At first sight, classical architecture, with its continuous revivals and reworking of the forms of Greek and Roman building, would appear to offer a privileged field in which to apply Warburg's central notion of the survival of classical forms and his view of art history's unfolding as a process of remembrance. Yet Warburg himself did not write on architecture. The topic has also largely vanished from the pages of the Journal of the Warburg and Courtauld Institutes, though in the past (...) the journal has been the venue for influential publications on classical architecture. By comparing two Warburg circle publications from 1949 — Fritz Saxl and Rudolf Wittkower's British Art and the Mediterranean World and Wittkower's Architectural Principles in the Age of Humanism — this article shows that architectural history of this kind, developed in the context of the Warburg Institute, is connected not only to Aby Warburg's ideas on Nachleben der Antike and Mnemosyne, but also to the organization and holdings of the Warburg Institute Library. Working in the Warburg Library gives architectural historians the intellectual space to think about architecture in terms of design issues, but moreover as an actor shaping society and culture. This article concludes that Warburg's thought offers important, and thus far hardly explored, starting points for new investigations of the built classical heritage. (shrink)

As a leading member of the Vienna Circle, Rudolph Carnap's aim was to bring about a "unified science" by applying a method of logical analysis to the empirical data of all the sciences. This work, first published in English in 1934, endeavors to work out a way in which the observation statements required for verification are not private to the observer. The work shows the strong influence of Wittgenstein, Russell, and Frege.

In 1941 Fritz Saxl and Rudolf Wittkower of the Warburg Institute organized an exhibition on English Art and the Mediterranean. The photographic exhibition showed the long history of artistic and cultural ties between English art and the classical tradition, employing Aby Warburg's method. The project was an attempt by Saxl, as director, to show the relevance of the Warburg Institute's work in England, the new home of the Library since 1933. Kenneth Clark, director of the National Gallery, actively promoted (...) the work of the Institute, including by supporting the naturalization process for many of the Warburg scholars. The popular belief in the cultural ties between England and Italy fed into the positive reception for the exhibition and into acceptance of the work of the Warburg Institute. The exhibition was published in a large format catalog in 1948, further adding to the popularity of the exhibition with a diverse British public. Although the motivation for the exhibition emerged from political conditions and institutional circumstance, it had a lasting effect on the history of the study of English art and architecture. Wittkower and others turned to research on the classical tradition in English art, even though the method had limited relevance beyond the “neoclassical” period. (shrink)

"This book is valuable as expounding in full a theory of meaning that has its roots in the work of Frege and has been of the widest influence.... The chief virtue of the book is its systematic character. From Frege to Quine most philosophical logicians have restricted themselves by piecemeal and local assaults on the problems involved. The book is marked by a genial tolerance. Carnap sees himself as proposing conventions rather than asserting truths. However he provides plenty of matter (...) for argument."-Anthony Quinton, Hibbert Journal. (shrink)

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.