Warburg Insti­tute Archive, GC, Richard Kraut­heimer to Fritz Saxl, 13 May, 1946, fol. 3

d. Antique proto­types within the field of sculp­ture, pain­ting, and the minor arts, thus exclu­ding architecture.

4.  Coope­ra­tion. The nature of the problem and of the mate­rial demands close coope­ra­tion with the scho­lars in diffe­rent fields: archeo­lo­gists, histo­rians of art, histo­rians of huma­nism, histo­rians of lite­ra­ture. It also requires, and indeed will make for, the trai­ning of younger scho­lars in a combi­na­tion of these fields. It may thus help to over­come the present isola­tion of fields which by their very nature should be closely allied. The natural focus of such a scheme would seem to lie in a coope­ra­tive project under­taken by the Warburg Insti­tute in London and the Insti­tute of Fine Arts of New York Univer­sity, in conjunc­tion with indi­vi­dual scho­lars or groups of scho­lars (Renais­sance confe­rence) atta­ched to other insti­tu­tions in Europe and the United States.

The character of the two insti­tu­tions mainly involved suggests a divi­sion of labor in which the Warburg Insti­tute would super­vize in the first place the study of the lite­rary sources while the Insti­tute of Fine Arts would focus its atten­tion on the picto­rial sources and on the history of antique works of art.

5.  Proce­dure.

a.  Within the limi­ta­tions as indi­cated, the Census should be started by going over the lite­rary and picto­rial sources and culling from them all possible refe­rences to antique works of art. The faci­li­ties of the Warburg Insti­tute and the Witt Library in London and of the photo­graph coll­ec­tions of the Metro­po­litan Museum and the Frick Library in New York are likely to yield most of the picto­rial sources wanted. The lite­rary sources like­wise are available in the libra­ries of either city.

b.  All refe­rences gathered from the sources will be included in a card file to exist in dupli­cate, both in London and New York. On the cards would be indi­cated the Renais­sance refe­rence, lite­rary or picto­rial, the antique work repro­duced or referred to if known, or the antique type referred to; and all other infor­ma­tion wanted. Cross refe­rences would call atten­tion to the use of antique works by specific artists of the Renais­sance or in specific regions of Italy. or in specific periods of the Renais­sance; to specific coll­ec­tors; and to other perti­nent ques­tions. Where ever possible, small photog­rahs of both the Renais­sance work of art and of the antique proto­type should come on the card.

c.  On the basis of this card file and as a primary target, a hand list would be published as a preli­mi­nary survey