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Journal18, #5 Coordinates (Spring 2018)

Posted in journal articles by Editor on June 12, 2018

The fifth issue of J18 is now available:

Journal18, Issue #5: Coordinates (Spring 2018)
Digital Mapping & Eighteenth-Century Visual, Material, and Built Cultures
Issue Editors: Carrie Anderson and Nancy Um

Spurred by the collection, preservation, and distribution of spatial data—practices that have both collapsed and expanded our own discursive geographies—art historians are poised to harness fully the potential of geospatial analysis for the study of visual, material, and built cultures. This issue of Journal18 features current scholarship that relies on the analytical power provided by digital mapping interfaces for the study of the long eighteenth century. As Hannah Williams shows in her article on the locations of eighteenth-century artists’ studios in Paris, georectification tools can reconcile historical figurations of space with the present urban fabric, while digital mapping applications have made it possible to visualize patterns of artists’ stasis and movement. These platforms can also show the dynamic lives of mobile and fungible objects along circuitous, and sometimes unknowable, trajectories, as discussed in Catherine Walsh’s treatment of the “unsettled” parts of Bartolomeo Ammannati’s Juno Fountain that travelled around Florence for over four hundred years. Sophie Raux has made clear the possibilities afforded by mapping the Pont Notre-Dame, enhanced by 3D architectural reconstructions that allow her to address long-standing questions about Antoine Watteau’s painting of one of its shops. The interdisciplinary team of Michael Simeone, Christopher Morris, Kenton McHenry, and Robert Markley have demonstrated how computational methods can be used to analyze large datasets drawn from historical maps of the Great Lakes, thus offering new modes of seeing that exceed the human eye’s perceptive capabilities. But, even as these articles display the possibilities opened up by mapping tools, data-driven methods, and digital technologies, each author is deeply aware of their limitations. As the essays in this issue demonstrate, computational approaches to the spatial humanities—which are marked by intellectual decisions, obstacles, and quandaries—must join rather than replace or supersede an existing toolkit of historically grounded methods that are based on critical analysis, close looking, and a deep skepticism about the transparent meaning of any image or map.

In addition to these four full-length articles, this issue contains three shorter “Compass Points,” which reflect on projects in progress or already implemented, including the legacy of the famous Nolli map of Rome, the distribution of Baroque-period continent allegories found in buildings in Germany and Austria, and a planned database of Caribbean architecture. This issue also includes a roundtable that features contributions from faculty and students who worked on Itinera, a digital project that traces historical networks of cultural mobility and travel, housed in the Visual Media Workshop at the University of Pittsburgh.

Supported by a Digital Development Award for Art History Publishing from the Association of Research Institutes in Art History (ARIAH), this issue showcases two different electronic publishing interfaces, in addition to the WordPress platform on which Journal18 is currently offered. Williams’ article is presented on Quire, a static-site publication framework that features a durable and media-rich environment with enhanced discoverability, currently under development by Getty Publications. The roundtable is presented on Scalar, developed by the Alliance for Networking Visual Culture at the University of Southern California, which facilitates non-linear, multi-vocal, and multi-modal digital presentations. Through these varied modes of output and presentation, this issue thus also engages with the ongoing question of how to best present current digital scholarship, while highlighting interactivity and integrating new modes of expression and sources of evidence.

A R T I C L E S

Artists’ Studios in Paris: Digitally Mapping the 18th-Century Art World
Hannah Williams

Unsettled Sculptures: Mapping the Afterlife of Ammannati’s Juno Fountain
Catherine Walsh

Virtual Explorations of an 18th-Century Art Market Space: Gersaint, Watteau, and the Pont Notre-Dame
Sophie Raux

The Canoe and the Superpixel: Image Analysis of the Changing Shorelines on Historical Maps of the Great Lakes
Michael Simeone, Christopher Morris, Kenton McHenry, and Robert Markley

C O M P A S S  P O I N T S

A Digital Extension of a Roman Cartographic Classic: The 1748 Nolli Map and its Legacy
James Tice

Continent Allegories in the Baroque Age – A Database
Marion Romberg

Caribes: Designing a Digital Database for Caribbean Architecture and the Problem of Overlapping Spaces
Paul Niell

R O U N D T A B L E

Itinera’s Displacements: A Roundtable
Christopher Drew Armstrong, Lily Brewer, Jennifer Donnelly, Alison Langmead, Vibeka McGyver, and Meredith North

Print Quarterly, June 2018

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on June 1, 2018

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 35.2 (June 2018):

Juan Camarón, Robinson in his Llama Skin Habit and Parasol, 1788–89, brush and grey wash, 110 × 65 mm (London, British Library).

A R T I C L E S
• Benito Navarrete Prieto and Alejandro Martínez Pérez, “Drawings for the Spanish Robinson Crusoe by José Juan Camarón and Rafael Ximeno,” pp. 160–72.
The article addresses newly identified drawings by José Camarón and Rafael Ximeno for the seminal Spanish edition of Robinson Crusoe by Tomás de Iriarte, published in Madrid in 1789. The presence of the drawing for the map and the narrative illustrations among Iriarte’s papers underscore the poet’s close involvement with the book’s production and illustration.
• Kate Heard, “The Royal Collection of Satirical Prints in the Nineteenth and Twentieth Centuries,” pp. 173–82.
In describing the the history of the collection of satirical prints in Britain’s royal collection before their sale in 1921 to the Library of Congress, the article explains the origins of the collection under George III, its development most famously under George IV, its continued growth under Queen Victoria and Prince Albert—when Georgian works entered the collection that would not have been acquired earlier, including prints that were critical of the royal family—and finally the disfavor the collection solicited during the reign of George V from the royal librarian John Fortescue, who brokered the 1921 sale.

N O T E S  A N D  R E V I E W S
• Celina Fox, Review of Bernard Nurse, London: Prints and Drawings before 1800 (Bodleian Library, 2017), pp. 198–200.
• Susan Sloman, Review of Ann Gunn, The Prints of Paul Sandby (1731–1809): A Catalogue Raisonné (Brepols and Harvey Miller Publishers, 2016), pp. 200–03.
• Flavia Pesci, Review of the exhibition catalogue Nicholas Stanley Price, At the Foot of the Pyramid: 300 Years of the Cemetery for Foreigners in Rome (Casa di Goethe Museum, 2016), pp. 203–04.
• Mark McDonald, Review of the catalogue Peter Raissis, Prints and Drawings: Europe 1500–1900 from the Art Gallery of New South Wales (Art Gallery of New South Wales, 2014), pp. 204–06.
• Charles Newton, Review of Elisabeth Fraser, Mediterranean Encounters: Artists between Europe and the Ottoman Empire, 1774–1839 (Pennsylvania State University Press, 2017), pp. 206–09.

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Note (added 6 June 2018) — The original posting did not include descriptions for the two articles.

The Burlington Magazine, May 2018

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on May 31, 2018

The eighteenth century in The Burlington:

The Burlington Magazine 160 (May 2018)

Agostino Cornacchini, Charlemagne, 1725, marble (St Peter’s Basilica).

A R T I C L E S

• Gloria Martínez Leiva, “Art as Diplomacy: John Closterman’s Portraits of Carlos II of Spain and His Wife Queen Maria Anna of Neuburg,” pp. 381–86.
• Teresa Leonor M. Vale, “Art and Festivities in Eighteenth-Century Rome: Letters from a Portuguese Priest, 1721–22,” pp. 387–93.

R E V I E W S

• Christopher Rowell, Review of the exhibition Thomas Chippendale: A Celebration of Craftsmanship and Design, 1718–2018 (Leeds City Museum, 2018), pp. 414–16.
• Charles Darwent, Review of the exhibition The Dutch in Paris, 1789–1914 (Paris: Petit Palais, 2018), pp. 420–21.
• Stéphane Loire, Review of Giancarlo Sestieri, Il capriccio architettonico in Italia nel XVII e XVIII secolo (Etgraphiae editoriale, 2015), p. 432.
• Andrew McClellan, Review of Geneviève Bresc-Bautier and Béatrice de Chancel-Bardelot, eds., Un musée révolutionaire: Le Musée des Monuments français d’Alexandre Lenoir (Musée du Louvre, 2016), pp. 432–33.

The Burlington Magazine, March 2018

Posted in books, exhibitions, journal articles, reviews by Editor on March 27, 2018

The eighteenth century in The Burlington:

The Burlington Magazine 160 (March 2018)


Portrait of a Consul, identified by Lucy Whitaker as a portrait of Joseph Smith, pencil and watercolour on paper, 28.6 × 20 cm; page from Giovanni Grevembroch: Gli abiti de’ veneziani di quasi ogni età con diligenza raccoliti e dipinti nel secolo XVIII (Venice: Biblioteca del Museo Correr, MS Gradenigo-Dolfin 49, II, fol.125.2).

A R T I C L E S

• Lucy Whitaker, “A Portrait of Consul Smith,” pp. 214–16. A watercolour in Giovanni Grevembroch’s Gli abiti de’ veneziani, compiled ca. 1754–59, can probably be identified as the only surviving portrait of the celebrated art collector and art dealer Joseph Smith, British consul in Venice from 1744 to 1760.
• Esmé Whittaker, “‘Almost Her Creation’: Georgiana, Duchess of Devonshire, and the Decoration of Chiswick House,” pp. 217–25. Letters, inventories and contemporary prints and drawings help paint a clearer picture of the extensions made to Chiswick House, London, in 1790–92 and the role that Georgiana, Duchess of Devonshire, played in their execution and furnishing.

R E V I E W S

• Duncan Robinson, Review of the exhibition Casanova: The Seduction of Europe (Kimbell Art Museum, Fort Worth, 2017; The Legion of Honor, San Francisco, 2018; and Museum of Fine Arts, Boston, 2018), pp. 241–43.
• David Pullins, Review of the exhibition Shockingly Mad: Henry Fuseli and the Art of Drawing (Art Institute of Chicago, 2018), pp. 243–44.

New Book | Piranesi: Studies in Honor of John Wilton-Ely

Posted in books, journal articles by Editor on March 8, 2018

As noted in Salon, the newsletter of the Society of Antiquaries of London, issue 402 (6 March 2018) . . .

On 31 January John Wilton-Ely FSA was presented with a festschrift at a ceremony at the Instituto Centrale per la Grafica, Palazzo Poli, Rome, in recognition of his services to scholarship on the life and works of Giovanni Battista Piranesi, FSA (elected 1757). The publication is volume 32 of the art historical journal, Studi sul Settecento Romano (Sapienza Università di Roma), entitled Giovanni Battista Piranesi, predecessori, contemporanei e successori: Studi in onore di John Wilton-Ely. The papers were formally delivered in 2016 at a special conference arranged by the Royal Swedish Academy in the Royal Palace at Stockholm, which contains a significant collection of Piranesi’s imaginatively restored classical antiquities, acquired by Gustav III from the artist’s former museo in Rome.

From Arbor Sapientiae:

Francesco Nevola, ed., Giovanni Battista Piranesi, Predecessori, contemporanei e successori: Studi in onore di John Wilton-Ely, Studi sul Settecento Romano, volume 32 (Rome: Sapienza Università di Roma, 2016), 400 pages, ISBN: 978-8871407432, 60€.

• Francesco Nevola, John Wilton-Ely: Una vita con Piranesi
• Jörg Garms, Il rococò in Italia e la vicenda di Piranesi
• Lola Kantor-Kazovsky, On the Eve of the Graeco-Roman Controversy: Pierre Jean Mariette and Bouchardon’s Fountain of the Four Seasons
• Francesco Nevola, Giovanni Battista Piranesi’s Origins as a Vedutista: The impact of Canaletto and Bellotto
• Myra Nan Rosenfeld, Piranesi’s Grotteschi: A Visual Expression of the Literary Aims of the Accademia degli Arcadi
• Silvia Gavuzzo-Stewart, Irony in Piranesi’s Carceri and Lettere di Giustificazione
• Frank Salmon, Piranesi and the Accademia di San Luca in Rome
• Susanna Pasquali, Piranesi’s Campo Marzio as described in 1757
• Elisa Debenedetti, Piranesi, Marchionni e il mito di Diogene
• Mario Bevilacqua, Piranesi’s Ironies and the Egyptian and Etruscan Dreams of Margherita Gentili Boccapaduli
• Georg Kabierske, Vasi, urne, cinerarie, altari e candelabri: Newly Identified Drawings for Piranesi’s Antiquities and Sculptural Compositions at the Staatliche Kunsthalle Karlsruhe
• Heather Hyde Minor and John Pinto, ‘Marcher sur les traces de son père’: The Piranesi Enterprise between Rome and Paris
• Pier Luigi Panza, Il Museo Piranesi: Un censimento e osservazioni su attribuzioni, vendite e uso dei pezzi in architettura
• Raffaella Bosso, Per un catalogo dei marmi piranesiani del Museo Gustavo III di Stoccolma: Il caso di studio del candelabro con uccelli
• Alvar Gonzalez-Palacios, Il Nilo in bigio del Museo Gregoriano Egizio
• Anne-Marie Leander Touati, Piranesi’s Grande Cheminée, Virtually Recreated for John Wilton-Ely
• Cesare de Seta, Roma al tempo di Giovan Battista Piranesi e i suoi eredi nell’arte del paesaggio nel Settecento europeo

Indice dei nomi

 

Print Quarterly, March 2018

Posted in books, journal articles by Editor on March 7, 2018

J. R. Smith after John Francis Rigaud, Group Portrait of Agostino Carlini, Fransescho Bartolozzi, Giovani Battista Cipriani, 1778, mezzotint, 44.4 × 504 cm (London: The British Museum).

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The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 35.1 (March 2018)

A R T I C L E S
• David Alexander, “A Cosmopolitan Engraver in London: Francesco Bartolozzi’s Studio, 1763–1802,” pp. 6–26.

S H O R T E R  N O T I C E S
• Daan van Heesch, “The Graphic Source for Rajput Images of Fools,” pp. 50–53.

N O T E S  A N D  R E V I E W S
• Ellis Tinios, Review of the exhibition catalogue T. June Li and Suzanne Wright, Gardens, Art, and Commerce in Chinese Woodblock Prints (The Huntington Library, Art Collections, and Botanical Gardens, 2016), pp. 63–65.
• David Pullins, Review of W. McAllister Johnson, The Rise and Fall of the Fine Art Print in Eighteenth-Century France (University of Toronto Press, 2016), pp. 65–66.
• Naomi Lebens, Review of the exhibition catalogue The Royal Game of the Goose: 400 Years of Printed Board Games (Grolier Club, 2016), pp. 66–70.
• Brendan Cassidy, Note on William Woollett’s Ring, pp. 70–71.
• Ellis Tinios, Review of the exhibition catalogue A Third Gender: Beautiful Youths in Japanese Prints (Royal Ontario Museum, 2016), pp. 72–74.
• Martin Hopkinson, Review of Gill Saunders, Eclectic: The Julie and Robert Breckman Collections at the Victoria and Albert Museum (V&A Publishing, 2016), pp. 74–75.
• Jesusa Vega, Review of Juliet Wilson-Bareau and Leah Lehmbeck, Goya in the Norton Simon Museum (Norton Simon Museum, 2016), pp. 75–77.
• Mark McDonald, Review of Antonio G. Moreno Garrido, La Estampa de devoción en la España de los siglos XVIII y XIX (Editorial Universidad de Granada, 2015), pp. 77–78.
• Jean Michel Massing, Review of Juan Pimentel, The Rhinoceros and the Megatherium: An Essay in Natural History, translated by Peter Mason (Harvard University Press, 2017), pp. 78–79.
• Stephan Bann, Review of Antony Griffiths, The Print before Photography: An Introduction to European Printmaking, 1550–1820 (The British Museum Press, 2016), pp. 94–97.
• Bozena Anna Kowalczyk, Review of Michael Matile with Alberto Craievich and Isabelle Scheck, Della Grafica Veneziana: Das Zeitalter Anton Maria Zanettis (1680–1767) (Michael Imhof Verlag, 2016), pp. 98–101.

 

Urban History, February 2018

Posted in journal articles by Editor on January 29, 2018

The eighteenth century in the latest issue of Urban History:

Urban History 45 (February 2018)

A R T I C L E S

Matthew Jenkins, “The View from the Street: The Landscape of Polite Shopping in Georgian York,” pp. 26–48.

Shopping during the eighteenth century is increasingly viewed by scholars as an important leisure activity and an integral part of wider schemes of urban improvement. However, the physical evidence in the form of standing buildings is rarely considered. This article will demonstrate how a detailed examination and reconstruction of the urban landscape of York can illuminate how these practices were performed. The use of building biographies also allows owners to be identified and linked with specific shop types and surviving fabric. This enables exploration of how the physical environment influenced perceptions of the streetscape and the experience of interior retail space.

David Gilks, “The Fountain of the Innocents and Its Place in the Paris Cityscape, 1549–1788,” pp. 49–73.

This article analyses how the Fountain of the Innocents appeared and also how it was used and perceived as part of the Paris cityscape. In the 1780s, the plan to transform the Holy Innocents’ Cemetery into a market cast doubt on the Fountain’s future; earlier perceptions now shaped discussions over reusing it as part of the transformed quarter. The article documents how the Fountain was dismantled in 1787 and re-created the following year according to a new design, explaining why it was created in this form. Finally, the article considers what contemporary reactions to the remade Fountain reveal about attitudes toward the authenticity of urban monuments before the establishment of heritage institutions and societies.

Boris Stepanov and Natalia Samutina, “An Eighteenth-Century Theme Park: Museum-Reserve Tsaritsyno (Moscow) and the Public Culture of the Post-Soviet Metropolis,” pp. 74–99.

The article discusses the dramatic history of the Tsaritsyno Park and museum-reserve. By the mid-2000s, it had become one of Moscow’s iconic places and a zone where urban public culture was shaped. The authors trace the history of this architectural ensemble and park in terms of their role in сity culture and analyse changes in the historical culture of contemporary post-Soviet Moscow. The Tsaritsyno Park and museum exemplify these changes. An unfinished country residence of Catherine II, with a Grand Palace that had stood as a ruin for over 200 years, it has been radically renewed by the Moscow city authorities in what came to be labelled ‘fantasy restoration’. The palace was finished and now serves as the core of the museum, organized according to a controversial historical policy. Tsaritsyno as a whole became a cultural oddity featuring historical attractions for the public, effectively an ‘eighteenth-century theme park’.

Zeitschrift für Kunstgeschichte 80.4 (2017), Penser le rococo

Posted in books, journal articles, reviews by Editor on January 22, 2018

The current issue of Zeitschrift für Kunstgeschichte focuses on the theme ‘Reconsidering the Rococo’, the subject of a November 2015 conference at the University of Lausanne. Abstracts (in English) are available as a PDF file here.

Zeitschrift für Kunstgeschichte 80.4 (2017), Penser le rococo
Guest edited by Carl Magnusson and Marie-Pauline Martin

A R T I C L E S

• Carl Magnusson, “Le rococo, une construction historiographique: introduction”
• Marie-Pauline Martin, “‹Rococo›: du jargon à la catégorie de style”
• Catherine Thomas-Ripault, “Evasion temporelle et fantaisie créatrice: usage des peintures du xviiie siècle dans les fictions romantiques”
• Etienne Tornier , “‹This new-born word is rococo›: Généalogie et fortune du rococo aux États-Unis”
• Jean-François Bédard, “La vitalité du décor : Fiske Kimball, du rococo au Colonial Revival”
• Carl Magnusson, “Le rococo est-il décoratif ?”
• David Pullins, “‹Quelques misérables places à remplir›: Locating Shaped Painting in ­Eighteenth-Century France
• Bérangère Poulain, “Rococo et fugacité du regard: émergence et modifications de la notion de ‹papillotage›”

R E V I E W S

• Paul Williamson, Review of Laurence Terrier Aliferis, L’imitation de l’Antiquité dans l’art médiéval, 1180–1230 (Répertoire iconographique de la littérature du Moyen Âge, Études du RILMA, vol. 7, 2016).
• Christoph Martin Vogtherr, Review of Jérôme Delaplanche, Un tableau n’est pas qu’une image: La reconnaissance de la matière de la peinture en France au XVIIIe siècle (2016).
• Martin Dönike, Review of Johann Joachim Winckelmann, Monumenti antichi inediti spiegati ed illustrati, Roma 1767, edited by Adolf H. Borbein and Max Kunze (2011) | Johann Joachim Winckelmann, Monumenti antichi inediti spiegati ed illustrati, Roma 1767, edited by Adolf H. Borbein, Max Kunze, and Axel Rügler (2015).
• Anna Degler, Review of Guillaume Cassegrain, La coulure: Histoire(s) de la peinture en mouvement, XIe–XXIe siècles (2015).

The Burlington Magazine, January 2018

Posted in books, journal articles, reviews by Editor on January 20, 2018

The eighteenth century in The Burlington, which includes, as noted last week, mention of HECAA and J18 in the editorial in connection with the new scholarship:

The Burlington Magazine 160 (January 2018)

E D I T O R I A L

“The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art,” p. 3. This month The Burlington Magazine launches an annual scholarship for the study of French eighteenth-century fine and decorative art. Initiated and funded by Richard Mansell-Jones, a trustee of The Burlington Magazine Foundation, the scholarship offers £10,000 to a student based anywhere in the world who has embarked or is about to embark on an M.A. or Ph.D. or is undertaking research in a post-doctoral or independent capacity. The full review is available here (also see below).

A R T I C L E S

• Aloisio Antinori, “New Light on the Production of Il Tempio Vaticano,” pp. 22–30.

R E V I E W S

• Susan Walker, Review of Elizabeth Bartman, The Ince Blundell Collection of Classical Sculpture, Volume 3: The Ideal Sculpture (Liverpool University Press, 2017), pp. 64–5.
• Elizabeth Savage, Review of Mark Stocker and Phillip Lindley, eds., Tributes to Jean Michel Massing: Towards a Global Art History (Harvey Miller, 2016), p. 74. [The volume includes Robin Middleton’s essay, “A Cautionary Tale: The History of Eighteenth-Century Architecture in France.”]
• Jeremy Warren, Review of Giovanna Baldissin Molli and Elda Martellozzo Forin, eds., Gli inventari della Sacrestia della Cattedrale di Padova, secoli XIV–XVIII (Il Prato Publishing House, 2016), p. 75.

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The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art
Applications due by 1 March 2018

The Burlington Magazine is pleased to announce the launch of The Burlington Magazine scholarship for the study of French 18th-century fine and decorative art. The scholarship has been created to provide funding over a 12-month period to those engaged in the study of French 18th-century fine and decorative art to enable them to develop new ideas and research that will contribute to this field of art historical study.

Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in the field of French 18th-century fine and decorative arts within the 12-month period the funding is given. Applications are open to scholars from any country. A grant of £10,000 will be awarded to the successful applicant.

More information is available here»

J18 | Mary Sheriff on Casanova, Art, and Eroticism

Posted in journal articles by Editor on January 11, 2018

Jean-Marc Nattier, The Lovers, detail, 1744, oil on canvas
(Munich: Alte Pinakothek)

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Trusting that readers regularly visit J18 (always available through the link to the right), I only occasionally note content here at Enfilade. But this contribution from Mary Sheriff is worth highlighting. It’s also worth noting, incidentally, that Journal18 and HECAA are mentioned in the editorial of the January 2018 issue of The Burlington Magazine! I imagine Mary would have been thrilled. CAH

From Journal18:

Mary D. Sheriff, “Casanova, Art, and Eroticism,” Journal18 (January 2018).

Mary D. Sheriff, one of the most brilliant and beloved scholars of eighteenth-century European art, died on October 19, 2016. Among her last essays was a playful and erudite encounter with Casanova’s memoirs, seen through the prism of eighteenth-century European painting. She originally wrote it for the catalogue to the exhibition Casanova: The Seduction of Europe, connecting paintings in the show with episodes from Casanova’s erotic intrigues. This explains the choices behind some of the artworks she discusses. Due to late changes in the exhibition’s checklist, however, Mary’s essay did not appear in the catalogue. We wanted to publish it in Journal18 so that her vivid insights into Casanova’s libertine text and like-minded artworks could be shared with our scholarly community. The essay is yet another testament to Mary’s unique talent for bringing eighteenth-century art to life and for making us think about it in a new way, as well as her own seductive powers of analysis and wordplay. We are grateful to Keith Luria and Melissa Hyde for making final revisions to the essay and for permitting us to publish it in Journal18.

The essay is available here»