1. G. J. Renier, The Dutch Nation, an Historical Study (London: George Allen & Unwin Ltd., 1944), p. 231
2. Ibid., p. 247.
3. Louis R. Gottschalk, The Era of the French Revolution 1715-1815 (Cambridge, Mass.: Houghton Mifflin Co., 1957), pe 3S5 n. 1.
4. Hendrik Willem Van Loon, The Rise of the Dutch Kingdom. 1795-1813 (Garden City, N.Y.: Doubleday, Page & Co. 1915), p. 221
5. Gottschalk, French Revolution, p. 422
6. Prentenkabinet Rijksuniversiteit Leiden, MS 8, "Testamenten van Humbert de Superville," n.f. All further references to The Prentenkabinet Leiden will be abbreviated P.K.L.
7. Franco Venturi, Utopia and Reform in the Enlightenment (Cambridge: Cambridge University Press, 1971), p. 76.
8. Cornelia Magdalena de Haas, David Pierre Giottin Humbert de Superville, 1770-1849 (Leiden: A. W. Sijthoffs Uitgevers-Maatschappij, 1941), pp. 5-8.
9. Koninklijke Nederlandsche Bibliotheek, MSCCXVI, "Aanteekeningen betrekkelijk de oude grieksche en latijnsche schrijvers" ( Notes relating to ancient Greek and Latin authors), 180 pp. in quarto. All future references to MSS in the collection of the Royal Library in The Hague will be abbreviated K.N.B.
10 Anna Maria Petrioli, Mostra di disegni di D. P. G. Numhert de Superville (Florence: Leo S. Olschki editore, 1904), pp. 5-6.
11. Joseph Farington, The Farington Diary (London: Hutchinson & Co., n.d.), 1: 114, l20.
12 Karl August Bottger, Sitten und Kulturgemalde von Rom (Gotha: J. Perthes, 1802), pp. 193-206.
13 Ibid., p. 256.
14. Ilaria Toesca,"Alcuni disegni delle Gallerie di Venezia" Bolletino d'Arte (January-March, l956) p. 53.
15. Bottiger, Sitten und Kulturgemalde, p. 233.
16 Ibid., p. 250.
17. Ibid., pp. 284-85.
18. Giovanni Previtali, La fortuna dei primitivi dal Vasari ai Neoclassici (Turin: Giulio Einaudi, 1964), p. 245.
19. Robert W. Scheller,"The Case of the Stolen Raphael Drawings," Master Drawings 40, no. 2 (1973) 119-38.
20. Henry Lapauze, Histoire de l'Académie de France à Rome (Paris: Librairie Plon, 1924), p. 460.
21. Fernand Beaucamp, Le Peintre lillois Jean-Baptiste Wicar, l762-l834 son oeuvre et son temps (Lille: Chez Emile Raoust, 1939), 1: 77.
22. Ibid. p. 88.
23. Previtali, La fortuna dei primitivi, pp. l64-75, passim.
24. Ibid., p. 176.
25. Ibid., p. 178.
26. Toesca, "Alcuni disegni," p. 54.
27 . Giovanni Previtali, "Alle origini del primitivisimo romantico," Paragone 13 (May 1962) 45.
28. P.K.L., MS 5, "Papiers de la famille Humbert de Superville," loose folio. Note the "Biglietto de sortita dell' ospedale militare di Roma," which has"Humbert Sgt. Major" of the Third Company of Volunteers remaining in that institution between July and October 1799.
29. Previtali, "Primitivisimo romantico," p. 47 n. 20.
30. Willian Young Ottley, A Series of Plates engraved after the Paintings and Sculptures of the Most Eminent Masters of the Early Florentine School ( London: Hessey, 1826), Plate XLVIII. Also see Previtali, La fortuna dei primitivi, p. 176.
31. De Haas, Humbert de Superville, p 11.
32. P.K.L., MS 1, "Pak brieven van Humbert de Superville," loose folio; cf. "lo Dottore: notice sur Gagliuffl."
33. J. T. Bodel Nijenhuis, P.K.L., MS 9, "Levensberigt van David Pierre (Giottin) Humbert de Superville." fol. 4.
34. Suzanne Sulzberger, La réhabilitation des primitifs flamands, 1802-1867 (Brussels: Palais des Académies 1961), pp. ll. 44.
35. Eduard Firmenich-Richartz, Sulpiz und Melchior Bois serée (Jena: Eugen Dietrich, l916), pp. 48-49.
36. Sulzberger, Les Primitifs flamands, p. 60.
37. J. Knoef, Tusschen rococo en romantiek (The Hague: Uitgeverij A. A. M. Stols, 1943), p. 183.
38. Katherine Fremantle, The Baroque Town Hall of Amsterdam (Utrecht: Haentjens Dekker & Gumbert, 1959), p 78-79. See description of the Vierschaar.
39. Hanneke Henket, "David Pierre Giottin Humbert de Superville's Essai sur les signes inconditionnels dans l'art, een primitivistische utopie op neo-classicistiche basis," (doctoraalskriptie, University of Utrecht, 1968), n.p. Also see de Haas, Humbert de Superville, p. l6 and p. l6 n. 2.
40. Humbert de Superville, K.N.B., MX CCXXXIV,"Aanteekeningen en excerpten hoofdzakelijk van wijsgeerigen aard" ( Notes and Quotations Mainly of a Scientific Nature ). This MS, which has as its terminus post quem January 1812, the date written on the back cover, is devoted almost entirely to Kantian philosophy. It will be discussed in chap. 4. The general titles used for The Hague MSS are those given by D. J. H. ter Horst when he catalogued them for the Royal Library. This was the stipulation made in 1937, when they were removed from the Royal Institute of the Netherlands in Amsterdam. Also see de Haas, Humbert de Superville, p. 141, and Bodel Nijenhuis, "Levensberigt" for J. F. L. Schröder, later professor at Utrecht.
41. J. W. Niemeijer, "D. P. G. Humbert de Superville en de familie Kemper," Bulletin van het Rijksmuseum 17 (December 1969): 172-73.
42. Knoef, Rococo en romantiek, p. 195.
43. Willi Rink,"Fragmente zur Geschichte der Tierphysiognomik," Jahrbuch der Charakterologie 5 (1928): 583. See K.N.B. MS CCSVI, "Aanteekeningen betrekkelijk de oude grieksche en latijnsche schrijvers" (Notes on Greek and Latin authors), fols. 42, 49, 59, in which are cited Hermes Trismegistos and the treatises of Theophrastus and Adamantius.
44. Brewster Rogerson, "The Art of Painting the Passions," Journal of the History of Ideas 14 (January 1953): 72.
45. Jurgis Baltrusaitis, Aberrations, quatre essais sur la légende des formes (Paris: Olivier Perrin, 1957), p. 12.
46. Ibid., p. 10.
47. Ibid., pp. 13, l6.
48. Mosche Barasch, "Der Ausdruck in der Italienische Kunsttheorie," Zeitschrift fur Ästhetik und allgemeine Kunstwissenschaft 12 (January 1967): 46.
49. Leonardo da Vinci, A Treatise on Painting, trans. John Francis Rigaud ( London: J. Taylor, 1832), pp. 104-5. See P.K.L., MS 6, "Catalogue de ma petite bibliothèque," fol. 35fx. "Traité de la peinture de Leonardo de Vinci, précédé de la vie de l'auteur et du catalogue de ses ouvrages, avec des notes et des observations par M. P. Gault de Saint-Germain..."
50. Jennifer Montagu, "Charles LeBrun's "Conférence sur l'expression générale et particulière" (Ph.D. diss., University of London, 1959).
51. Hans Pollnow, "Historisch-kritische Beiträge zur Physiognomik," Jahrbuch der Charakterologie 5 (1928): l6O-6l.
52. Ibid., p. l66.
53. William Howard, ed., Laocoon and other Prose Writings. Lessing, Herder, Goethe ( New York: Henry Holt and Co. 1910), p. 182. Also see Pollnow, "Historisch-kritische Beiträge," p. l62.
54. Johann Engel, Ideen zu einer Mimik (Berlin: August Mylins, 1785), p. 8.
55. Pollnow, "Beitrage zur Physiognomik," p. l65.
56. Johann George Sulzer, Allgemeine Theorie der schonen Künste (Frankfurt and Leipzig: Weidmannschen Buchhandlung, 1793), 4: 356.
57. Pollnow, "Beiträge zur Physiognomik," p. 11.
58. John Lavater, Essays on Physiognomy Designed to Promote the Knowledge and Love of Mankind, trans. Thomas Holcroft (London: William Tegg and Co., 1855), pp. 172, 268.
59. Ibid., p. 183.
60. Werner Hofmann, Grundlagen der modernen Kunst (Stuttgart: Alfred Kroner Verlag, 1966), p. 251.
61. Johann Wolfgang Goethe, Dichtung und Wahrheit, in Gesammelte Werke (Eschwege: S. Mohn Verlag, 1961-62), 6: 626-29. Also see Pollnow, "Historisch-kritische Beiträge" p. 174.
62. Franz Joseph Gall, Neue Darstellung aus der Gall'schenn Gehirn und Schedellehre (Munich: der Scherrerschen Kunst und Buchhandlung, 1804), p. 40.
63. Friedrich von Schlegel, On the Limits of the Beautiful, in The Aesthetic and Miscellaneous Works, trans. E. J. Millington (London: Henry G. Bohn, 1849), p. 415.
64. Jan Bialstocki, Stil und Ikonographie, Studien zur Kunstwissenschaft (Dresden: UEB Verlag der Kunst, 1966), p. 11. See"Das Modus Problem in den bildenden Kunsten."
65. Basil Willey, The Eighteenth Century Background ( London: Chatto and Windus, 1940), p. 25. Willey, speaking particularly of Pope, discusses how poetry, in order to "save" itself during the eighteenth century, had to become philosophical in nature.
66. H. W. Piper, The Active Universe, Pantheism and the Concept of Imagination in the English Romantic Poets (London: The Athlone Press, 1962), p. 182.
67. Pietro Piovani, "Vico without Hegel," in Giambattista Vico: An International Symposium, ed. by Giorgio S. Tagliacozzo and Hayden V. White ( Baltimore, Md.: The Johns Hopkins Press, 1969), p. 118.
68. Ibid., p. 115.
69. Glauco Cambon, "Vico and Dante," in Vico: International Symposium, p. 22.
70. Arnaldo Momigliano, "Ancient History and the Antiquarians," Journal of the Warburg and Courtauld Institutes13 (1950): 307.
71. Frank E. Manuel, Freedom from History and Other Untimely Essays ( New York: New York University Press,1971), p. 4.
72. Momigliano, "Ancient History," pp. 310-11.
73. Partha Mitter, "European Attitudes to Indian Art from the Mid-Thirteenth to the End of the Nineteenth Century," (Ph.D. diss., University of London, 1970), p. 284.
74. Ibid., p. 295.
75. Ibid., p. 282.
76. James Elmes, ed., "A Brief View of the Fine Arts among Various Nations of Antiquity from Millin and other Authorities," Annals of the Fine Arts 4, no. 13, (1819): 183-84.
77. Mircea Eliade, Myth and Reality (New York: Harper & Row, 1963), p. 34.
78. Ibid., p. 5.
79. Mitter, "European Attitudes to Indian Art." p. 302.
80. Reinhold Heller, "Edvard Munch's Vision and the Symbolist Swan," Art Quarterly 36 (Autumn 1973): 246 n. 50.
81. David Bidney, "Myth, Symbolism and Truth," in Myth A Symposium, ed. Thomas Sebeok (Bloomington: Indiana University Press, 1971), p. 11.
82. Roger Hinks, Myth and Allegory in Ancient Art ( London: The Warburg Institute, 1939), p. 7.
83. Bidney,"Myth," p. 19.
84. John Beer, "Blake, Coleridge and Wordsworth. Some Crosscurrents and Parallels 1789-1805," in William Blake, Essays in Honour of Geoffrey Keynes (Oxford: Oxford University Press, 1972), p. 246.
85. Ibid., p. 231.
86. Henry Okun,"Ossian in Painting," Journal of the Warburg and Courtauld Institutes 30 (1967): 348.
87. August Wilhelm Schlegel, Über philosophische Kunstlehre (Leipzig: Dieterichsche Verlagsbuchhandlung Theodor Weicher, 1911), p. 111.
88. Patrick Hutton, "The New Science of Giambattista Vico: Historicism in its Relation to Poetics," Journal of Aesthetics and Art Criticism 30 (Spring 1972): 361.
89. Ibid., p. 362.
90. Morse Peckham, The Triumph of Romanticism, Collected Essays (Columbia, S.C.: University of South Carolina Press, 1970), p. 82.