Lost Works Research Articles

Simon Mellet, scribe of Cambrai Cathedral

Simon Mellet, scribe and vicar at the cathedral of Cambrai, is among the best-known music scribes of the fifteenth century. Jules Houdoy's classic study of Cambrai Cathedral (1880) documented numerous payments made to Mellet for copying, payments which have remained an important source of information for our understanding of the career of Guillaume Du Fay and the role of the Cambrai Cathedral as a vital musical centre in the fifteenth century. Simon Mellet's thirty-six-year career dominates the study of the production of music manuscripts at Cambrai. Payments made to Mellet are mentioned in most research on Du Fay and on sacred polyphony in the Franco-Burgundian regions. It is through these documents that we know of lost works by Du Fay, such as the Requiem, and of the existence of the composer Rasse de Lavenne. The payments even tell us of apparently wholly lost genres, such as the lamentations by Busnois, Ockeghem and Fremiet that were copied by Mellet in 1475–6.

A Newly Recovered Painting by Masolino da Panicale

The newly recovered painting is not recorded in any known documents or literary sources relating to Masolino, nor is its provenance known prior to its appearance in a private collection in Connecticut. The size, relative thinness, format and subject matter of the panel implies that it originally was part of a larger complex. It may have been inserted into the doors of a custodia enclosing a work of sculpture or painting, or those of an armadio. However, the more likely context for this painting is the median tierof a multi-stored polyptych, above the larger main panels, and below the pinnacles; given the orientation of the figure and the view from below, it was clearly on the right-hand side of the altarpiece. Masolino's newly recovered panel cannot be securely associated with any surviving or documented lost works by the artist. Part of a herefore unknown polyptych painted by the artist early in his painting career, St. John the Evangelist represents a significant addition to the œuvre of this important, early Renaissance master.

Sobre Herrera «El Viejo»

In this article we introduce to the public knowledge a new collection of works by Francisco de Herrera, el Viejo, unknown until now, that enlarge considerably his catalogue. Within them we point out a set of architectural preparatory drawings for the gypsum-klin (yeserias) of the Convento de Santa Buenaventura in Sevilla, and also the discovery one architect's notebook that shows an important series of Sevillian designs. At the same time, we remark different aspects of his formation as painter, mentioning the possible influence of Pablo de Cespedes and some flemish masters like Martin de Vos, and we allude to the contacts, not referred until the present day, with Ribera and the young Alonso Cano. We also bring up some information about certain lost works, not considered in previous studies, and some problematic attributions.

John Milton: an annotated bibliography, 1968-1988

Huckabay, Calvin and David V. Urban, comps, John Milton: An Annotated Bibliography, 1989-1999, ed. by David V. Urban and Paul J. Klemp (Pittsburgh: Duquesne University Press, 2011). xv+488pp. ISBN 978 0 8207 0443 2.Compilers of annotated bibliographies can try to be comprehensive, or they can explain their boundaries of inquiry. They can attempt objectivity or announce their biases. But whatever the approach, their final product will fall short of full comprehensiveness, and will be colored, however faintly, by their perspectives and decisions. The wide variety of approaches to bibliography writing is evident in the very existence of bibliographies of bibliographies, an example of which we may find in a section of Calvin Huckabay, David Urban, and Paul Klemp's recent contribution to Milton studies. Within this treasure-house one may also find almost 500 hundred pages of meticulously compiled annotations of Milton scholarship covering the span of eleven years - an excellent example of the value of chasing the horizon of scholarly perfection.Roughly the size of its predecessor (John Milton: An Annotated Bibliography, 1968-1988, also published by Duquesne UP) and yet covering half the length of time, this bibliography represents not so much a growth spurt in Milton studies as it does an improvement in the quality and documentation of it. The volume enjoys the benefits of the experience of Huckabay, Klemp, and Duquesne University Press in similar projects, yet it is especially a labor of love from David Urban, who not only accepted the task of continuing the project at the passing of Huckabay in 2001, but also rechecked, revised, and lengthened those annotations Huckabay had begun. The result is a reference work that is similar to Huckabay's other Milton bibliographies in its attempted comprehensiveness and in avoiding passing judgment on the value of the works it annotates, and superior in its measure of success in achieving its goals through wealth of detail, uniformity among entries, and inclusion of useful quotations.David Urban tells his story in his 'Confessions of a Milton Bibliographer', reviewing the isolating and increasingly endangered task of writing a bibliography designed for print. He offers positive recommendations for the future of bibliography in Milton studies, suggesting collaboration, a greater online presence, and more frequent updating. He is aware that his project may be the last of dying breed: the first of his reflections is 'I am a dinosaur'. The pains once required to assemble a Milton concordance have been rendered obsolete with a good searchable online text; now more scholars have come to rely heavily on internet databases such as the MLA Bibliography to conduct research, even when the information provided in these databases can be relatively limited. Finding a clothbound annotated bibliography, after all, might require an inconvenient trip across the quad to a brick-and-mortar library. Why then is this a volume worth having on the shelf?First of all, it's designed to be useful. Impressive in its treatment of the mere eleven years of Milton studies it surveys, this hefty and sober book - and I've affectionately dubbed my copy 'Il Penseroso' - simplifies and expedites research for the Milton scholar. The organization of this volume is clear, sensible, and continuous with Huckabay's previous bibliographies. The annotations are divided into nine different categories: Bibliography; Biography; Editions; Translations; General Criticism and Miscellany; Criticism of Individual Works; Style and Versification; Criticism of Editions, Translations, and Illustrations; and lastly, Fame and Influence. By far the largest section is on criticism of individual works, and this section is divided into five subsections: Shorter Poems, Paradise Lost, Paradise Regained, Samson Agonistes, and Prose Works. There are 2,411 entries, but some of these are duplicates under separate categories. An index nominum makes it simple not just to track down the work of particular scholars from the last decade of the twentieth century, but also to discover which historical figures were studied in light of Milton, from Addison to Zwingli. …

Ṯābit B. Qurra and Arab Astronomy in the 9th Century

Ṯābit b. Qurra is especially known as a mathematician, but his work in astronomy is also important. This article reviews his eight surviving astronomical treatises, as well as relevant fragments of his lost works cited by later authors in Arabic and Latin. We conclude that, as an active participant in the scientific movement of 9th-century Baghdad, Ṯābit played a crucial role in the establishment of astronomy as an exact science. The argument is based on an assessment of his contribution in three areas: the relationship between observation and theory, the “mathematization” of astronomy, and the relationship between “mathematical” astronomy and “physical” astronomy.

THE LYRIC DRAMAS OF ENRIQUE GRANADOS (1867-1916)

Granados' works for the theatre are little known today, even though the composition of dramatic works occupied him sporadically from 1895 until his death over twenty years later. Nowadays, the success of his Goyescas for piano (1909-12), and his Tonadillas (1911-12) eclipses the intrinsic merits of his numerous other compositions, and only the piano works and songs have received serious critical attention. Yet, if a balanced view of Granados as a composer is to be achieved, his numer ous symphonic pieces and works for the stage (see Appendix 1) cannot be disregarded. Until recently the Catalan lyric dramas (with the excep tion of Follet) were thought to be lost, and ignorance of the works has led to the erroneous classification of Petrarca, Picarol, and Follet as zar zuelas. 1 I have now located the lost works in the archives of Editions Salabert in Paris, and am in the process of an extensive re-evaluation of Granados as a composer. Petrarca (1899), Picarol (1901), Follet (1901-3), Gazici (1906), and Liliana (1911) form a corollary to the mo dernist movement in Catalonia during its most intensive phase at the turn of the present century, and all these dramas are based on texts written by Apeles Mestres (1854-1936). During the second half of the nineteenth century there was an enor mous resurgence in Catalan culture. By the last decade of the century Barcelona had become established as the cultural capital of Catalonia, and the centre of Catalan modernism: a vibrant multi-faceted move ment which embraced all aspects of literature, science, art, and music.

Chaucer’s Romaunt of the Rose and Boece, Treatise on the Astrolabe, Equatorie of the Planetis, Lost Works, and Chaucerian Apocrypha: An Annotated Bibliography, 1900–1985. The Chaucer Bibliographies, vol. 2 by Russell A. Peck

Chaucer’s Romaunt of the Rose and Boece, Treatise on the Astrolabe, Equatorie of the Planetis, Lost Works, and Chaucerian Apocrypha: An Annotated Bibliography, 1900–1985. The Chaucer Bibliographies, vol. 2 by Russell A. Peck

Feminist Theatre: An Introduction to Plays of Contemporary British and American Women by Helene Keyssar, and: Feminist Theatre: A Study in Persuasion by Elizabeth J. Natalle (review)

Book Reviews 119 We can now see where Archer belongs in the history ofIbsen criticism: very close to the throne itself! CHARLES LELAND, ST. I \UCHAEL'S COLLEGE, UNIVERSITY OF TORONTO HELENE KEYSSAR. Feminist Theatre: An Introduction to Plays a/Contemporary British and American Women. London: Macmillan 1984. Pp. v, 223, illustrated. £14: £4.95 (PB). ELIZABETH J. NATALLE. Feminist Theatre: A Study in Persuasion. Metuchen, N..J.; Scarecrow Press 1985. Pp. v, 155 . $15.00. With the recent resurgence of the women's movement has come not only a heightened interest in recovering lost or forgotten works by women writers but also a greatly . increased output and availability of works by contemporary female artists. As Helene Keyssar and Elizabeth J. NatalIe demonstrate in their very different looks at Feminist Theatre. this renewed creative activity is nowhere more evident than on the British and American stage. Based on personal interviews with theatre practitioners, first-hand experience of performances, and studies of published and unpublished scripts, both of their books testify to the vitality of feminist theatre. Keyssar's introductory study, published in the Macmillan (and Grove Press) Modem Dramatists Series, draws attention to the growing numbers of women now writing and having their plays produced in the United States and Great Britain. Natalie's work, published by the same house that brought out Janet Brown's pioneering Feminist Drama , highlights the collective and ideological aspects of feminist theatre by considering how theatre groups that began appearing across the U.S. in the late I¢oS have given "a dramatic voice to the new feminist movement." Both authors situate the emergence of feminist theatre in the context of this movement as well as of the general climate of political activism and theatrical innovation characteristic of the I 960s. They both recognize feminist theatre's debt to the strategy of consciousness-raising and to the women's movement's insistence that, "the personal is political"; both authors highlight feminist playwrights' efforts to rethink the hierarchical aspects of play production as well as play construction. But their very different perspectives lead them to paint contrasting pictures of feminist theatre's historical background. While she acknowledges the importance of "new theatre" groups' experiments with transformation teChniques and ensemble work, Kcyssar identifies the female playwrights catalogued in her second chapter as key precursors of feminist theatre. Invoking the names of the tenth-century Hrosvita,_ Aphra Behn, and Anna Cora Mowatt, Keyssar unfortunately goes on to dismiss these women's plays as mere "relics." But the remainder ofher second chapter, in offering an often pointed critique of plays from Susan Glaspell's Trifles to Doris Lessing's Play with a Tiger, convincingly traces the initial stages in the development ofa coherent genre offeminist drama. Natalie disagrees with Keyssar about whether such a coherent genre yet exists and cites 120 Book Reviews reformist or didactic playwrights ranging from Aristophanes and Henrik Ibsen to Bertoh Brecht and the Living Newspaper as precursors for an emergent feminist theatre. In contrast with Keyssar's wideA canging overview, she then focuses her historical discussion on the evolution of American feminist theatre groups over the past twenty years, examining their connections with other feminist organizations. Keyssar's book is thus much broader than Natalle's in scope and quite different in its methodology. The study ofa large numberofwomen's plays has led Keyssar to discover a specifical1y feminist dramatic aesthetic, based on the convention of transformations, or "the theatrical manifestation of metamorphosis of contexts, actions and, most crucially, ofcharacters," rather than on the recognition scene she sees as fundamental to traditional (male) theatre. Her suggestion that all traditional theatre utilizes the recognition structure is in keeping with the other sweeping generalizations that occasionally mar her otherwise sound commentary. But Keyssar's critique of the recognition strategy as essentially reinforcing the status quo and undermining the possibility of real change is a provocative and significant one for feminist theatre studies. Her gradual elaboration of transfonnations and related techniques in the plays she studies also adds up to a helpful catalogue ofbasic characteristics offeminist theatre. Keyssar applies this notion of transfonnation to the plays of some thirty playwrights. Chapters devoted entirely to the...

Lost greek mathematical works in arabic translation

The works of the ancient Greek mathematicians which we possess represent only a few fragments from the wreck of the great treasure ship of Hellenistic mathematics. What has come down to us is little more than a reflection of the pedagogical interests of the schoolmen of late antiquity and Byzantine times, who caused to be copied only those works which were of some use in the curricula of their institutions of higher education at Alexandria, Antioch, Athens, Constantinople, and a very few other places. Their choice illustrates the impoverished intellectual climate of the Greek world in the millennium from the third to the thirteenth century a.d. Thus the compendium of elementary geometry which goes under the name of Euclid was transmitted through the schoolrooms, but none of the works on higher geometry which Euclid wrote (probably in the early third century b.c.) has been preserved; and only the first four books of Apollonius’ Conics, which treat the elements of the theory, continued to be copied in Byzantine times: The last four books, which deal with more advanced topics, are lost in Greek.

How Lost and Found works

How Lost and Found works

The "Lost" Treasures of Louis Comfort Tiffany

The works of the Tiffany Studios revolutionized interior design in turn-of-the-century America. All of the company's works-from stained-glass windows to blown-glass vases; lamp shades to inkwells-bore the unique stamp of one man, Louis Comfort Tiffany, who created the Tiffany Studios and supervised every aspect of their production. Many of these official studio pieces are well known today-avidly sought by museums and collectors worldwide. Special ones among them, as well as other lesser known pieces-the lost works of Louis Tiffany himself-are, in a real sense, the core of his astonishing achievement. They comprise his personal oeuvre-the objects made from his original designs for exhibition, for private commissions, or for use in Tiffany's own homes. This book reevaluates Tiffany's art in terms of his personal work-including pieces in all the media that attracted him over the course of his prolific career; stained glass, of course, but also mosaics, blown glass, pottery, jewelry, and enamels. Tiffany's pioneering efforts in interior design are covered, as are his easel paintings and his dream of creating a permanent residential retreat for working artists. Hugh F. McKean also provides much intimate insight into Tiffany's personality, his domestic life, his financial dealings, and his unusual philosophy of art. Lavishly illustrated, the book presents a vivid display of Tiffany's wide-ranging aesthetic. The result is a rare portrait of Tiffany the man-and of the prodigious imagination that almost single-handedly transformed the day-to-day image of a nation and an era.

Aristotle's Life and Lost Works - Anton-Hermann Chroust: Aristotle: new light on his life and on some of his lost works. 2 vols. Pp. xxvi + 437; xx + 500. London: Routledge, 1973. Cloth, £8·50 each (£16 together).

Aristotle's Life and Lost Works - Anton-Hermann Chroust: Aristotle: new light on his life and on some of his lost works. 2 vols. Pp. xxvi + 437; xx + 500. London: Routledge, 1973. Cloth, £8·50 each (£16 together).

Critical and Explanatory Notes on some passages assigned to Aristotle's Protrepticus

1. Rose, Arist. fr. 57, Ross, Protr. fr. 3. As is well known, this passage is quoted by Stobaeus, who assigns it to Aristotle, and by Maximus Monachus in his Gnomologium. A papyrus probably of the 2nd. century A.D. preserves the same text, giving also a few lines before the part quoted by Stobaeus, and a sentence in the middle which he has omitted (CopL 8i LaXLa-roV, Ross fr. 3 lines 13-16). There are critical notes in Walzer's Aristotelis Dialogorunt Fragmenta (1934) 24-26 and During's Aristotle's Protrepticus (1961). The papyrus text was edited by Grenfell and Hunt, Oxyrhynchus Papyri IV no. 666. Bernays (Die Dialoge des Arist. 161-64) accepted the attribution of the passage to Aristotle, while leaving it uncertain to which of his lost works it belonged. Subsequently the discovery of the papyrus, which includes itg YLXoaopTYeov, made it probable that the Protrepticus is the work in question. If so, the papyrus, which is now in the Bodleian Library, is the only surviving manuscript of any part of that work. I believe that we can add a little to the reconstruction by editors of the fragmentary opening sentence. And the sentence in the middle which, as said above, is preserved by the papyrus alone, has in my opinion been wrongly emended and falsely translated. I propose to discuss these two matters and consider tentatively the position which this passage occupied in the whole work. The papyrus is written in three narrow columns each of 57 lines, but of the first (left-hand) column nothing remains except the ends of lines at the top and bottom. Here is what is preserved according to Grenfell and Hunt:

ERCOLE D'ESTE AND LEONARDO DA VINCI'S EQUESTRIAN STATUE OF FRANCESCO SFORZA

Few lost works of art of the Renaissance have excited more learned discussion than the great equestrian statue of Francesco Sforza which Leonardo da Vinci was commissioned to make by Lodovico il Moro. The project for erecting such a monument to the founder of the ducal house had been under discussion for several years before Leonardo settled at Milan (1482), and if Sabba da Castiglione is correct in his assertion that the artist worked on it for sixteen years it must have been begun in 1483 or 1484. Leonardo's first projects were too grandiose to be capable of realization, and in 1489 Lodovico was enquiring about other sculptors who might take it over. But in 1490 Leonardo was back at work on the statue, and by the autumn of 1493 a full-scale model in clay was complete and could be exhibited during the festivities which accompanied the marriage of Lodovico's niece, Bianca Maria Sforza, to the future Emperor Maximilian. No advance was made with the casting, however, and in November, 1494, the duke sent the bronze collected for the statue to his cannon-founding brother-in-law, Ercole d'Este. The clay model stood in the Cortile Vecchio of the Castello at Milan until the coming of the French, and Vasari has preserved the tradition that they destroyed it (lo spezzarono tutto). In fact there is good reason to suppose that Ercole obtained the model as well as the metal, but that the casting was never undertaken, and that it was at Ferrara that it finally disintegrated.

Meredith's Autobiography and "The Adventures of Harry Richmond"

IN THE PREFACE to his excellent bibliography, Maurice Buxton Forman lists the lost or unidentified works of George Meredith. Among these, there is one item that attracts his particular attention, Meredith's lost Autobiography. Forman says: In a letter of July I864 Meredith tells William Hardman that 'Lucas is charmed with the sketch of the Autobiography; but owing to certain changes going on in relation to 0. a W. he has not yet sent word for me to start away.' 'O. a W.' is no Meredithian cypher to set the world agog, but 'the Autobiography' is an expression that raises questions and hopes at present unanswered and unfulfilled.' Did Meredith ever write, or contemplate writing, an autobiography? First of all, it would be curious, to say the least, if he were to be discovered at the age of thirty-five or so recording the story of his life for posterity; it is not likely that a man so devoted to common sense as Meredith would feel at that age that he had reached such a pinnacle of wisdom and experience as to be a candidate for immediate immortality. Certainly we should not be surprised to find that Sir Willoughby Patterne had undertaken a like enterprise at a similar age, but with equal certainty we can say that

Spenser's “Lost” Works and Their Probable Relation to His Faerie Queene

The vexed problem of Spenser's missing works, incapable as it inevitably is of absolutely certain solution, has nevertheless been treated, in a recent article by Mr. Philo M. Buck, Jr., with results that are interesting and on the whole satisfactory, though marked, as it seems at least to the present writer, by certain faults of method. Mr. Buck believes, as do various critics, that the greater number of the so-called lost works are to be found in Spenser's extant writings. He contends further that the poet, as a measure of political prudence, voluntarily suppressed them in 1580, only to draw them forth about 1591, when he was wrathful at royal neglect, and eager to level their satire at his enemy, Burghley; and most of them, Mr. Buck argues, were published in the Complaints (1591) and in the Faerie Queene. In our consideration of the article, after the inaccuracy of method has been noted, and certain minor phases of the argument have been questioned, it will remain for us to emphasize the probability of the main contention, and the wider significance it has for Spenser's method of composition, especially as regards the Faerie Queene.

Libraries in Constantinople.—the lost works of the ancients

Libraries in Constantinople.—the lost works of the ancients