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The third American edition has been completely revised and
expanded, although parts of the text of the second edition have
been included. I wish to acknowledge once again the excellent
translation of the former two editions by Dr. ALAN B. ROTHBALLER
and the late Dr. JERZY OLSZEWSKI. With this edition I have followed
the general theme of the original German edition published in 1951.
However, I have tried to consider modern techniques and the many
new publications on the subject of brain tumors. Meanwhile, an
early desire of mine has been fulfilled by the completion and
publication of a classification which can be understood worldwide
and hopefully be used widely, namely, the classi fication of the
World Health Organization: Histological Typing of Tu mours of the
Central Nervous System (1979). The classification which I used in
the 1951 edition is very close to the final pattern of that
accepted by the World Health Organization (WHO), since both follow
the line of the BAILEY and CUSHING classifica tion of 1926/1930. To
consolidate our old concepts and experiences we have reclassi fied
our collection of 9000 cases with the assistance of my co-workers
Dr. M. FUKUI, Dr. A. SATO. Dr. E. SCHARRER, Dr. E. SIMON, and Dr.
J. SZYMAS. In the last decade two large atlases have been
published, one called an Atlas of the Histology of Brain Tumors 1
(in six languages) and a second one called an Atlas of the Gross
Neurosurgical Pathology 2."
Paintings, sculpture, and classical antiquities are the most
valuable resources of any museum, and are the first objects to be
published in each museum's own collection catalogue or online
inventory. Collection catalogues, however, have customarily
included only a small sample of the riches to be found in
Midwestern collections of master drawings. This volume of
sixteenth-century drawings has largely been the work of Burton L.
Dunbar (University of Missouri-Kansas City), director of the
project and a specialist in the arts of northern Europe, and Edward
J. Olszewski (Case Western Reserve University), co-editor for the
series, a well-known authority on drawings of the Italian
Renaissance. This volume covers the sixteenth century, including,
as a rule, artists born between 1480 and 1580, with the exception
of Giovanni Baglione (ca. 1573-1644) and the Carracci. This study
represents a gathering of drawings from forty institutions between
Ohio and Oklahoma based on a census of seventy-five museums and art
centers. Jacob Burckhardt's contention that the Renaissance was, in
many respects, an age of paganism is readily belied here by the 471
Italian drawings, the great majority of which are religious
subjects. Antiquity provided a veneer beneath which sixteenth
century artists could cloak their Christianity to make it seem
fresh, reminding believers of the origins of their faith, and
reviving the purity of Christian doctrine in its early years. It is
no surprise, then, to find numerous drawings of antiquities and
mythologies among the many subjects. A corpus this large can be
representative in many ways, offering a cross-section of media,
subjects, drawing types, and collectors. Of the 471 Italian
drawings scattered across Midwestern America, here we reassemble
many that were at one time in one or more prominent collections.
Every drawing was examined for the following information: Artist,
place of birth and death with dates, biography, title of drawing,
date of drawing, dimensions in mm (and in inches), media,
institutional credit line, accession number, technical condition,
inscriptions, collectors' marks, watermark, provenance,
exhibitions, bibliography, comments.
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