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“... come to light, and we shall have another insight into relations between the two. The first part of Anthony Grafton’s intellectual biography (‘Textual Criticism and Exegesis’) appeared in 1983. Together the two volumes provide little of a personal nature, but a remarkably rich insight into a vigorous period of scholarship for which the modern ...”

“... and how they mirror each other. Before that class, I had a coffee with Constanze Güthenke and Anthony Grafton: we were meant to plan our joint lesson, but the conversation quickly derailed when I again mentioned our children. Tony remembered the languages of his childhood, especially Yiddish, the forgotten language. That night I laughed with Johannes ...”

“... on printers’ archives in Leiden, Antwerp and Rome. The volume confirms, if it needed confirming, Anthony Grafton’s unrivalled capacity, within Renaissance studies, to combine high learning (‘the correctors studied here were hardly typical,’ he notes, with some pride) with the ability to make potentially arid archival sources ...”

“... 21, 344 pages out of 798 – the authors review major themes: ‘humanism and political theory’ (Anthony Grafton), ‘Italian political thought, 1450-1530’ (Nicolai Rubinstein, with a strong detour through the local and peculiar intensities of Florence and Venice), ‘law’ (Donald Kelley, being very rightly a disquisition on Roman law and the ...”

“... Crusius’s interactions with his Greek guests as it does to his books. If, following the lead of Anthony Grafton, historians of Renaissance scholarship have for decades studied scholarly practices as well as the history of ideas, here the practices take centre stage. Conquistadors such as Hernán Cortés or missionaries such as Matteo Ricci are more ...”

“... entertainer’, which has fixed our view of it as meaning a mountebank or charlatan. Anthony Grafton’s magicians, like alchemists, miracle-mongers and witch-prickers, look different when we see them moving around their own environments. We might know them better by their intentions, which, like those of Protestant theologians and ...”

“... which the erudite sometimes seem so content. According to the recent historians of this process, Anthony Grafton and Lisa Jardine, Early Modern humanism perfectly fitted the needs of the new system of court bureaucracy and helped ‘the constriction of society and polity’. The accounts of Eamon and Smith show some of the ways in which natural ...”

“... could be repeatedly rearranged to fit different conceptual schemes. In his book on The Footnote, Anthony Grafton quotes a letter by the great Swiss historian of the Renaissance Jacob Burckhardt, reporting that he had just cut up his notes on Vasari’s Lives into 700 little slips and rearranged them to be glued into a book, organised by topic.From this ...”

“... a lazy Susan and a ferris wheel which, according to another of this volume’s missing persons, Anthony Grafton, lent humanists’ reading the same ‘expensively dramatic quality’ that the personal computer has now given to writing. As far back as 1982, Darnton declared that ‘books are economic commodities as well as cultural artefacts.’ No one ...”

“... can also be seen in the work of the historian with whom Ginzburg can perhaps best be compared, Anthony Grafton, another astonishing comet of learning. The two, each from Jewish families with a political background, one in Turin, the other Manhattan, share a common starting-point in seasons in London at the Warburg Institute, with the influence of ...”

“... illuminate the figure we’re after for just long enough. You have probably never heard of Anthony Scoloker, or Ursyn Mylner, or John Gybkin or Lodowick Harbard, but Blayney reveals probably as much as it is humanly possible to know of their teeming world. When John Warwick died in York in 1542, his inventory listed not only one cow and six silver ...”

“... Bell’s decorations at Charleston) has been displayed and catalogued at the Crafts Council and Anthony d’Offay galleries. Judith Collins’s Omega Workshops gives the history, while Frances Spalding’s biography of Vanessa Bell is an account of Bloomsbury in which the painters and decorators take centre-stage. The time is ripe for this ...”