This new, splendidly illustrated study rediscovers the genius of Uccello. A fully illustrated catalogue raisonne bring together all his surviving works.

Art and writings by Surrealist painters and poets from a wide range of countries.

A masterpiece of the early Renaissance, Paolo Uccello's (1397-1475) 'Hunt in the Forest' is a magical and enigmatic picture. The painting clearly belongs to the last decade of Uccello's career, and stylistic comparisons with the narrative scenes that he painted in the late 1460s in Urbino suggest that 'The Hunt' must date from soon after that. Uccello's lifelong interest in geometry and perspective, together with his skill in depicting animals and landscape, combine in this swansong, a jewel-like painting designed to please a sophisticated audience. The Hunt in the Forest is a rare and tantalising survivor of a particular type of secular painting. A spalliera painting (from spalla, meaning shoulder), it would have been set into the panelling of a room at shoulder height. Scenes from ancient history and mythology, or from medieval romance, were common in spalliera paintings, and many have come down to us. However, the fact that a hunting scene with figures in contemporary dress is elaborately and playfully depicted by a major artist makes this panel virtually unique in Florentine domestic painting of the fifteenth century. Clearly the patron who ordered this picture was a discerning one, familiar with Uccello's distinctive artistic talents. The painting has been in thc collection of the Ashrnolean Museum since 1850.

Robin Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. Anyone reviewing the history of architectural theory, Robin Evans observes, would have to conclude that architects do not produce geometry, but rather consume it. In this long-awaited book, completed shortly before its author's death, Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. He shows that geometry does not always play a stolid and dormant role but, in fact, may be an active agent in the links between thinking and imagination, imagination and drawing, drawing and building. He suggests a theory of architecture that is based on the many transactions between architecture and geometry as evidenced in individual buildings, largely in Europe, from the fifteenth to the twentieth century. From the Henry VII chapel at Westminster Abbey to Le Corbusier's Ronchamp, from Raphael's S. Eligio and the work of Piero della Francesca and Philibert Delorme to Guarino Guarini and the painters of cubism, Evans explores the geometries involved, asking whether they are in fact the stable underpinnings of the creative, intuitive, or rhetorical aspects of architecture. In particular he concentrates on the history of architectural projection, the geometry of vision that has become an internalized and pervasive pictorial method of construction and that, until now, has played only a small part in the development of architectural theory. Evans describes the ambivalent role that pictures play in architecture and urges resistance to the idea that pictures provide all that architects need, suggesting that there is much more within the scope of the architect's vision of a project than what can be drawn. He defines the different fields of projective transmission that concern architecture, and investigates the ambiguities of projection and the interaction of imagination with projection and its metaphors.

Mantegna; humanist, geometrist, archaeologist, of great scholastic and imaginative intelligence, dominated the whole of northern Italy by virtue of his imperious personality. Aiming at optical illusion, he mastered perspective. He trained in painting at the Padua School where Donatello and Paolo Uccello had previously attended. Even at a young age commissions for Andrea’s work flooded in, for example the frescos of the Ovetari Chapel of Padua. In a short space of time Mantegna found his niche as a modernist due to his highly original ideas and the use of perspective in his works. His marriage with Nicolosia Bellini, the sister of Giovanni, paved the way for his entree into Venice. Mantegna reached an artistic maturity with his Pala San Zeno. He remained in Mantova and became the artist for one of the most prestigious courts in Italy – the Court of Gonzaga. Classical art was born. Despite his links with Bellini and Leonardo da Vinci, Mantegna refused to adopt their innovative use of colour or leave behind his own technique of engraving.

Dana E. Katz reveals how Italian Renaissance painting became part of a policy of tolerance that deflected violence from the real world onto a symbolic world. While the rulers upheld toleration legislation governing Christian-Jewish relations, they simultaneously supported artistic commissions that perpetuated violence against Jews.

A yearbook sponsored by the British Comparative Literature Association asserting that comparative literary studies represent a major direction forwards.