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ThingScore 100
A bulky volume of Saecula spiritalia devoted entirely to a selection of William Heckscher's writings published during the 45 years between 1937 and 1982. From the comprehensive bibliography of 93 items listed by the editor, 24 have been chosen (one in German, one in Dutch, two in Latin, the rest in English), each reproduced exactly as originally published, complete with footnotes and show more black-and-white illustrations, both of which are essential concomitants of the text in everything which Heckscher has written.
In 12 pages, the editor's Introduction summarizes the life and work and thought of this unique art-historian, who is not only one of the world's leading experts on some of the more recondite areas of his subject (iconology, emblem books), but also has the breadth of vision and inter-disciplinary perception associated with Renaissance Man.
It is astonishing that his observations concerning Shakespeare, Goethe, the brothers Grimm, et al do not strike the reader as the fruits of what is commonly regarded as academic research. Rather they remind one of the apparently haphazard thunderbolts of Zeus. This is because they are eruptions (Heckscher modestly calls them petites perceptions) from a mind that is deeply conversant not only with Western art but with almost every aspect of our culture from Greek antiquity right through to our own times. He does not expound but rather explores this or that relationship between art and literature. It is as though he cuts a crosssection of his brain and lets us see the ways in which his mind is working. Thus his readers, whilst learning from his rich store of knowledge and ideas, find themselves impelled also to think for themselves. show less
In 12 pages, the editor's Introduction summarizes the life and work and thought of this unique art-historian, who is not only one of the world's leading experts on some of the more recondite areas of his subject (iconology, emblem books), but also has the breadth of vision and inter-disciplinary perception associated with Renaissance Man.
It is astonishing that his observations concerning Shakespeare, Goethe, the brothers Grimm, et al do not strike the reader as the fruits of what is commonly regarded as academic research. Rather they remind one of the apparently haphazard thunderbolts of Zeus. This is because they are eruptions (Heckscher modestly calls them petites perceptions) from a mind that is deeply conversant not only with Western art but with almost every aspect of our culture from Greek antiquity right through to our own times. He does not expound but rather explores this or that relationship between art and literature. It is as though he cuts a crosssection of his brain and lets us see the ways in which his mind is working. Thus his readers, whilst learning from his rich store of knowledge and ideas, find themselves impelled also to think for themselves. show less
added by KayCliff
Author Information
20+ Works 29 Members
Series
Common Knowledge
- Canonical title
- Art and Literature: Studies in Relationship
- Original publication date
- 1985
- First words
- The most obvious examples of relics of Antiquity in mediaeval setting are the ancient gems and precious stones which, in spite of their pagan carvings, were used by mediaeval craftsmen for the decoration of covers of prayer-b... (show all)ooks, croziers, crosses, relic-shrines and other ecclesiastical objects; not to mention the personal seals and signet-rings of the highest dignitaries of the Church.
- Quotations
- My ambition went perhaps even higher: I intended the Index to carry an independent theme. In writing my contribution—notwithstanding the fact that I am almost totally deaf—I had at times a feeling while I was at work that... (show all) I was a descendant of Johann Sebastian Bach, sitting at my harpsichord, working out challenging problems in counterpoint. Notes rather than Index could be left by the wayside; while Text and Index were equivalent entities standing at opposite poles from one another, the Illustrations were meant to form integral parts of both Text and Index. The Notes, close allies to the Text, should remain discreetly hidden—like the roots of a tree—as vital partners in nourishment. I left it to my reader either to start with the Text, then consult Notes, Pictures and Index wherever desirable, or as a second option, to start with the Index in quest of matter of specific interest, working one's way back as it were.
- Last words
- (Click to show. Warning: May contain spoilers.)I prefer the Index which has a life of its own, which may pride itself on being the child of imagination, and which should enable us to spend a peaceful evening in bed, reading such an Index, as if we were reading a good novel.
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- English
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- ISBNs
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