Enfilade

From Somogy:

Pauline Prévost-Marcilhacy, ed., Les Rothschild: Une Dynastie de Mécènes en France, 3 volumes (Paris: Somogy éditions d’Art, 2016), 1112 pages, ISBN: 978-2757202128, 290€.

Grands collectionneurs et mécènes d’exception selon une tradition familiale « qui veut qu’à chaque génération, nous nous efforcions d’enrichir de notre mieux le patrimoine de notre pays », les Rothschild ont joué un rôle essentiel dans le domaine culturel depuis le dernier quart du XIXe siècle. L’ampleur de leur générosité à l’égard des musées et des collections publiques françaises—près de cent vingt mille œuvres d’art données à plus de deux cents institutions—est pour la première fois l’objet d’une publication d’envergure. De l’Antiquité à nos jours, toutes les périodes de l’histoire de l’art y sont représentées, ainsi que tous les continents et les domaines de création.

Pour mener à bien cet ambitieux projet, Pauline Prevost-Marcilhacy a réuni cinquante-trois spécialistes, conservateurs et universitaires, français et étrangers, qui explorent ici tous les aspects de ce mécénat exceptionnel.

Auteurs: Sous la direction de Pauline Prevost-Marcilhacy, Historienne de l’art – avec les textes de Mathilde Avisseau-Broustet (BNF), François Avril (BNF), François Baratte (Universitaire), Marc Bascou (Louvre), Blaise Ducos (Louvre), Gwenaëlle Fellinger (Louvre), Anne Forray-Carlier (Musée des Arts décoratifs), Pascale Gorguet-Ballesteros (Musée Galliéra), Dominique Hollard (BNF), Philippe Malgouyres (Louvre), Julie Olivier (BNF), Alain Pasquier (Louvre), Evelyne Possémé (Musée des Arts décoratifs), Marie-Hélène Tesnière (BNF), Dominique Thiébaut (Louvre), Dimitrios Zikos (Universitaire).

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V O L U M E  1 :  1 8 7 3 – 1 9 2 2

Les Rothschild: Une Dynastie de Mécènes en France

Edmond James de Rothschild (1845–1934)
• Edmond James de Rothschild
• Edmond James et Gustave de Rothschild, mécènes de l’archéologue et donateurs au musée du Louvre, 1873
• Le trésor de Boscoreale au musée du Louvre, 1895
• Dons de la baronne James Édouard et du baron Edmond James de Rothschild au département des Manuscrits de la Bibliothèque nationale, 1902–08
• Dons de costumes rares du baron et de la baronne Edmond James de Rothschild au musée Carnavalet et au musée des Arts décoratifs, 1906–08
• Le mécénat envers les artistes vivants, 1906–20
• Un ensemble de moucharabiehs au musée du Louvre et au musée des Arts décoratifs, 1920

Alphonse de Rothschild (1827–1905)
• Alphonse de Rothschild
• Le mécénat envers les artistes vivants en faveur des musées de région, 1895–1905

Charlotte de Rothschild (1825–1899) et Nathaniel de Rothschild (1812–1870)
• Charlotte et Nathaniel de Rothschild
• Dons et legs de la baronne Nathaniel de Rothschild, 1885–99
• Le goût pour la Renaissance italienne, musée du Louvre, 1899
• Un ensemble de coffrets en cuir au musée des Arts décoratifs, 1899
• Une collection de bijoux au musée des Arts décoratifs, 1899

Adolphe de Rothschild (1823–1900) et Julie de Rothschild (1830–1907)
• Adolphe et Julie de Rothschild
• L’art médiéval au musée du Louvre et au musée de Cluny, 1901
• Les objets de la Renaissance, musée du Louvre, 1901

James Édouard de Rothschild (1844–1881) et Thérèse de Rothschild (1847–1931)
• James Édouard et Thérèse de Rothschild
• Les manuscrits de la première rédaction des œuvres de Brantôme à la Bibliothèque nationale, 1903
• Monnaies et pierres gravées au Cabinet des médailles de la Bibliothèque nationale, 1903–04

Arthur de Rothschild (1851–1903)
• Arthur de Rothschild
• Une collection de bagues au musée de Cluny, 1904
• Peintures flamandes, hollandaises et françaises au musée du Louvre, 1904

V O L U M E  2 :  1 9 2 2 – 1 9 3 5

Salomon de Rothschild (1838–1864) et Adèle de Rothschild Pauline (1843–1922)
• Salomon et Adèle de Rothschild Pauline
• Peintures, dessins et sculpture, 1922
• Un ensemble exceptionnel d’orfèvrerie et de bijoux, 1922
• Ivoires et Bronzes, 1922
• Arts du feu de la Renaissance, 1922
• Armes occidentales, 1922
• Objets d’art islamique, 1922
• Porcelaines du XVIIIe siècle, 1922
• Tabatières du XVIIIe siècle, 1922
• Montres et écailles piquées, 1922
• Meubles et tapisseries du XVIIIe siècle, 1922
• Objets d’art d’Extrême-Orient, 1922
• Manuscrits, 1922
• Livres et estampes, 1922
• Albums de photographies, 1922
• Monnaies, 1922

Robert de Rothschild (1880–1946)
• Robert de Rothschild
• Dons au musée des Arts décoratifs

Henri de Rothschild (1872–1946)
• Henri de Rothschild
• Le mécénat envers les artistes vivants en faveur des musées de régions, 1906–194
• Têtes de mort au musée des Arts décoratifs, 1926
• Autographes à la Bibliothèque nationale, 1933

Alice de Rothschild (1847–1922)
• Pipes et boîtes d’allumettes
• Don d’Alice de Rothschild à la bibliothèque de Grasse, 1927

Béatrice Ephrussi de Rothschild (1864–1934)
• Béatrice Ephrussi de Rothschild
• Sculptures, 1933
• Peintures italiennes et espagnoles, 1933
• Le XVIIIe siècle à la villa Ephrussi de Rothschild, 1933
• Porcelaines françaises, 1933
• Porcelaines étrangères, 1933
• Biscuits, 1933
• Textiles, 1933
• Arts d’Extrême-Orient, 1933
• Peintures et dessins du XIXe siècle, 1933

V O L U M E  3 :  1 9 3 5 – 2 0 1 6

La Donation Edmond de Rothschild au Département des Arts Graphiques du Musée du Louvre, 1935
• Histoire de la constitution d’un « Musée de la gravure »
• Les nielles
• Les débuts de la gravure en Allemagne, dans les anciens Pays-Bas et en Italie
• Dürer et Rembrandt
• Les estampes allemandes du XVIe siècle
• La gravure flamande au XVIe siècle
• Les estampes italiennes du XVIe siècle
• Les estampes françaises du XVIe siècle
• Les estampes du XVIIe siècle
• Les estampes du XVIIIe siècle
• Les gravures d’architecture, d’ornements et d’arts décoratifs du XVIIIe siècle
• Les dessins du XVe siècle au XVIIIe siècle
• Les livres illustrés
• La fortune critique
• Historique et installation au musée du Louvre

Dons de la Baronne Edmond James et de James Armand de Rothschild, 1934–36
• La collection de dentelles de la baronne Edmond James de Rothschild au musée des Arts décoratifs, 1935
• Monnaies et médailles à la Bibliothèque nationale, 1935
• Objets de fouilles en Palestine, 1936

Les Rothschild et La Bibliothèque Nationale Après-Guerre
Le Legs Henri de Rothschild en 1947
• La bibliothèque de James Édouard de Rothschild (1844–1881)
• Les manuscrits enluminés de la collection de James Édouard, Thérèse et Henri de Rothschild
• Théâtre et poésie entre Moyen Âge et Renaissance
• La collection théâtrale d’Henri de Rothschild

Deux Manuscrits d’Edmond James et Adolphe de Rothschild
• Deux livres d’heures royaux : les Heures de Jeanne de Navarre, 1972; et les Très Belles Heures de Jean de Berry, 1956

Les Rothschild et les Musées Après-Guerre: Dons et Dations
• La récupération et la restitution des collections spoliées, 1945–53
• Les héritiers du baron Édouard de Rothschild
• Le château de Ferrières
• Les héritiers du baron Robert de Rothschild
• Mobilier Art déco au musée des Arts décoratifs
• Dons de Maurice et Miriam Alexandrine de Rothschild, 1935–37
• Dons d’Edmond de Rothschild à Versailles, 1966–88
• Don d’Edmond de Rothschild au musée du Louvre, 1990
• Objets antiques, peintures, dessins et objets d’art du XVIIIe siècle. Dation de 1990

Donations et Mécénat, 1955–2016
• Alix de Rothschild (1911–1987)
• Dons d’Alix de Rothschild au musée national des Arts et Traditions populaires et au musée de l’Homme
• Dons d’Alix de Rothschild au musée de l’Homme
• Dons de la baronne Élie de Rothschild aux musées français
• Dons du baron Élie de Rothschild au Centre Pompidou – Musée national d’Art moderne
• Dons de Béatrice Rosenberg au musée d’Orsay et au musée des Arts décoratifs, 2005–06

Mécénat au Bénéfice des Musées, 1963–2016
• Mécénat au bénéfice des musées

Annexes
• Historique et installation au musée du Louvre, 1935 ; textes cités en annexes
• Le don de la baronne Edmond James de Rothschild au Cabinet des médailles de la Bibliothèque nationale
• Liste des livres légués par le baron James de Rothschild (1792–1868) à son petit-fils James (1844–1881)
• Bibliographie
• Index des lieux de conservation
• Index des noms de personnes

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From Routledge:

Peter Cooke and Nina Lübbren, eds., Painting and Narrative in France, from Poussin to Gauguin (New York: Routledge, 2016), 218 pages, ISBN: 978-1472440105, $150.

Before Modernism, narrative painting was one of the most acclaimed and challenging modes of picture-making in Western art; yet, by the early twentieth century storytelling had all but disappeared from ambitious art. France was a key player in both the dramatic rise and the controversial demise of narrative art. This is the first book to analyse French painting in relation to narrative, from Poussin in the early seventeenth to Gauguin in the late nineteenth century. Thirteen original essays shed light on key moments and aspects of narrative and French painting through the study of artists such as Nicolas Poussin, Charles Le Brun, Jacques-Louis David, Paul Delaroche, Gustave Moreau, and Paul Gauguin. Using a range of theoretical perspectives, the authors study key issues such as temporality, theatricality, word-and-image relations, the narrative function of inanimate objects, the role played by viewers, and the ways in which visual narrative has been bound up with history painting. The book offers a fresh look at familiar material, as well as studying some little-known works of art, and reveals the centrality and complexity of narrative in French painting over three centuries.

Peter Cooke is Senior Lecturer in French Studies at the University of Manchester. His most recent book is Gustave Moreau: History Painting, Spirituality and Symbolism.
Nina Lübbren is Art Historian and Principal Lecturer in Film Studies, and Deputy Head of Department of English, Communication, Film and Media, Anglia Ruskin University.

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C O N T E N T S

List of Figures
Notes on Contributors
Acknowledgements

Introduction: Narrativity and (French) Painting, Peter Cooke and Nina Lübbren

I. Ancien Régime
1  Units of Vision and Narrative Structures: Upon Reading Poussin’s Manna, Claudine Mitchell
2  Figures of Narration in the Context of a Painted Cycle: The North Bays of the Grande Galerie at Versailles, Marianne Cojannot-Le Blanc
3  The Crisis of Narration in Eighteenth-Century French History Painting, Susanna Caviglia
4  Obscure, Capricious, and Bizarre: Neoclassical Painting and the Choice of Subject, Mark Ledbury

II. Restoration and July Monarchy
5  Delacroix and ‘The Work of the Reader’, Beth S. Wright
6  Narrative and History in Léopold Robert’s Arrival of the Harvesters in the Pontine Marshes, Richard Wrigley
7  Narrative Strategies in Paul Delaroche’s Assassination of the Duc de Guise, Patricia Smyth

III. Second Empire and Third Republic
8  Eloquent Objects: Gérôme, Laurens, and the Art of Inanimate Narration, Nina Lubbren
9  Tyrannical Inopportunity: Gustave Moreau’s Anti-narrative Strategies, Scott C. Allan
10 Theatricality versus Anti-Theatricality: Narrative Techniques in French History Painting (1850−1900), Pierre Sérié
11 The Conflicted Status of Narrative in the Art of Paul Gauguin, Belinda Thomson

IV. Key Issues of Pictorial Narrative
12 Narrativity, Temporality and Allegorisation, from Poussin to Moreau, Peter Cooke
13 Towards a Study of Narration in Painting: The Early Modern Period, Étienne Jollet

Index

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As these six books underscore, America has always been a complicated place. All the best for a Happy Election Day! –CH

From the University of Georgia Press:

Jennifer Goloboy, Charleston and the Emergence of Middle-Class Culture in the Revolutionary Era (Athens: University of Georgia Press, 2016), 208 pages, ISBN: 978-0820349961, $55.

Too often, says Jennifer Goloboy, we equate being middle class with ‘niceness’—a set of values frozen in the antebellum period and centered on long-term economic and social progress and a close, nurturing family life. Goloboy’s case study of merchants in Charleston, South Carolina, looks to an earlier time to establish the roots of middle-class culture in America. She argues for a definition more applicable to the ruthless pursuit of profit in the early republic. To be middle class then was to be skilled at survival in the market economy.

What prompted cultural shifts in the early middle class, Goloboy shows, were market conditions. In Charleston, deference and restraint were the bywords of the colonial business climate, while rowdy ambition defined the post-Revolutionary era, which in turn gave way to institution building and professionalism in antebellum times. Goloboy’s research also supports a view of the Old South as neither precapitalist nor isolated from the rest of American culture, and it challenges the idea that post-Revolutionary Charleston was a port in decline by reminding us of a forgotten economic boom based on slave trading, cotton exporting, and trading as a neutral entity amid warring European states. This fresh look at Charleston’s merchants lets us rethink the middle class in light of the new history of capitalism and its commitment to reintegrating the Old South into the world economy.

Jennifer L. Goloboy is an independent scholar based in Minneapolis, specializing in the history of the early American middle class. She is the editor of Industrial Revolution: People and Perspectives. Goloboy earned her PhD in the history of American civilization from Harvard University.

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From Basic Books:

Nicholas Nicholas Guyatt, Bind Us Apart: How Enlightened Americans Invented Racial Segregation (New York: Basic Books, 2016), 416 pages, ISBN: 978-0465018413, $30.

Why did the founding fathers fail to include blacks and Indians in their cherished proposition that “all men are created equal”? The usual answer is racism, but the reality is more complex and unsettling. In Bind Us Apart, historian Nicholas Guyatt argues that, from the Revolution through the Civil War, most white liberals believed in the unity of all human beings. But their philosophy faltered when it came to the practical work of forging a color-blind society. Unable to convince others—and themselves—that racial mixing was viable, white reformers began instead to claim that people of color could only thrive in separate republics: in Native states in the American West or in the West African colony of Liberia. Herein lie the origins of “separate but equal.” Decades before Reconstruction, America’s liberal elite was unable to imagine how people of color could become citizens of the United States. Throughout the nineteenth century, Native Americans were pushed farther and farther westward, while four million slaves freed after the Civil War found themselves among a white population that had spent decades imagining that they would live somewhere else. Essential reading for anyone disturbed by America’s ongoing failure to achieve true racial integration, Bind Us Apart shows conclusively that “separate but equal” represented far more than a southern backlash against emancipation—it was a founding principle of our nation.

Nicholas Guyatt is a university lecturer in history at the University of Cambridge. He is a regular contributor to The Nation, London Review of Books, and The Guardian. Guyatt lives in Cambridge, England.

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From The University of North Carolina Press:

Robert Parkinson, The Common Cause: Creating Race and Nation in the American Revolution (Chapel Hill: The University of North Carolina Press, for the Omohundro Institute of Early American History and Culture, Williamsburg, 2016), 768 pages, ISBN: 978-1469626635, $45.

When the Revolutionary War began, the odds of a united, continental effort to resist the British seemed nearly impossible. Few on either side of the Atlantic expected thirteen colonies to stick together in a war against their cultural cousins. In this pathbreaking book, Robert Parkinson argues that to unify the patriot side, political and communications leaders linked British tyranny to colonial prejudices, stereotypes, and fears about insurrectionary slaves and violent Indians. Manipulating newspaper networks, Washington, Jefferson, Adams, Franklin, and their fellow agitators broadcast stories of British agents inciting African Americans and Indians to take up arms against the American rebellion. Using rhetoric like “domestic insurrectionists” and “merciless savages,” the founding fathers rallied the people around a common enemy and made racial prejudice a cornerstone of the new Republic. In a fresh reading of the founding moment, Parkinson demonstrates the dual projection of the “common cause.” Patriots, through both an ideological appeal to popular rights and a wartime movement against a host of British-recruited slaves and Indians, forged a racialized, exclusionary model of American citizenship.

Robert G. Parkinson is assistant professor of history at Binghamton University.

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From Yale UP:

Steve Pincus, The Heart of the Declaration: The Founders’ Case for an Activist Government (New Haven: Yale University Press, 2016), 224 pages, ISBN: 978-0300216189, $26.

From one election cycle to the next, a defining question continues to divide the country’s political parties: Should the government play a major or a minor role in the lives of American citizens? The Declaration of Independence has long been invoked as a philosophical treatise in favor of limited government. Yet the bulk of the document is a discussion of policy, in which the Founders outlined the failures of the British imperial government. Above all, they declared, the British state since 1760 had done too little to promote the prosperity of its American subjects. Looking beyond the Declaration’s frequently cited opening paragraphs, Steve Pincus reveals how the document is actually a blueprint for a government with extensive powers to promote and protect the people’s welfare. By examining the Declaration in the context of British imperial debates, Pincus offers a nuanced portrait of the Founders’ intentions with profound political implications for today.

Steve Pincus is the Bradford Durfee Professor of History at Yale University. He is the author of several books on seventeenth- and eighteenth-century British history.

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From Johns Hopkins UP:

Richard Alan Ryerson, John Adams’s Republic: The One, the Few, and the Many (Baltimore: Johns Hopkins University Press, 2016), 576 pages, ISBN: 978-1421419220, $60.

Scholars have examined John Adams’s writings and beliefs for generations, but no one has brought such impressive credentials to the task as Richard Alan Ryerson in John Adams’s Republic. The editor-in-chief of the Massachusetts Historical Society’s Adams Papers project for nearly two decades, Ryerson offers readers of this magisterial book a fresh, firmly grounded account of Adams’s political thought and its development.

Of all the founding fathers, Ryerson argues, John Adams may have worried the most about the problem of social jealousy and political conflict in the new republic. Ryerson explains how these concerns, coupled with Adams’s concept of executive authority and his fear of aristocracy, deeply influenced his political mindset. He weaves together a close analysis of Adams’s public writings, a comprehensive chronological narrative beginning in the 1760s, and an exploration of the second president’s private diary, manuscript autobiography, and personal and family letters, revealing Adams’s most intimate political thoughts across six decades. How, Adams asked, could a self-governing country counter the natural power and influence of wealthy elites and their friends in government? Ryerson argues that he came to believe a strong executive could hold at bay the aristocratic forces that posed the most serious dangers to a republican society. The first study ever published to closely examine all of Adams’s political writings, from his youth to his long retirement, John Adams’s Republic should appeal to everyone who seeks to know more about America’s first major political theorist.

Richard Alan Ryerson, the former academic director and historian of the David Library of the American Revolution, was the editor-in-chief of the Adams Papers from 1983 to 2001.

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From Yale UP:

Caroline Winterer, American Enlightenments: Pursuing Happiness in the Age of Reason (New Haven: Yale University Press, 2016), 368 pages, ISBN: 978-0300192575, $35.

The accepted myth of the ‘American Enlightenment’ suggests that the rejection of monarchy and establishment of a new republic in the United States in the eighteenth century was the realization of utopian philosophies born in the intellectual salons of Europe and radiating outward to the New World. In this revelatory work, Stanford historian Caroline Winterer argues that a national mythology of a unitary, patriotic era of enlightenment in America was created during the Cold War to act as a shield against the threat of totalitarianism and that Americans followed many paths toward political, religious, scientific, and artistic enlightenment in the 1700s that were influenced by European models in more complex ways than commonly thought. Winterer’s book strips away our modern inventions of the American national past, exploring which of our ideas and ideals are truly rooted in the eighteenth century and which are inventions and mystifications of more recent times.

Caroline Winterer is Anthony P. Meier Family Professor in the Humanities at Stanford University and director of the Stanford Humanities Center. The author of three previous books, she received an American Ingenuity Award from the Smithsonian Institution.

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From Yale UP:

Susan Rather, The American School: Artists and Status in the Late-Colonial and Early National Era (New Haven: Yale University Press, 2016), 316 pages, ISBN: 978-0300214611, $75.

An in-depth look at the changing status of American artists in the 18th and early 19th century This fascinating book is the first comprehensive art-historical study of what it meant to be an American artist in the 18th- and early 19th-century transatlantic world. Susan Rather examines the status of artists from different geographical, professional, and material perspectives, and delves into topics such as portrait painting in Boston and London; the trade of art in Philadelphia and New York; the negotiability and usefulness of colonial American identity in Italy and London; and the shifting representation of artists in and from the former British colonies after the Revolutionary War, when London remained the most important cultural touchstone. The book interweaves nuanced analysis of well-known artists—John Singleton Copley, Benjamin West, and Gilbert Stuart, among others—with accounts of non-elite painters and ephemeral texts and images such as painted signs and advertisements. Throughout, Rather questions the validity of the term ‘American’, which she sees as provisional-the product of an evolving, multifaceted cultural construction.

Susan Rather is a professor in the Department of Art and Art History at the University of Texas, Austin.

From Routledge:

Suzanne Karr Schmidt and Edward Wouk, eds., Prints in Translation, 1450–1750: Image, Materiality, Space (New York: Routledge, 2016), 252 pages, ISBN: 978-1472480125, $150.

Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original ‘meanings’ may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna’s 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium—a painting, sculpture, or drawing—to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.

Suzanne Karr Schmidt is Assistant Curator of Prints and Drawings at the Art Institute of Chicago.
Edward H. Wouk is Lecturer in European Art, 1400–1800, at The University of Manchester.

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C O N T E N T S

List of Figures
Preface
Notes on Contributors
Abbreviations

1  Edward Wouk, Toward an Anthropology of Print
2  Alexandra Onuf, From Print to Paint and Back Again: Painting Practices and Print Culture in Early Modern Antwerp
3  Lelia Packer, Prints as Paintings: Willem van de Velde the Elder (1611–1693) and Dutch Pen Painting, circa 1650–65
4  Freyda Spira, Between Paper and Sword: Daniel Hopfer and the Translation of Etching in Reformation Augsburg
5  Jonathan Tavares, Hunting Erotica: Print Culture and a Seventeenth-Century Rifle in the Collection of the Hessisches Landesmuseum, Darmstadt
6  Patricia Simons, Mantegna’s Battle of the Sea Gods: The Material and Thematic Interaction of Print and Sculpture
7  Suzanne Karr Schmidt, Making Time and Space: Collecting Early Modern Printed Instruments
8  David Pullins, The State of the Fashion Plate, circa 1727: Historicizing Fashion Between ‘Dressed Prints’ and Dezallier’s Recueils
9  Arthur J. DiFuria, The Concettismo of Triumph: Maerten van Heemskerck’s Victories of Charles V and Remembering Spanish Omnipotence in a Late Sixteenth-Century Writing Cabinet
10 Stephanie Porras, St. Michael the Archangel: Spiritual, Visual, and Material Translations from Antwerp to Lima
11  Yael Rice, Lines of Perception: European Prints and the Mughal Kitābkhāna

Bibliography
Index

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From Palgrave Macmillan:

Lizanne Henderson, Witchcraft and Folk Belief in the Age of Enlightenment Scotland, 1670–1740 (New York: Palgrave Macmillan, 2016), 382 pages, ISBN: 978-0230294387, $110.

Taking an interdisciplinary perspective, Witchcraft and Folk Belief in the Age of Enlightenment represents the first in-depth investigation of Scottish witchcraft and witch belief post-1662, the period of supposed decline of such beliefs, an age which has been referred to as the ‘long eighteenth century’, coinciding with the Scottish Enlightenment. The late seventeenth and early eighteenth centuries were undoubtedly a period of transition and redefinition of what constituted the supernatural, at the interface between folk belief and the philosophies of the learned. For the latter the eradication of such beliefs equated with progress and civilization, but for others, such as the devout, witch belief was a matter of faith, such that fear and dread of witches and their craft lasted well beyond the era of the major witch-hunts. This study seeks to illuminate the distinctiveness of the Scottish experience, to assess the impact of enlightenment thought upon witch belief, and to understand how these beliefs operated across all levels of Scottish society.

Lizanne Henderson has been a lecturer and cultural historian at the School of Interdisciplinary Studies, University of Glasgow since 2004. She is Editor of Review of Scottish Culture and has published on the Scottish witch-hunts, folk belief, ballads, critical animal studies, Scottish diaspora, polar explorers, and the transatlantic slave trade. Her books include Fantastical Imaginations: The Supernatural in Scottish History and Culture (2009) and, with Edward J. Cowan, Scottish Fairy Belief: A History (2001), and A History of Everyday Life in Medieval Scotland, 1000–1600 (2011).

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C O N T E N T S

List of Illustrations, Figures, and Tables
Preface
Acknowledgments
List of Abbreviations

Introduction: Following the Witch
1  Fixing the Limits of Belief
2  The Idea of Witchcraft
3  Demons, Devilry, and Domestic Magic: Hunting Witches in Scotland
4  Darkness Visible
5  Bemused, Bothered, and Bewildered: Witchcraft Debated
6  ‘Worshipping at the Altar of Ignorance’: Some Late Scottish Witchcraft Cases Considered
7  The Survival of Witch Belief in South West Scotland: A Case Study
8  The Persistence of Witch Belief
Conclusion

Appendices
Bibliography
Index

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