stokes's mental construct of the Park through a close mapping of this landscape and a concrete examination of its artefacts in relation to readings of Stokes's own writings and those of Joseph Conrad, Ruskin and others.

Following an outline of Stokes's thought in the context of Kleinian psychoanalysis the paper takes Lakatos's concept of the negative heuristic as a point of departure to chart a journey from Stokes's childhood home in Radnor Place, Bayswater through the park to the Albert Memorial. These topographies disclose Stokes's offensive responses to the Park and its artefacts and show how — in eschewing Hyde Park and all it represents – he begins to discover formal and ethical positions that will frame the core of his architectural‐artistic theories.
Looking at Van Dyck's Scipio in its Contexts
Authors: Peacock John
Published: December 2003

Van Dyck's Continence of Scipio, painted 1620‐21 in London for the Marquis of Buckingham, introduces mythological and theatrical elements into its historical narrative, It includes an antique frieze of Medusa heads, as one of a repertory of animated objects which ironically underscore the relationships among the figures. This points up the theme of looking in the original story from Livy, and takes account of the unsettling revisions of that story and its hero both in later antiquity and the early modern period, from Florus to Petrarch and on to Castiglione. The double structure of history and comic parody specifically responds to the theatrical culture of the English court.
The Monkeys' Funeral in the Pilgrimage Window, York Minster
Authors: Hardwick Paul
Published: December 2003

The ‘monkeys' funeral’ in the lower border of the Pilgrimage Window, York Minster, has long been recognized as a ‘parody’ of the funeral of the Virgin, enacted by apes. Whilst it is frequently commented upon as a curiosity, it has not hitherto been the subject of detailed iconographic inquiry. The present article addresses the image in the context of other marginalia, both in the Minster and elsewhere, along with late medieval apocryphal and literary texts, in order to explore the possibility of iconographic meaning beyond mere decoration. It is concluded that the image may provide a pictorial gloss upon the main iconography of the window, aiding the viewer to position himself within the devotional hierarchy depicted.
The Artistic Inflation of Knowledge
Authors: Webb Nicholas
Published: December 2003

Book reviewed in this article:

Williams, Robert Art, Theory, and Culture in Sixteenth‐Century Italy: From Techne to Metatechne
Meaning the Modern
Authors: Rosenberg Eric
Published: December 2003

Books reviewed in this article:

Burns, Sarah Inventing the Modern Artist, Art and Culture in Gilded Age America

Pollock, Griselda Mary Cassat, Painter of Modern Women
The Real Presence of Christ and the Penitent Mary Magdalen in the Allegory of Faith by Johannes Vermeer
Authors: Hedquist Valerie Lind
Published: December 2003

This article considers the placement and relationship of objects in Jan Vermeer’s unusual Allegory of Faith in the context of Dutch Roman Catholicism in the seventeenth century. Contemporary illustrated mass books, Jesuit writings, and primary sources regarding the Roman Catholic mission to the Netherlands suggest that Vermeer depicted a genre scene that served as a domestic church setting where the eucharistic miracle of transubstantiation is celebrated. Additional pictorial and iconographic evidence supports the identification of the richly attired woman in Vermeer’s painting as the penitent saint Mary Magdalen, representing the figure of faith.
Lost Works of Art: the problem and a case study
Authors: Lilley Ed
Published: December 2003

This article, which is presented in two parts, aims to raise awareness of the position of lost works in art‐historical practice. The first section seeks to question the status of the information which can exist regarding work of art that are no longer extant. Without claiming to be comprehensive, it details examples of the different sorts of material that may exist (photographs, engravings, explanatory texts, etc.) and considers these in relation to the original object. The secondary sources are considered individually, as being nearer to, or further from, the original, but they are also seen together as ‘traces’. It is explicitly stated that these traces cannot provide access to the meaning of the original but that they may help to elucidate its ‘message’ (its historical, political or social significance).

The second part focuses on two lost paintings by Leclerc which were shown, as pendants, at the 1756 exhibition of the Académie de Saint‐Luc in Paris and which are now known only from a single critical text. One of them was a history painting, while the other was a genre scene. The latter, according to the textual source, depicted women in eighteenth‐century dress disrobing on the banks of a stream. It is argued that such an immodest scene would not normally have been thought fit for public exhibition in eighteenth‐century Paris and reasons are sought for its production and its exposure. The mid‐eighteenth century saw doubts cast on frivolous erotic mythology (such as is seen in Leclerc’s other painting) as being suitable for artistic depiction. Later events show that the loves of the gods were eclipsed by moral tales from ancient history (the rise of neoclassicism, in a word). It is suggested here, however, that Leclerc perhaps sought to provide an alternative. As his history picture and his genre scene were presently explicitly as pendants, he perhaps aimed to suggest that the way forward might be an acceptance of contemporary sexuality as a suitable subject in art.

The paper is exploratory in every sense. It seeks to put the question of lost works on the agenda, to provide the first, rather than the last, word on the subject. In the final analysis, it is even suggested, not entirely frivolously, that Leclerc’s paintings may never have existed. But even if they did not, a text describing possible pictures does, and this is of itself an important intervention in the thinking about suitable themes for depiction in eighteenth‐century France.
The Shock of the New?
Authors: Pheby Helen
Published: December 2003

Book reviewed in this article:

John A. Walker, Art and Outrage
Encountering Difference: Rembrandt’s Presentation in the Dark Manner
Authors: Zell Michael
Published: December 2003

Rembrandt’s etching of The Presentation of Christ in the Temple of c. 1654 has long been understood to represent a radical break from the protocols of pictorial and scriptural tradition. The significance of this theological inflection, however, has yet to be investigated. This study locates Rembrandt’s dramatic reformulation of the biblical event within a distinctive historical and religious context by considering the artist’s involvement with Rabbi Menasseh ben Israel, the foremost Jewish apologist of the seventeenth century. In 1655 Rembrandt illustrated the rabbi’s messianic treatise, Piedra Gloriosa, a book which emerged from and was fashioned to appeal directly to a movement within Dutch Protestantism known as ‘philosemitism’. Philosemitic texts are shown to correspond theologically with Rembrandt’s transformation of the scene into a confrontation between the universalist message of the Christian Gospel and the authority and ceremonial of Jewish law.
Picturing Architecture Otherwise: the voguing of the Maison Mallet‐Stevens
Authors: Becherer Richard
Published: December 2003

This essay pursues the answer to a simple question: How was it that Robert Mallet‐Stevens’s career masterpiece, the Maison Mallet‐Stevens, built in Paris in 1927, found its way into a 1929 Hollywood movie vehicle for Greta Garbo? To respond to this query, this essay confects an understanding of the Maison Mallet‐Stevens as photographic image. It explores the designer’s longstanding involvement with the French film industry, and his understanding of set décor as photogenic and fully geared to its reception by the camera. It also probes Mallet‐Stevens’s view of his architecture as publicistic, that is, as presented within the press and as capturing specific visual operations of publicity, especially montage. To make the argument, this essay describes Mallet‐Stevens’s collaboration with Thérèse Bonney, the Paris‐based American photographer and press agent. Bonney apprised Mallet‐Stevens of photography’s informational value and especially its propagandistic potential, fostering in him an understanding of his craft as engaged in an exchange with other visual industries, particularly fashion and film. As he came to acknowledge the productive capacities of these proximate realms, Mallet‐Stevens also indexed their specific production modes to his increasingly image‐attuned architecture. Doing so, the designer challenged a time‐honoured understanding of architecture as autonomous professional activity. Instead, Mallet‐Stevens came to see his architecture as a manifold, mutable, visual world capable of colonizing and annexing allied industries, vastly expanding its scope, allure and desirability – the very functions, coincidentally, it served for Garbo.
Stigmata and Sense Memory: St Francis and the Affective Image
Authors: Bennett Jill
Published: December 2003

This article analyses a detail of an early fourteenth‐century Umbrian crucifix, depicting a miniature St Francis at the feet of Christ. It reads the discrepancies of scale in the image in relation to both medieval devotional practices and theories of perception, arguing that the detail in late medieval imagery cannot be assimilated to the logic of the whole as it is in perspectivally constructed imagery. Rather, the detail retains a capacity to disrupt the whole and to function – in a manner similar to the Barthesian punctum– as a passage of affective resonance and ‘point‐of‐entry’ for the devotee. Drawing upon work on the ars memoriae and also upon contemporary theorizations of affectivity, the article points to the limitations of iconographic analysis and argues for a better understanding of the affective operations of images in this period.
Visuality and Unmediation in Burne‐Jones’s Laus Veneris
Authors: Peters Corbett David
Published: December 2003

This article argues that a contest between the image and verbal knowledge is central to the work of Burne‐Jones and that this contest thematizes cultural tensions around the capacity of the visual arts to deal adequately with the new conditions of contemporary experience. Contrary to most established readings, I argue that Burne‐Jones’s painting possessed for contemporaries the possibility of critical potential in its resistance to the instrumental values of late nineteenth‐century modernity and that this potential was expressed most powerfully through their visual character. But if Burne‐Jones’s dream was critical in this way, it was also insecure. Opposing the visual to the word as forms of effective knowledge about reality, Burne‐Jones’s paintings of the 1870s nonetheless turn out to be dependent on the word and to enact a dialectic between word and image as a central part of their constitution
Ethno‐Graphics
Authors: Highmore Ben
Published: December 2003

Books reviewed in this article:

Krzysztof Wodiczko, Critical Vehicles: Writings, Projects, Interviews

Catherine De Zegher (ed.), Martha Rosler: Positions in the Life World

JoAnn Wypijewski, Painting by Numbers: Komar and Melamid’s Scientific Guide to Art
Sighting Sound: Post Media, a Question of Genre?
Authors: Shaw‐Miller Simon
Published: December 2003

Books reviewed in this article:

Karin v. Maur, The Sound of Painting: Music in Modern Art

Michel Chion, Audio‐Vision: Sound on Screen

Nicholas Cook, Analysing Musical Multimedia

Douglas Kahn, Noise‐Water‐Meat: A History of Sound in the Arts
Brain . . . and After: From Conceptual Art to Conceptual Startegies
Authors: Corris Michael
Published: December 2003

Book reviewed in this article:

Michael Newman and Jon Bird (eds.), Rewriting Conceptual Art
Hegalian History, Wölfflinean Periodization and Smithesque Modernism
Authors: Brauer Fay
Published: December 2003

Book reviewed in this article:

Bernard Smith, Modernism’s History: A Study in Twentieth‐Century Art and Ideas
Dialektik des Monstrums: Aby Warburg and the symptom paradigm
Authors: Didi‐Huberman Georges
Published: December 2003

This text explores the fundamental relationship between Aby Warburg’s ‘psychology of expression’ and the nineteenth‐century psychology of unconsciousness. It traces the important distinctions and links between Warburg’s key concepts for thinking about images. Nachleben and the Pathosformel and nineteenth‐century models for thinking about the symptom (Charcot and Freud). Through an examination of the formal, visual and temporal structures of the symptom, and such psychoanalytic concepts as repression, the return of the repressed, displacement, conflict and compromise, the Freudian symptom emerges as a critical paradigm for understanding Warburg’s history of images as a psychopathology.
Isaac Laughing: Caravaggio, non‐traditional imagery and traditional identification
Authors: Rudolph Conrad , Ostrow Steven F.
Published: December 2003

From the time it was completed nearly four hundred years ago, Caravaggio’s painting of a nude boy embracing a ram (today in the Pinacoteca Capitolina, Rome) has confounded viewers as to its subject, which has been variously called ‘Pastor friso’, Saint John the Baptist, Corydon, Paris, and ‘nude youth with a ram’. This essay argues that none of these titles accounts for what we see in the painting and, no less importantly, what we do not. Using a range of modes of analysis, we propose a new reading of the painting as a variant on the theme of the Sacrifice of Isaac, one that has fascinating implications for Caravaggio’s conception of the viewer–subject relationship and which contributes to a deepening of our understanding of one of early modern Europe’s most innovative and provocative painters.
Violence in Paradise: André Masson’s Massacres
Authors: Monahan Laurie J.
Published: December 2003

Focusing on André Masson’s Massacres, a series of images depicting men killing women and occasionally boys, produced over a period of four years (1930–34) this article explores the ways in which violence and tragedy were imagined as a potentially revolutionary force. Disenchanted with the strategies of the organized left and the alliance the Surrealists had attempted to forge with the Communist Party, Masson reconfigured his political and pictorial strategies in the Massacres, using highly repetitive, figurative imagery of murder and catastrophe. Stripped of any traces of ‘civilized’ behaviour, Masson’s Massacres produce tragedy without resolution, a collective, unstructured violence that nevertheless turns on gendered power relations.
Style/Ecriture. On the classical ethos, women’s sculptural practice and pre‐First‐World‐War feminism
Authors: Mitchell Claudine
Published: December 2003

Appropriating the dichotomy Roland Barthes introduced between style and écriture to sculptural studies, my article reassesses the position of women sculptors in post‐Rodin modernity. In contrast to received analyses, I use the archives to offer an account of sculptural practice and the classical ethos in terms of pre‐First World War feminism. My article addresses an issue in methodology and the need to re‐examine the relation between aesthetics and politics. I analyse the ethos of the craftsmanship of style as it sustained the practice of French sculptor Jane Poupelet and informed the writing of her female audience. Comparing Poupelet’s sculptural technique to modes of writing deployed in the same period by Gide and Proust, I argue that what deeply concerned Poupelet and her female audience falls under Barthes’s concept of écriture. This involved an act of historical solidarity: the choice of the ethos through which the social function and destination of artistic practice became manifest.
Mediating Generation: the mother–daughter plot
Authors: Tickner Lisa
Published: December 2003

Virginia Woolf famously claimed that: ‘We think back through our mothers if we are women‘ and yet feminine creativity required the murder of the Angel in the House. Woolf and her sister Vanessa Bell could square this circle by drawing on Julia Margaret Cameron’s photographs of their mother – her niece and namesake – as a way of memorializing her while staking a claim to a specifically matrilineal artistic heritage.

For Harold Bloom, on the other hand, generation is a matter of oedipal rivalry and ‘creative misreading‘. The ‘anxiety of influence‘, successfully negotiated, ensures the fertility of a vigorous, patrilineal genealogy. While it is much too tidy to propose a different genealogy for feminine creativity (women mis‐read their fathers and struggle with their brothers too), it is important to note that women artists have grown up for the first time in the twentieth century in a landscape of actual as well as elective artist – mothers, and that this is in itself ‘generative‘ and has contributed to their ability to produce new forms of public and monumental art.

This paper explores the relevance of Woolf’s and Bloom’s arguments, among others, to an understanding of the patterns of inheritance and affiliation productive for women artists, with particular reference to the work of Rachel Whiteread.
Kant in Caspar David Friedrich’s Frames
Authors: Prager Brad
Published: December 2003

This essay concerns the applicability of the concepts of the sublime and the beautiful to Caspar David Friedrich’s paintings. It takes the public debate around Friedrich’s Cross in the Mountains (1807–08) as a starting point from which to reflect upon the relationship of this categorical distinction to the apparent contentiousness of his work. Using Kant’s philosophical argument, the essay explores why Friedrich’s formal interventions were not only aesthetic ones, but quite political as well. It then follows its terms into the twentieth century, considering its argument from the perspectives of Derrida and Lyotard, who have each reflected on the interrelationship of politics and sublimity in contemporary contexts.
Uses of Bestiality
Authors: Osbourne Robin
Published: December 2003

Book reviewed in this article:

Adrian Stähli, Die Verweigerung der Lüste. Erotische Gruppen in der antiken Plastik
From Being to Wellbeing: the development of a culture of comfort
Authors: Edwards Clive
Published: December 2003

Book reviewed in this article:

John E. Crowley, The Invention of Comfort: Sensibilities and Design in Early Modern Britain and Early America
Locus Focus
Authors: De Souza Pauline
Published: December 2003

Book reviewed in this article:

Julian Stallabrass and Pauline Van Mourik Broekman, Locus Solus: Site Identity, Technology in Contemporary Art
Equivocal Masculinity: New York Dada in the context of World War I
Authors: Jones Amelia
Published: December 2003

This essay explores a cluster of works by the group of artists retroactively labelled `New York Dada’ in light of the pressures exerted on masculine subjectivity during the WWI period. While the war has, for obvious reasons, been a key reference point for studies of European Dada, it has never been acknowledged (beyond passing references) as a context for the New York group (in particular, for the work of the key figures Man Ray, Francis Picabia and Marcel Duchamp). Failing to attend to the Great War as a crucial historical pressure on the group simply accepts at face value these artists’ own desire to escape the war (in the case of Picabia, Duchamp, Jean Crotti and others, by leaving Europe and coming to New York). This essay, in contrast, insists upon attending to the effects of the war environment – with its heated discourses of heroism and patriotic nationalism – on the New York Dada group (which, after all, would not have existed had these artists not left Europe for New York because of the war). Examining the relationship of each of the key NewYork Dada figures to the war, it explores a selection of their works in relation to these experiences. Ultimately, I argue that the artists’ non‐combatant masculinity, compromised in the face of dominant discourses of militarized masculinity, is eerily and disconcertingly echoed by the predominance of shadows, gaps and absences in their visual art works.
Re‐viewing landscapes
Authors: Lübben Nina
Published: December 2003

Books reviewed:

Steven Adams and Anna Gruetzner Robins (eds) Gendering Landscape Art

Greg M. Thomas Art and Ecology in Nineteenth‐Century France: The Landscapes of Théodore Rousseau
Furnishing references
Authors: Jones David
Published: December 2003

Book reviewed:

Clive Edwards Encyclopaedia of Furniture Materials, Trades and Techniques
Frank Pick’s Britain
Authors: Radford Robert
Published: December 2003

Book reviewed:

Michael T. Saler The Avant‐Garde in Interwar England: Medieval Modernism and the London Underground
The Birth of Late Antiquity: Riegl and Strzygowski in 1901
Authors: Elsner Jas´
Published: December 2003

This paper celebrates the anniversary of the publication of Alois Riegl's Spätrömische Kunstindustrie and Josef Strzygowski's Orient oder Rom in 1901. The significance of these two books and the polemic that developed between their authors and their adherents goes to the heart of the development of late‐antique studies in the history of art. But beyond this, it exemplifies what was best in the characteristic scholarship of the ‘Vienna School’– empiricism embedded in idealism – and the dangers of teleological politics to which such Austro‐German art– historical theorizing ran the risk of succumbing, especially by the 1920s and 1930s. Yet the legacy of the Vienna School's methodological intervention in art history through the emphasis on style runs longer still than the middle of the century. The paper explores also some of the effects of Vienna‐style empiricism in the much more recent works of Ernst Kitzinger and Ernst Gombrich.
Modernity and subjectivity in China
Authors: McCausland Shane
Published: December 2003

Jonathan Hay Shitao: Painting and Modernity in Early Qing China
‘When Y refers to X. . .’
Authors: Lewis Adrian
Published: December 2003

David Bromfield, Garey Hickey, Shigemi Inaga, Akiko Mabuchi and Virginia Spate Monet and Japan
West meets East
Authors: Rogers Mary
Published: December 2003

Lisa Jardine and Jerry Brotton Global Interests. Renaissance Art between East and West
Looking at Cézanne through his own eyes
Authors: Chun Young–Paik
Published: December 2003

Steven Platzman Cézanne: the self‐portraits

Heather McPherson The Modern Portrait in Nineteenth‐Century France

Michael Doran (ed.) Conversations with Cézanne
Writing French art histories of dissension in the shadow of Vichy
Authors: Brauer Fay
Published: December 2003

Christopher Green Art in France 1900–1940

Michèle C. Cone French Modernisms: Perspectives on Art Before, during and After Vichy
Monuments and Texts: Antiquarianism and the Beauty of Antiquity
Authors: Lolla Maria Grazia
Published: December 2003

Maria Grazia Lolla has published articles in English and Italian on various aspects of antiquarianism, aesthetics and eighteenth–century culture, as well as on Caribbean poetry and literature. She received her PhD from the University of Cambridge, has been awarded fellowships from the British Council and the Italian Ministry of Foreign Affairs, and has held research fellowships at the Wesleyan University Center for the Humanities and the Huntington Library. Now at work on Rivers Unknown to Song: Antiquarian Explorations of the East and West Indies, she is an adjunct professor at New York University.

From the beginning of the Renaissance antiquaries had been publishing monuments at such a pace that publishing as much as collecting or studying monuments could be counted amongst the defining features of antiquarianism. However widely and routinely practised, the publication of monuments revealed substantial divisions within the world of antiquarianism. Antiquaries were faced with the choice of either textualizing monuments – turning monuments from visual or tactile objects into reading material – or attempting to reproduce their materiality – even if the monument was a text. The paper analyses Johann Joachim Winckelmann’s Monumenti antichi inediti (1767) as a significant example of the former and the discussion concerning the publication of Domesday Book that took place in the rooms of the London Society of Antiquaries in 1768 as a compelling example of the latter. Juxtaposed to one another, Monumenti antichi inediti and the projected facsimile of the Domesday Book provide mutually revealing accounts of the aesthetic and intellectual complexities of eighteenth–century antiquarian practice. Where Winckelmann patently sought to rid monuments of their materiality in an effort, perhaps, to nobilitate antiquarianism – while nevertheless keeping it in a suitably ancillary position to literature – the fellows of the Society of Antiquaries chose the facsimile as the vehicle of preservation and transmission best suited to conveying their admiration of texts as material objects, indeed, as non–representational art. As necessarily (and self–consciously) imperfect attempts to reproduce original monuments, facsimiles provide both a marker of deep scepticism about the possibility of ever really knowing the past and a precious trace of past versions of the past – of what could be seen and deemed worthy of preservation, scholarly investigation and aesthetic appreciation.
Facts or Fragments? Visual Histories in the Age of Mechanical Reproduction
Authors: Arnold Dana
Published: December 2003

Dana Arnold is Professor of Architectural History at the University of Southampton. She is the series editor of New Interventions in Art History and general editor of two further series: Companions to Art History and Anthologies in Art History, all published by Blackwell. Her recent publications include Reading Architectural History (Routledge, 2002), Re–presenting the Metropolis: Architecture, Urban Experience and Social Life in London (Ashgate, 2000) and the edited volume The Metropolis and its Image Constructing identities for London c. 1750––1950 (Blackwell, 1999). She is the author of the forthcoming A Very Short Introduction to Art History (Oxford University Press, 2003).

The Temples at Paestum were ‘rediscovered’ in the mid–eighteenth century and information about the temples in the form of printed images was widely disseminated across Europe. In this essay attention is paid to innovative forms of visual representation and their relationship to the ever–refining set of cultural values applied to and associated with antiquity. This new visual language made three–dimensional objects widely available in a readable and coherent two–dimensional formula and equipped polite society with the critical faculties necessary to determine the associative values of Modern and Antique architecture and design. The importance of this new language and its impact on the quality of experience of the past and the development of aesthetic ideas and histories in the eighteenth century allows the exploration of the changing relationship between text and image which is a theme in this article. Moreover, the relationship of prints to the original object both in terms of the effect on its aura and the print acting rather like an historian as an interlocutor between the original (event) and the viewer (reader) is also considered here. This raises important questions about the relationship between the mass–produced image and the original, and the implications for the aura and status of the original object in an era before Walter Benjamin’s ‘Age of Mechanical Reproduction’.
The Sources and Fortunes of Piranesi’s Archaeological Illustrations
Authors: Dixon Susan M.
Published: December 2003

Susan M. Dixon earned her doctorate from Cornell University in 1991 with a dissertation on the archaeological publications of Giovanni Battista Piranesi. She studies the history of pre–scientific archaeology, from Pirro Ligorio to Piranesi, with a particular focus on illustration as a means to convey historical knowledge. She has published on this subject in a variety of venues, and is beginning a book–length manuscript on the subject. In 1995–96, she was awarded a J. Paul Getty post–doctoral fellowship to study the Accademia degli Arcadi, a society founded in 1690 primarily to restore good taste in literature, and its successes and failures in bringing about the reform of Italian society and architecture. She has written a book entitled The Bosco Parrasio: Performance and Perfectibility in the Garden of the Arcadians, which focuses on their garden meeting place as a breeding ground for a utopian society. Dr Dixon teaches art history at the University of Tulsa in Oklahoma.

Giovanni Battista Piranesi (1720–1778) developed a way of representing the archaeological past by using the multi–informational image, an engraved illustration which appears to be a composite of various drawings, on various surfaces, and employing various modes of representation, scale and detail. The cartographic tradition, particularly maps from sixteenth–century Europe, offer a precedent for this type of illustration. Piranesi found theoretical underpinnings for it in contemporary discussions about the workings of the human memory, which was identified as a viable tool for those pursuing historical knowledge. His illustrations make visible the processes of memory on an assemblage of archaeological information, and they were a means to historical reconstruction.

Archaeologists of the generation after Piranesi did not use the multi–informational image as the science of archaeology underwent a sea change at the end of the century. However, some compilers of travel literature, in particular Jean–Laurent–Pierre HoÃel, author and illustrator of Voyage pittoresque des isles de Sicile, de Malte, et de Lipari, found the format suitable to their purposes. Like Piranesi’s, Hoüel’s multi–informational images reveal the hand of the artist on the information he had diligently collected and ordered; Hoüel’s picturesque illustrations of the southern Italian islands’ people and places are self–consciously subjective. The format also makes apparent what was so appealing to many a voyager –the apparent survival of the past in the culture of the present.
Data, Documentation and Display in Eighteenth–Century Investigations of Exeter Cathedral
Authors: Smiles Sam
Published: December 2003

Sam Smiles is Professor of Art History at the University of Plymouth. His books include The Image of Antiquity: Ancient Britain and the Romantic Imagination (Yale University Press, 1994) and Eye Witness: Artists and Visual Documentation in Britain, 1770–1830 (Ashgate, 2000). He wrote J.M.W. Turner (2000) for the Tate Gallery’s British Artists series and is currently working on a re–evaluation of Turner and his critical legacy.

Antiquarian inquiries into mediaeval architecture developed new approaches in the eighteenth century. In England, empirical observation, drawing inferences from the built structure and its embellishments, was championed as a corrective to the authority of earlier written accounts. Starting in the middle decades of the eighteenth century, medievalist research was put on a new footing, with careful surveys and accurate drawings promoted as the means to recuperate the development of mediaeval building techniques and architectural style. The work done on Exeter Cathedral is an early example of this turn in antiquarian research. With two nationally important antiquarians serving successively as Deans, Charles Lyttleton and Jeremiah Milles, work on restoring and researching the cathedral was undertaken from the 1740s onwards. The Cathedral was also one of the first to be published by the Society of Antiquaries (1797), with important engravings after John Carter’s drawings, and essays by Charles Lyttleton and Sir Henry Englefield. The success of Lyttleton, especially, in overturning the received understanding of the Cathedral’s development is notable, but his terminological looseness and his respect for textual authority were to be challenged in their turn by Englefield. The clarification of the history of Exeter Cathedral can thus stand as an epitome of wider changes in method in antiquarian scholarship in the second half of the eighteenth century.
Every Man is Naturally an Antiquarian: Francis Grose and Polite Antiquities
Authors: Bending Stephen
Published: December 2003

Stephen Bending is a Lecturer in the English Department at the University of Southampton. He has written numerous articles on landscape and polite culture in the eighteenth century and has co–edited with James Raven and Antonia Forster The English Novel 1770–1799: A Bibliographical Survey of Prose Fiction in the British Isles (Oxford University Press, 2000), and with Stephen Bygrave Henry Mackenzie’s, The Man of Feeling (World’s Classics, 2002), and is editor of the forthcoming anthology, The Writing of Rural England, 1500–1800 (Longman, 2002).

Francis Grose produced well over a thousand low–cost antiquarian images of the antiquities of England and Wales. While it may be tempting to dismiss him as a mere popularizer and a charlatan, his works open up to a wide national public the antiquities of their native land. Central to his venture is at once the commodification of the past and an attempt to represent that commodification as nothing of the kind. Grose sets about repackaging the old as the new – a now classic act of consumerism – but also works hard to deny this activity by drawing on the language of scholarship and accuracy. Ultimately, his cheaply produced and mass–marketed images and texts demonstrate an antiquarian past which repeatedly collapses into a commercial present: cheap prints for a mass market create a national past in the very act of contemporary consumer aesthetics.
Voyage: Dominique–Vivant Denon and the Transference of Images of Egypt
Authors: Moore Abigail Harrison
Published: December 2003

Abigail Harrison Moore is a lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. She recently obtained her PhD from the University of Southampton, entitled Imagining Egypt: The Regency Furniture Collections at Harewood House, Leeds and Nineteenth–Century Images of Egypt. Her current research focuses on the theory, history and historiography of material culture and museum studies.

Focusing on the images in Dominique–Vivant Denon’s Voyage dans la Basse et la Haute d’Egypte (1802), this article explores the relationship between Denon’s illustrations of Egypt and the creation of a politically charged style of design in France and England at the beginning of the nineteenth century. The process of transcribing a historic site creates something that is at once removed from its original situation and, thus, the meaning of the image is altered depending upon its context of use. Previous regimes had turned to revivalism and its powerful aura of the past to support their hegemonic activities in the present, and Denon is shown to use the past to define the present in post–Revolutionary France. By using the example of Voyage and theorizing it by way of resources provided in the work of Roland Barthes, this essay aims to explain some of the processes that reconfigured the image of Egypt in France and England at the beginning of the nineteenth century.
Specimens of Antient Sculpture: Imperialism and the decline of art
Authors: Ballantyne Andrew
Published: December 2003

Andrew Ballantyne is Professor of Architecture at the University of Newcastle. He is the author of Architecture, Landscape and Liberty: Richard Payne Knight and the Picturesque (Cambridge University Press, 1997) and Architecture: A Very Short Introduction (Oxford University Press, 2002). He is the editor of What is Architecture? (Routledge, 2002) and Architectures, in the Blackwell/AAH series New Interventions in Art History.

When Richard Payne Knight wrote his commentaries on ancient sculpture, his analysis was characteristically wide–ranging. The observations are informative about the sculptures themselves, but scholarship has advanced, and the writings have been superseded. The remarks with which Knight positioned the works in their various cultural and political contexts are of continuing interest, particularly because they show him making connections between the organization of society and the qualities of its art. The great evil of Knight’s own day was, as he saw it, Napoleon’s imperialism; and he projected this current concern back into the analysis of ancient sculpture, so that the unmatched beauty of the works from ancient Greece began its decline from the moment when Alexander the Great started his empire–building campaigns. For Knight, as for Winckelmann, the artistic and architectural productions of the ancient Greeks were ideal because they were the productions of an ideal society. This analysis is complicated by the fact that attributions have changed, and the relative merits of individuals’ works have shifted. The engraved plates that illustrate the commentaries remain impressive, however, and they are themselves artistic productions, the aim of which was to give a clear impression of the sculpture. Knight’s commentary includes critical remarks when their effects were too picturesque, despite his fondness for such effects in their proper place.
Francis Wey and the Discourse of Photography as Art in France in the Early 1850s: ‘Rien n’est beau que le vrai; mais il faut le choisir’
Authors: Denton Margaret
Published: December 2003

In the last two decades writers on photography have been critical of the practice of designating nineteenth–century photography as art, exposing it as part of the modernist enterprise of stripping the photographs of their utilitarian and social functions – or at least reducing the importance of those functions – so that they can enter the realm of high art in a purified state. However, photography as art was one of the discourses that developed in the nineteenth century. The beginnings of this discourse in France are the subject of this article, specifically, the writings of Francis Wey, writer, linguist, critic and member of the Société héliographique, which was founded in 1851 to promote photography. This article examines Wey’s attempts to situate photography within a general aesthetic discourse in which traditional principles of harmony are reconciled with Realist aims.
Double Perspective: Thomas Eakins in exhibition and print
Authors: Schleif Nina
Published: December 2003

Philadelphia Museum of Art, Thomas Eakins: American Realist
Double Perspective: Thomas Eakins in exhibition and print
Authors: Jordanova Ludmilla
Published: December 2003

Darrell Sewell (ed), Thomas Eakins
Pisanello pictor egregius redivivus
Authors: Shepherd Rupert
Published: December 2003

Luke Syson and Dillian Gordon Pisanello: Painter to the Renaissance Court

National Gallery Pisanello: Painter to the Renaissance Court
Time is of the essence: histories, bodies and art
Authors: Meskimmon Marsha
Published: December 2003

Mieke Bal, Quoting Caravaggio: Contemporary Art, Preposterous History
For adults only
Authors: Giebelhausen Michaela
Published: December 2003

Nicola Bown, Fairies in Nineteenth–Century Art and Culture
Cultural history’s crumpled handkerchief
Authors: Highmore Ben
Published: December 2003

Dana Arnold, Re–presenting the Metropolis: Architecture, Urban Experience and Social Life in London 1800–1840

Kate Flint, The Victorians and the Visual Imagination

Lynda Nead, Victorian Babylon: People, Streets and Images in Nineteenth–Century London
Towards an archaeology of modern painting
Authors: Kirsh Andrea
Published: December 2003

Harry Cooper and Ron Spronk, Mondrian: The Transatlantic Paintings
The minimum effective doses of pethidine and doxapram in the treatment of post‐anaesthetic shivering
Authors: Wrench I. J. , Singh P. , Dennis A. R. , Mahajan R. P. , Crossley A. W. A.
Published: December 2003

This study was designed to find the minimum effective doses of doxapram and pethidine to stop post‐anaesthetic shivering. Two hundred and twenty healthy patients who shivered following routine surgery were allocated randomly to receive one of 10 doses of doxapram (0.18, 0.23, 0.29, 0.35, 0.41, 0.47, 0.7, 0.93, 1.17 and 1.4 mg.kg−1), one of five doses of pethidine (0.12, 0.18, 0.23, 0.29 and 0.35 mg.kg−1) or saline. Probit analysis demonstrated that the number of patients who stopped shivering with doxapram was independent of the amount of drug given in this dose range. The lowest dose of doxapram (0.18 mg.kg−1) was significantly more effective than placebo (p < 0.01). For pethidine there was a dose‐dependent effect on shivering to a maximum of 95% of patients successfully treated with 0.35 mg.kg−1. We conclude that 0.35 mg.kg−1 of pethidine is the minimum dose required to treat post‐anaesthetic shivering effectively. We also conclude that 0.18 mg.kg−1of doxapram is as effective as 1.4 mg.kg−1 in the treatment of post‐anaesthetic shivering. Further study is required to find the minimum effective dose of doxapram.
Accidental bronchial intubation
Authors: McCoy É. P. , Russell W. J. , Webb R. K.
Published: December 2003

Accidental bronchial intubation was examined in the first 3947 cases reported to the Australian Incident Monitoring Study and was found to have accounted for 154 (3.7%) of the total incidents reported. Most incidents were detected in the operating theatre (93.5%) and during maintenance of anaesthesia (77.9%), by unexplained oxygen desaturation alone (63.6%). Capnography remained normal or unremarkable during 88.5% of the episodes. One‐third of cases were associated with head or neck surgery and possible flexion of the patient’s head. A RAE tube was used in 20% of incidents, a greater frequency than occurred in the study overall. A third party was implicated in 36 (23.4%) of cases. Ninety per cent of cases were considered preventable. Major morbidity occurred in three cases and unplanned intensive care admission was required in a further five. Almost two‐thirds (61.1%) of the incidents might have been avoided by the proposed markings on the tracheal tube. We conclude that when arterial desaturation occurs at any stage during anaesthesia the possibility of bronchial intubation must be considered. Asymmetrical ventilation may be difficult to detect clinically and in most cases there is no change in capnography.
An alternative method of nitrous oxide delivery into a minimal‐flow circle breathing system
Authors: Nel M. R. , Watts J. D. , Lockwood G. G.
Published: December 2003

We have sought to define a way in which nitrous oxide can be safely and universally used at minimal to low flows by utilising a circle system with a controlled leak provided by a standard gas analyser sampling line and a fresh gas supply of 50% nitrous oxide in oxygen, entering from a trunk interposed between the ventilator and the circle system. Although preliminary calculations suggested that this arrangement was likely to work, it was found that 13 of 23 patients studied prospectively developed an inspired oxygen fraction below 0.3. We conclude that, although this arrangement provides a new means of introducing nitrous oxide into the circle breathing system, it does not appear inherently safer or more convenient than the conventional route.
Short Form 36 in the intensive care unit: assessment of acceptability, reliability and validity of the questionnaire
Authors: Chrispin P. S. , Scotton H. , Rogers J. , Lloyd D. , Ridley S. A.
Published: December 2003

The aim of this study was to assess the acceptability, validity and reliability of the Short Form 36 quality of life questionnaire in 166 adult patients following discharge from a general intensive care unit. Reliability was quantified by measuring internal consistency using correlation among items and Cronbach’s alpha coefficient. Reliability coefficients were calculated from two‐way analysis of variance. Construct validity was tested by examining differences in scores between sex and age groups. Content validity was reflected by the spread of dimension scores. Acceptability to patients appeared reasonable, although considerable nursing time was required to administer the questionnaire. The measures of reliability exceeded recognised statistical standards in all but two instances. Construct validity was confirmed by lower scores being reported by women and older age groups. The scores of six of the eight dimensions were spread throughout the entire range of possible scores suggesting acceptable content validity.
Differential effects of sex hormones on autoantibody production and proteinuria in chronic graft-versus-host disease-induced experimental lupus nephritis
Authors: VAN GRIENSVEN M , BERGIJK E C , BAELDE J J , DE HEER E , BRUIJN J A
Published: December 2003

In patients with systemic lupus erythematosus, the female-to-male ratio is as high as 10:1. Sex hormones are thought to play a role in this difference in susceptibility. In a previous study, we demonstrated a high susceptibility of female mice to the development of glomerulonephritis after induction of chronic graft-versus-host disease (GVHD), compared with male mice. In order to unravel further this gender-related difference (C57Bl/10*DBA/2)F1 hybrid mice were either castrated or ovariectomized and treated with 17β-ethinyloestradiol or testosterone-decanoate preceding the induction of chronic GVHD. Testosterone-decanoate reduced significantly the development of albuminuria in females. In contrast, proteinuria of 17β-ethinyloestradiol-treated female mice was in the same range as that of sham-operated mice. Autoantibody levels against glomerular basement membrane, renal tubular epithelium, dsDNA and ssDNA, as determined by ELISA, were higher in 17β-ethinyloestradiol-treated female mice than in all other groups. Immunofluorescence studies showed the presence of immunoglobulin and complement deposits in glomeruli of all animals, without significant differences between the experimental groups. Our findings confirm earlier observations, in that testosterone-decanoate is shown to be an inhibitory compound, whereas 17β-ethinyloestradiol has stimulating properties in autoimmunity. Moreover, our results show for the first time differential hormonal effects on autoantibody levels and proteinuria in experimental lupus nephritis.