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Manuscripts, Greek (Papyri) --- Epic poetry, Greek --- Ships in literature. --- Papyrus grecs --- Poésie épique grecque --- Navires dans la littérature --- Criticism, Textual. --- Critique textuelle --- Homer --- Homer. --- Scholia. --- Oxyrhynchus papyri. --- Bahnasa (Egypt) --- Bahnasa¯ (Egypte) --- Antiquities. --- Antiquités --- Poésie épique grecque --- Navires dans la littérature --- Bahnasā (Egypt) --- Bahnasā (Egypte) --- Antiquités --- Ships in literature --- Greek papyri --- Papyri, Greek --- Manuscripts, Classical (Papyri) --- Manuscripts (Papyri) --- Criticism, Textual --- Homeros --- Homère --- POxy --- Al Bahnasā (Egypt) --- El-Bahnasa (Egypt) --- Oxirrinc (Egypt) --- Oxyrhynchos (Egypt) --- Homerus --- Hóiméar --- Hūmīrūs --- Gomer --- Omir --- Omer --- Omero --- Ho-ma --- Homa --- Homérosz --- האמער --- הומירוס --- הומר --- הומרוס --- هومر --- هوميروس --- 荷马 --- Ὅμηρος --- Гамэр --- Hamėr --- Омир --- Homero --- 호메로스 --- Homerosŭ --- Homērs --- Homeras --- Хомер --- ホメーロス --- ホメロス --- Гомер --- Homeri --- Hema --- Pseudo-Homer --- Pseudo Omero --- Epic poetry, Greek Criticism, Textual

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"In June 2012, an early manuscript by renowned art historian Erwin Panofsky was discovered in a vault in a government building in Munich. The manuscript was quickly identified as Panofsky's habilitationsschrift on Michelangelo, a long-missing and legendary document that certified Panofsky to lead university courses, and about which scholars had speculated for decades. The manuscript's origins date back to late spring of 1920 (and was completed when its author was twenty-eight), but in 1933, Panofsky was forced to flee Nazi Germany without being able to go through his office or papers. The manuscript disappeared in the years leading up to World War II and was thought destroyed in the fire-bombing of Hamburg. Following his emigration to the United States in 1934, Panofsky joined the faculty of the newly-formed Institute for Advanced Study, and went on to author a dozen books, including three with Princeton University Press. The discovery of the actual manuscript was featured on the fr ont pages of the major German newspapers and reported throughout the world. It consists of 334 pages, typewritten, with extensive handwritten amendments, notes, and edits. According to Gerda Panofsky, her husbanded had continued to expand and edit the manuscript until 1922, and was preparing it for publication when he had to leave it behind. In this study, Panofsky provides a detailed analysis of Michelangelo's artistic style, comparing Michelangelo directly with Raphael, and then later taking a larger historical view. This text offers important new information about the evolution of Panofsky's scholarship, as well as on the state of research on Michelangelo and the High Renaissance during a period of transition for the discipline, in which formal readings of artworks began to take precedence over artists' biographies. It is a crucial link between the formalist years of Panofsky's training as young art historian, and the iconological thought of his mature work. The book features an int rouction by Gerda Panofsky that provides historical and historiographical context for the manuscript's origins and content"--

Michelangelo Buonarroti, --- Raphael,