"The Stretch catalogue forms the basis for the present work. Since Stretch retained Byrd's shelf organization, I retain Stretch's organization. Though the purpose of this catalogue is to show what books Byrd owned, the nature of the surviving evidence makes it impossible to precisely describe the library's contents. The only titles that can be known definitely are those which survive with evidence of Byrd's ownership, those which were published in only one edition, or those which, based on Byrd's letters, diaries, and the Stretch and Zane catalogues, can be narrowed down to one possible edition. Consequently, the individual catalogue entries here have been organized to present information concerning all possible editions Byrd may have owned."--Preface.
Gibbon offers an explanation for why the Roman Empire fell, a task made difficult by a lack of comprehensive written sources, though he was not the only historian to tackle the subject. Most of his ideas are directly taken from what few relevant records were available: those of the Roman moralists of the 4th and 5th centuries.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.