Abstract
The composition of the panel of this seminar is not entirely coincidental, but has its historical and even somewhat nostalgic reasons. In fact , our chairman Anton Boschloo, together with the late Jan Emmens and the present speaker, were among the first Dutch admirers of Eugenio Battisti's incredibly interesting L'Antirinascimento, probably the most erudite, rich, versatile, original and fascinating art historical book to appear in the 1960s, and in saying art historical I really mean a book about imagery and texts, ideas and customs in Renaissance society and culture in its most widespread as well as its more obscure forms (1). With many other Battisti friends, or 'battistizati' as I called them at a congress held years ago in the idyllic scenery of a splendid villa on lake Como, I consider it a disgrace for everyone active in the field of the humanities that the book has not been translated into English, French, Serbocroat or Icelandic in order to provide it with the readers it deserves.
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