The Getty Museum's collection of drawings was begun in 1981 with the purchase of a Rembrandt nude and has since become an important repository of European works from the fifteenth through the nineteenth century. As in the first volume devoted to the collection (published in 1988 in English and Italian editions), the text is here organized first by national school, then alphabetically by artist, with individual works arranged chronologically. For each drawing, the authors provide a discussion of the work's style, dating, iconography, and relationship to other works, as well as provenance and a complete bibliography.

This book has two aims; first, to provide a new account of time's arrow in light of relativity theory; second, to explain how God, being eternal, relates to our world, marked as it is by change and time. In part one, Saudek argues that time is not the expansive universal 'wave' that is appears to be, but nor are we living in an unchanging block. Rather, time is real but local: there are infinitely many arrows of time in the universe, each with their own fixed past and open future. This model is based on the ontology of substances which can exist in different states, marked by different properties. On this basis, a derivation of temporal precedence and of the asymmetry between the fixed past and the open future is provided. Time's arrow is thus 'attached' to substances, and is therefore a local rather than global phenomenon, though by no means an illusory or merely subjective one. In part two, this model is then applied to the perennial questions concerning the relationship between divine eternity and the temporal world: How can my future choices be free if God already knows what I will do? Can God act if He is not in time? Through the lens of relativity theory, such questions are shown to appear in a completely new light. The book combines insights from theoretical physics with ancient and contemporary philosophy into a unique synthesis, broaching a wealth of key issues including the arrow of time, the evolution of the cosmos, and a physics-based defence of eternalism in philosophical theology.

This book began as an updated version of the 1924 Delteil and Wright catalogue to incorporate Wright's extensive annotations made after publication. Schneiderman's research drew him to the conclusion that a chronological ordering rather than the hitherto accepted subject ordering, was the only viable way to follow the workings of Meryon's mind.While respecting the scholarship of Harold Wright, both in his errata and manuscript notes, examination of the actual proofs referred to has required substantial alterations, and it is in this perspective that this new catalogue has been written. Dr Schneiderman's extensive research covered all the major institutions and several private collections containing Meryon's work.The 103 etchings are listed chronologically, with each entry detailing its title and all known derivations, references to earlier catalogues, medium, size, and fate of the plate. Institutional holdings of each state are listed.There then follows a brief discussion of the subject of the print and any controversies s surrounding it. The author cites relevant comments from Burty's catalogue and any response by Meryon taken from Mes Observations and his letters.The various states, including previously uncatalogued ones, are numbered and listed noting their points of difference, any inscriptions and where the states may be found. Many of Meryon's prints were copied by later artists and where such copies may be deceptive notable differences are listed.