Burial in the forest is a recent, non-confessional alternative to the established cemeteries owned and run by the Evangelical Lutheran Church in Denmark. Danish forest burials fulfil common criteria for non-religion and they are an example of institutionalized non-religion. Their non-confessional character is emphasized in the information material directed towards potential buyers of forest burial plots. Forest burials appeal to both non-members and members of the Evangelical Lutheran Church; in fact, nearly two-thirds of those who had a forest burial by (...) the end of 2021 were members of the church. I have participated in seven tours conducted at different forest burial sites, and I have interviewed nearly fifty participants about their motives for considering buying a forest burial plot. In my analyses, I structure the interviews along the three dimensions, knowing, doing, and being. I found that the motives for people to choose a forest burial reflected both non-religious and religious/spiritual considerations. Forest burials exemplify a religious complexity where nature, non-religion, religion, and spirituality intersect. In this complexity, I see the institution of forest burial as a non-religious vessel, which the buyers fill with their individual thoughts and acts. (shrink)

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)

Aby Warburg's Nachlass, the heart of the Warburg Institute Archive, is complemented by other large holdings which are no less remarkable. Quietly accumulating over the decades, still only provisionally cataloged, the vast corpus of letters filed as “General Correspondence” reveals itself to be a spectacularly rich resource for twentieth-century cultural and intellectual history. The secretariat was efficient: most everything was kept, letters received as well as copies of letters sent, meaning that the visitor to Woburn Square can (...) sit in a single archive, read both sides of exchanges, and follow conversations over years — a rare circumstance. The academic staff maintained contact with an impressively large number of internationally active scholars, working in many fields, and the letters are characteristically substantive. In this article, the author indicates how a book she is presently writing, Warburg Circles, 1929 – 1964, has been shaped by these archival holdings. She offers a brief history of the consolidated archive now located on the fourth floor of the Warburg Institute, a story that throws light on recent scholarly trends; and she gives examples of the sorts of historical insight that may be gained from this corpus of correspondence. (shrink)

How can the visual and textual data about an image – the image of a work of art – on recto and verso of a picture be interpreted? An analogical-art-documentary photograph represents a palimpsest to be considered layer by layer. The examples discussed in this article, which refer to both Aby Warburg himself and the first nucleus of the Warburg Institute Photographic Collection, contribute to effectively outline elements of the debate around the question of the photographic reproduction (...) of the work of art as well as of the position of photography in relation to the perception of the work of art. (shrink)

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 essay, part of a special issue on the Warburg Institute and Library, offers personal recollections of scholars whom the author encountered there as a student in the early 1970s, including E. H. Gombrich, Otto Kurz, Michael Baxandall, Frances Yates, D. P. Walker, A. I. Sabra, Michael Podro, Michael Screech, Arnaldo Momigliano, and Nikolaus Pevsner. The author's focus is on differences between the milieu of the Kulturwissenschaftliche Bibliothek Warburg, as it had been in Hamburg, and the ethos (...) of the Warburg Institute in London. The key document for establishing this contrast is an anonymous review — by Edgar Wind — attacking Gombrich's biography of Aby Warburg, which was published in 1970. Wind found the new Warburg circle “Lilliputian” in comparison with the old Hamburg circle, to which he had belonged. This essay disputes Wind's finding, based on its author's own experience, as well as on his sympathy with the reasoned empirical approach of Gombrich, Baxandall, and others at the London Warburg to issues that Aby Warburg had raised when the Library was in Germany. (shrink)

The Warburg Institute, founded in the 1920s in Hamburg by art and cultural historian Aby Warburg, is a pioneering institution that has greatly shaped the fields of art, myth, religion, medicine, philosophy, and intellectual history. When, in 1933, the institute was moved to London to escape the Nazis, its research and legacy were protected and further developed by a network of researchers dispersed throughout the UK, the US, and Canada. The first interdisciplinary study of the (...) class='Hi'>Warburg network as an arena of intellectual transmission, transformation, and exchange, this volume reveals the dynamics, agencies, and actors at play in the development of the Warburg Institute's program and output, with a specific focus on the role of Raymond Klibansky in the institute's major ventures. Among these collective projects of the institute are the famous Saturn and Melancholy, which blends art history with philosophical and cultural history, and the Latin and Arabic Corpus Platonicum Medii Aevi series, which contributed to research on the continuity of Platonic thought. Consulting published and unpublished sources including correspondences, memories, and diaries of affiliated scholars, the essays explore the history of the Warburg Library as a vital cultural institution and the personal and intellectual relationships of the researchers devoted to it. From Hamburg to London to Montreal, Raymond Klibansky and the Warburg Library Network takes readers on a journey into more than forty years of intellectual life at one of the most prestigious cultural research institutes. Contributors include Philippe Despoix, Georges Leroux, Eric Méchoulan, Elisabeth Otto, Elizabeth Sears, Davide Stimilli, Jillian Tomm, Martin Treml, Jean-Philippe Uzel, Regina Weber, Claudia Wedepohl, and Graham Whitaker. (shrink)

Against the backdrop of Walter Benjamin's famous essay, “Unpacking My Library”, this article, by the Librarian of the Warburg Institute, tells the story of the many times that the Warburg Library has been packed and unpacked. First it was the private collection of Aby Warburg, later a public institution, originally in Hamburg and then in London from 1933 to the present. This essay also explores the various ways in which books have been — and continue to (...) be — acquired by the Warburg Library, including publication, donation, recommendation, and purchase. Each of these methods is not only discussed but also examined in light of Benjamin's account of the acquisition of his own library. Moreover, Benjamin's view that collections lose their meaning when they cease to be personal is challenged by the example of the Warburg Library, which has been transformed from a private collection containing around 15,000 books in 1911 to a public institution today housing over 350,000 volumes, while still maintaining its unique character. (shrink)

Received opinion holds that it would be more efficient, hence more economical, to compress and thus dissolve the holdings of the Warburg Institute Library into an overarching university library system. This essay argues two points: first, that we should not be automatically persuaded by the popular and largely unexamined goal of efficiency; and second, that the Library indeed requires its own space but that that space must now be reconceived. In line with Aby Warburg's belief that the (...) past should engage the present by expanding and refreshing it, the Warburg Institute Library's rare and singular collections are less about the books and more about the uniqueness of the content and what it does. This essay proposes that what makes the Library vital to today's networked epistemology is the insights that its volumes provide to the varieties of human ordering, organization, formatting, and categorization—visibly exhibited in the spatial arrangement of its holdings. As its users have long felt, the Warburg is more than a library: it is a complex physical space demonstrating the formal evolution or framing of human thought. The Warburg should thus be reconceived as a “house museum” along these lines. (shrink)

Against the backdrop of Walter Benjamin's famous essay, “Unpacking My Library”, this article, by the Librarian of the Warburg Institute, tells the story of the many times that the Warburg Library has been packed and unpacked. First it was the private collection of Aby Warburg, later a public institution, originally in Hamburg and then in London from 1933 to the present. This essay also explores the various ways in which books have been — and continue to (...) be — acquired by the Warburg Library, including publication, donation, recommendation, and purchase. Each of these methods is not only discussed but also examined in light of Benjamin's account of the acquisition of his own library. Moreover, Benjamin's view that collections lose their meaning when they cease to be personal is challenged by the example of the Warburg Library, which has been transformed from a private collection containing around 15,000 books in 1911 to a public institution today housing over 350,000 volumes, while still maintaining its unique character. (shrink)