2. Ibid., 4: 23.
3. D. P. G. Humbert de Superville, Essai sur les signes inconditionnels dans l'art (Leiden: C. C. van der Hoek, 1821), p. 3. Since copies of the Essai are very rare, a detailed exposition of its contents follows.
4. Ibid., p. 4.
5. Ibid., p. 6.
6. Ibid., p. 7.
7. Humbert de Superville, P.K.L., Class I, "Ancient Art," fol. 13. The Prentenkabinet of the Rijksuniversiteit Leiden possesses a series of bound MSS that contain Humbert's classification of prints and drawings. Numbers are marked on the spine, but they often conflict with the class number to which they refer. I have therefore chosen to identify these MSS according to the art historical period with which they deal. Also see P.K.L., drawing nos. 622, 1345, 1346, for Humbert's copies after the Capitoline Venus, the Juno Ludovisi (Museo delle Terme), and the Pallas of Velletri (Louvre).
8. Jennifer Montagu, "Humbert de Superville's Essai sur les signes inconditionnels dans l'art", lecture given at a "Seminar on Symbolism," at the Warburg Institute, London.
9. Humbert de Superville, Essai, p. 8.
10. Ibid., p. 9.
11. Ibid., p. 12.
12.. Ibid., p. 13.
13. Ibid. Also see p. 3 n. 7 of Notes.
14. Ibid., p. 15.
15. Ibid p. 16.
16. Ibid, p. 17.
17. Ibid., p. 19.
18. Charles Bonnet, Contemplation de la nature (Amsterdam: Chez Marc-Michel Rey, 1769), 2: 103.
19. Ibid., pp. 104-5.
20. Ibid., p. 105.
21. Humbert de Superville, Essai, p. 19.
22. Ibid., p. 20.
23. Ibid., p. 21.
24. Ibid., p. 27.
25. Ibid., p. 29.
26. Ibid., pp. 30, 33.
27. Ibid., p. 34.
28. Ibid., pp. 36, 38.
29. Ibid., pp. 22, 38.
30. Ibid., p. 37.
31. Humbert de Superville, P.K.L., MS X, "S. Pietro," fol. 21. Humbert gives a detailed history of architects, sculptors, and mosaicists.who worked on that basilica. For what seems to be a duplicate version in Dutch, see P.K.L., Class IV, "St. Pieters kerk te Rome." Humbert seems to have changed his mind about where exactly to place this troublesome building. He considers forming an eighth classification dedicated to St. Peter's in Rome. See Rijksuniversiteit Leiden, Curatoren Archief, MS 607 no. 1, "Verslag van D. P. G. H. d. S. van 30 Aug. 1833," fol. 15.
32. Humbert de Superville, Essai, p. 41.
33. Ibid., p. 45.
34. Ibid., p. 49.
35. Ibid., pp. 52-53.
36.Ibid., p. 52.
37. Ibid., pp. 54-55.
38. Ibid., p. 57.
39. Ibid., p. 58.
40. Ibid., p. 59.
41. Ibid., p. 60.
42. Richard Verdi, "Poussin's Eudamidas: Eighteenth Century Criticism and Copies," Burlington 113 (September 1911): 524. Verdi notes that it is no longer the image but the design itself that moves the observer.
43. P.-M. Gault de Saint-Germain, Les trois siècles de la peinture en France, ou galerie des peintres français depuis François 1er jusqu'au regne de Napoléon ( Paris: Chez Belin, 1808), p. 28. Also see P.K.L., Class VI, "Comparison of Great Masterpieces," fols. 55, 59, 60.
44. Humbert de Superville, Essai, p. 64.
45.Ibid., p. 73.
46. See chaps. 5 6, and 8 below.
47. Humbert de Superville, Essai, p. 77.
48. Ibid., pp. iii ff.
49. Ibid., pp. 31 ff. of Notes. The article serves as an extensive footnote to p. 34 of the text.
50. Ibid., p. 78.
51. D. P. G. Humbert de Superville, XXI Planches relatives a l'Essai sur les signes inconditionnels dans l'art ( Leiden: Chez C. C. van der Hoek, n.d. ). The following note is written on the inside cover: "Les planches de l'Atlas ne seront au complet ordinal pour chaque livraison, qu'à la publication du Supplément; le différent genre de leur execution ne permettant pas de les livrer regulièrement et par ordre de sujets. Parmi celles qui vont paraître incessament se trouvera l'élevation du portail septentrional de l'église de St. Pancrace de Leyde. La planche no. VI en présente déjà la grande fenêtre du sud. Le plan, les mésures et l'historique de ce beau monument national de la fin du treizième siècle occuperent une place distinguée dans le texte explicatif." The other plates were: I, "Le principe"; II, "Portique de l'ancien Hotel de Ville d'Amsterdam"; III, "Coupe d'une construction politique"; IV, "Portail septentrional de S. Pancrace de Leyde"; V, "Pilier ou pied droit d'une croisée ogive"; VII, "Momie égyptienne"; X, "L'Ange du dernier jour"; XI, "Peinture sur verre"; XII, "La Croix"; and the supplementary plates, A, B, C. A, "Le Colosse ou géant de la côte", B, "Le Colosse sous ses trois principaux aspects", C, "Cours de la branche du Rhin se perdant dans les sables." See Essai, pp. 35-36 of Notes.
52. D. P. G. Humbert de Superville, Reévision de l'essai sur les signes inconditionnels dans l'art ( Leiden: C. C. van der Hoek, 1839), pp. 4, n. for p. 39.
53. Ibid., p. 4, n. for p. 71.
54. Ibid., p. 6.
55. Ibid., pp. 7-8.
56. Ibid., p. 7.
57. Ibid., p. 8.
58. D. P. G. Humbert de Superville, K.N.I., MX .CCXV "Essai sur les signes inconditionnels dans l'art," fol. a.
59. Letter, J.-E. Humbert to L. E. Luzae, July 23, 1823 Museum of Antiquities, Leiden, Archives.
60. Letter, J.-E. Humbert to L. E. Luzae, July 29, 1828, Museum of Antiquities, Leiden, Archives.
61. Letter, J.-E. Humbert to L. E. Luzae, May 20, 1831, Museum of Antiquities, Leiden, Archives.
62. Letter, J.-E. Humbert to L. E. Luzae, April 27, 1832, Museum of Antiquities Leiden, Archives.
63. Letter, Marehese Gozzoni Venturi to J.-E. Humbert, May 23, 1837, Museum of Antiquities, Leiden, Archives.
64. Letter, Marehese Gozzoni Venturi to J.-E. Humbert, Octoher 10, 1837, Museum of Antiquities, Leiden, Archives.
65. Letter, L. E. Luzac to J.-E. Humbert, November 2S, l837, Museum of Antiquities, Leiden, Archives.
66. D. P. G. Humbert de Superville, P.K.L., Class III: "Leonardo da Vinci to Michelangelo and Raphael," fol. 2. See chapter xiv of Leonardo da Vinci's Treatise on Painting.
67. Gérard Hubert, La Sculpture dans l'ltalie napoléonienne, Paris: Edition E. de Boccard, 1964), p. 91 n. 4.
68. De Haas, Humbert de Superville, p. 19.
69. D. P. G. Humbert de Superville, Projet d'une description d'un musée de plâtres antiques (Leiden: n.p., 1817), introduction.
70. René Schneider, Quatremère de Quincy et son intervention dans les arts (Paris: Librairie Hachette et Cie., 1910), p. 189. It is interesting to relate this to a similar project by Quatremère.
71. Humbert de Superville, Projet d'un musée, p. 3.
72. See chap. 5 below. Also see Michel de Montaigne, Of the Education of Children (1: 26), in The Complete Essays, trans. Donald M. Frame (Stanford: Stanford University Press, 1958), p. 115.
73. D. P. G. Humbert de Superville, Jésus, essai dramatique; Acte I (Leiden: De l'Imprimerie de J. Brill, 1812). The completed 1815 edition was published "Chez l'Auteur."
74.. Ibid., avertissement.
75. Previtali, La fortuna dei primitivi, p. 95.
76. P.K.L. drawings in Box 2-41, inv. nos. 1389, 1392, 1397, 1398.
77. D. P. G. Humbert de Superville, Romeinse schetsboek, inv. no. 1341, p. 41. Here Humbert copies bas reliefs from the Areh of Trajan. Contrast them with the "unimproved sheet of studies" ( inv. no. 55.78) at the Amsterdam Rijksmuseum Prentenkabinet.
78. K.N.I., Arehives, "Notulenboek IV klasse, 1816-1825," 2: 296. See minutes from meeting of November 11, 1822.
79. Ibid., fol. 362. See minutes from meeting of July 19, 1824.
80. Ibid., fol. 379. See minutes from meeting of December 20, 1824.
81. Ibid., "Notulenboek IV klasse, 1825-1837," 3, fol. 6. See minutes from meeting of October 10, 1825. Also see Essai, pp. 29-30 n. 101.
82. Ibid., fol. 385. See minutes from meeting of February 14, 1825.
83. Ibid., fol. 114. See minutes from meeting of June 16, 1828.