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The collection of Barbara and Lawrence Fleischman of New York is one of the most important private collections of ancient Greek and Roman art in the United States and among the most important in the world. Composed of approximately three hundred objects from the Bronze Age to the Late Antique, it includes bronze statuettes, marble sculpture, vases, jewelry, lamps and candelabra, keys, weights, and silver bowls and utensils. The Fleischmans have a particular fascination with pieces associated with everyday life in antiquity, since these objects evoke a human connection to the past. They are also drawn to pieces that exemplify the human propensity to transform a functional object into a thing of beauty. Not only has their emotional response to an object’s aesthetic appeal or its historical significance guided them in their forty years of collecting, personal interests have been at work as well. The large number of pieces related to the theater or representing theatrical subjects reflects Barbara Fleischman’s lifelong love of that art. A Passion for Antiquities contains photographs and extensive catalogue entries on the objects included in the exhibition at the J. Paul Getty Museum and the Cleveland Museum of Art. Eighteen contributors provide art historical and descriptive information about each piece. The objects not selected for the exhibition are detailed in a checklist that specifies their origins, dates, media, and sizes. This book is the first major reference on the entire collection, since most of the objects have never before been publicly shown. To facilitate finding specific objects or groups of objects, the book is organized first chronologically and then by medium. Bibliographic sources for each entry cite both publications where the specific work is discussed as well as references to related scholarship. Karol Wight provides a chronological overview of the collection, and Oliver Taplin relates selected pieces to the development of Greek theater. The exhibition of Barbara and Lawrence Fleischman’s collection and this catalogue allow us to enter into their minds and emotions so that, for a time, we can share their passion for antiquities.

A Stanford University Press classic.

Strasbourg Astronomical Observatory is quite an interesting place for historians: several changes of nationality between France and Germany, high-profile scientists having been based there, big projects born or installed within its walls, and so on. Most of the documents circulating on the history of the Observatory and on related matters have however been so far poorly referenced, if at all. This made necessary the compilation of a volume such as this one, offering fully-documented historical facts and references on the first decades of the Observatory history, authored by both French and German specialists. The experts contributing to this book have done their best to write in a way understandable to readers not necessarily hyperspecialized in astronomy nor in the details of European history. Several appendices conclude the book: lists of council members and of Observatory scientific personnel, as well as a compendium of the institutional publications until the year 2000.

The nineteenth-century writer and Masonic scholar Kenneth R. H. Mackenzie (1833-86) studied occultism with Frederick Hockley, and met the famous French occultist Éliphas Lévi in 1861. He was also involved in the foundation of the Hermetic Order of the Golden Dawn. This extensive encyclopaedia, first published in 1877, is considered to be a classic Masonic reference work. It includes detailed information on the symbols, rites, legends, terms, people and places associated with Freemasonry. Some of the symbols are illustrated and lists of rankings are given, including a 'traditional' list of Grand Masters of England that includes Sts Swithin and Dunstan, Alfred the Great, Sir Christopher Wren (twice) and Charles II. Mackenzie aims in his entries to be critical when relevant: as he says in the Preface, freemasonry has 'received a willing tribute' in his book, but he hints at difficulties encountered in publishing material about a famously secretive society.