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Galileo's O, Band III, ist in der Buchgeschichte ohne Vorbild. Ein Kreis von Spezialisten der Kunst-, Buch-, Wissenschafts-, Material- und Restaurierungsgeschichte korrigiert in diesem Werk die eigenen Ergebnisse der ersten beiden Bände. In deren Zentrum stand das New Yorker Exemplar von Galileis "Sternenboten" (Sidereus Nuncius) von 1610. Die Analyse war als Beispiel einer umfassenden Kooperation gedacht, und zahlreiche Ergebnisse sind nach wie vor gültig, doch das zentrale Objekt hat sich als Produkt einer internationalen Gruppe von Fälschern erwiesen. Indem Band III die Chronologie und die Methoden dieser Entdeckung beschreibt, könnte er eine Art Wasserscheide im andauernden Wettstreit zwischen den immer feineren Methoden von Fälschern und den neuen Methoden darstellen, ihnen auf die Spur zu kommen. Das Buch ist schließlich auch ein Psychogramm von Spezialisten, die gleichsam gegen sich selbst forschen, um vergleichbare Irrtümer in Zukunft zu vermeiden. Galileo's O, Volume III, is perhaps without peer in the history of the book. In this work, historians in various fields revise the results they presented in the first two volumes, which focused on the New York copy of Sidereus Nuncius, written in 1610. The analysis of this book was conceived as a uniquely multidisciplinary and cooperative undertaking, and many of its findings remain valid. Yet the subject of analysis proved to be the work of an international group of forgers. Volume III describes the chronology and methods by which the discovery of forgery was made - a veritable watershed moment in the continuing struggle between the ever-more refined methods of forgers and new methods used to apprehend them. Ultimately, the work also provides insight into the psychology of specialists who "research themselves" in order to prevent similar errors in the future.

ART / History / General.

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With a multi-perspective approach and transdisciplinary methods (humanities and sciences), this book offers an in-depth and systematic study of hand-drawn and hand-coloured maps from East Asia. Map colouring provides an insight into past societies, landscapes and territories. Colour is an important key to a more precise understanding of the map’s content, purposes and uses; moreover, colours are also an important aspect of a map’s materiality. The material scientific analysis of colourants makes it possible to find out more about maps’ material nature and their production as well as the social, geographical and political context in which they were made. ‘Reading’ colours in this way gives a glimpse into the social lives of mapmakers as well as map users and reveals the complexity of the historical and social context in which maps were produced and how the maps were actually made.

Art History. --- Asian Studies. --- Art history --- History of art

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In a discipline forever subject to ad hoc or opportunistic research, where the differences between descriptive, comparative, and intellectual analyses are increasingly blurred, W. McAllister Johnson offers these provocative, 'issues-oriented' essays, an effort to address the intellectual bases of art history in relation to everyday work. The essays attempt to bridge the gap between theory and practice through common sense and a measure of realism that is sometimes humorous, sometimes brutal. Conversational in tone, the book is intended to stimulate reflection rather than serve as a reference book or manual. Through the constant interweaving of intellectual and art history with practical instructions that address concretely and in detail the realistic needs of students and writers, Johnson speaks to the field itself rather than to its externals. He deals with such different matters as the nature and evolution of the research process, university and public life, bibliography, and cataloguing. These essays discuss major questions that should arise in courses in bibliography, methodology, and historiography, once the survey courses are left behind. Art librarians have previously had little to offer between introductory works or manuals and specialized literature. Yet, beyond what interests one or what can be judged in the light of personal or professional experience, everyone needs a foil that goes beyond immediate needs and forces him or her to reassess method and attitudes. In this book Johnson offers just such an instrument.

Art --- Historiography. --- History --- art history --- Art - Historiography

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A guide to the establishment of the library which covers materials acquisition, the organization and usage of the library's collection to provide a variety of services and the use of automation.

Art --- History. --- Art history --- History of art

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Major General Sir Isaac Brock is remembered as the Hero of Upper Canada for his defence of what is now Ontario during the War of 1812, and also for his noble death at the Battle of Queenston Heights. In the more than two centuries since then, Brock’s likeness has been lost in a confusing array of portraits—most of which are misidentified or conceptual. The 1824 monument constructed to honour Brock’s sacrifice was destroyed in 1840 by Benjamin Lett, a disgruntled disciple of William Lyon Mackenzie and critic of the Upper Canadian elite. The replacement and subsequent commemorations emphasized a patriotic desire to visualize the hero's appearance. But despite uncovering an authentic portrait painted only a few years before Brock's death, a series of false faces were promoted to serve competing claims and agendas. St-Denis situates Brock’s portraits within an emerging English Canadian imperial nationalism that sought a heroic past which reflected their own aspirations and ambitions. A work of detailed scholarship and a fascinating detective story, The True Face of Sir Isaac Brock details the sometimes petty world of self-proclaimed guardians of the past, the complex process of identification and misidentification that often occurs even at esteemed Canadian institutions, and St-Denis’ own meticulous work as he separates fact from fiction to finally reveal Brock’s true face.

Art History --- Sir Isaac Brock --- Art Authenticity