Contents: The Contribution of Archaeology to our Understanding of re-Norman London, 1973-1988; Medieval and Tudor Domestic Buildings in the City of London; Shops and Shopping in Medieval London; The Romanesque Architecture of Old St Paul's Cathedral and its late eleventh-century Context.; The First Facade of Old St Paul's Cathedral and its Place in English Thirteenth - Century Architecture; Restorations of the Temple Church, London; 'Liber Horn', 'Liber Custumarum' and Other Manuscripts of the Queen Mary Psalter Workshops; London, Londoners and Opus Anglicanum; Some New Types of Late Medieval Tombs in the London Area.

In this visually rich volume, Mariah Proctor-Tiffany reconstructs the art collection and material culture of the fourteenth-century French queen Clemence de Hongrie, illuminating the way the royal widow gave objects as part of a deliberate strategy to create a lasting legacy for herself and her family in medieval Paris. After the sudden death of her husband, King Louis X, and the loss of her promised income, young Clemence fought for her high social status by harnessing the visual power of possessions, displaying them, and offering her luxurious objects as gifts. Clemence adeptly performed the role of queen, making a powerful argument for her place at court and her income as she adorned her body, the altars of her chapels, and her dining tables with sculptures, paintings, extravagant textiles, manuscripts, and jewelry-the exclusive accoutrements of royalty. Proctor-Tiffany analyzes the queen's collection, maps the geographic trajectories of her gifts of art, and interprets Clemence's generosity using anthropological theories of exchange and gift giving. Engaging with the art inventory of a medieval French woman, this lavishly illustrated microhistory sheds light on the material and social culture of the late Middle Ages. Scholars and students of medieval art, women's studies, digital mapping, and the anthropology of ritual and gift giving especially will welcome Proctor-Tiffany's meticulous research.

Moving with the Magdalen is the first art-historical book dedicated to the cult of Mary Magdalen in the late medieval Alps. Its seven case study chapters focus on the artworks commissioned for key churches that belonged to both parish and pilgrimage networks in order to explore the role of artistic workshops, commissioning patrons and diverse devotees in the development and transfer of the saint's iconography across the mountain range. Together they underscore how the Magdalen's cult and contingent imagery interacted with the environmental conditions and landscape of the Alps along late medieval routes.

Bernhard von Breydenbach's Peregrinatio in terram sanctam (Journey to the Holy Land), first published in 1486, is one of the seminal books of early printing and is especially renowned for the originality of its woodcuts. In Picturing Experience in the Early Printed Book, Elizabeth Ross considers the Peregrinatio from a variety of perspectives to explain its value for the cultural history of the period. Breydenbach, a high-ranking cleric in Mainz, recruited the painter Erhard Reuwich of Utrecht for a religious and artistic adventure in a political hot spot--a pilgrimage to research the peoples, places, plants, and animals of the Levant. The book they published after their return ambitiously engaged with the potential of the new print medium to give an account of their experience.

The Peregrinatio also aspired to rouse readers to a new crusade against Islam by depicting a contest in the Mediterranean between the Christian bastion of the city of Venice and the region's Muslim empires. This crusading rhetoric fit neatly with the state of the printing industry in Mainz, which largely subsisted as a tool for bishops' consolidation of authority, including selling the pope's plans to combat the Ottoman Empire.

Taking an artist on such an enterprise was unprecedented. Reuwich set a new benchmark for technical achievement with his woodcuts, notably a panorama of Venice that folds out to 1.62 meters in length and a foldout map that stretches from Damascus to Sudan around the first topographically accurate view of Jerusalem. The conception and execution of the Peregrinatio show how and why early printed books constructed new means of visual representation from existing ones--and how the form of a printed book emerged out of the interaction of eyewitness experience and medieval scholarship, real travel and spiritual pilgrimage, curiosity and fixed belief, texts and images.

Dynamic Splendor introduces a cycle of sixth-century mosaics little known to scholars, though they are comparable in quality and interest to famed mosaics in Italy and elsewhere. Ann Terry and Henry Maguire provide the first comprehensive account of the history and meaning of the mosaics along with the first high-quality photographic documentation of the ensemble.

It has only recently been possible to study the mosaics at Poreč closely, due to favorable conditions in Croatian Istria, where the mosaics reside, and to the discovery of the original restoration documents in Vienna and Trieste. Terry and Maguire have tracked the condition and restoration of these works, distinguishing between the original mosaics and later contributions. Beyond creating an important archival source, the authors consider the making of the mosaics, their thematic structure, their relationship to the cathedral complex, and their connection to the patron, Bishop Eufrasius, while drawing parallels with other renowned works.

In 1256, the countess of Provence, Beatrice of Savoy, enlisted her personal physician to create a health handbook to share with her daughters. Written in French and known as the Regime du corps, this health guide would become popular and influential, with nearly seventy surviving copies made over the next two hundred years and translations in at least four other languages. In Visualizing Household Health, art historian Jennifer Borland uses the Regime to show how gender and health care converged within the medieval household. Visualizing Household Health explores the nature of the households portrayed in the Regime and how their members interacted with professionalized medicine. Borland focuses on several illustrated versions of the manuscript that contain historiated initials depicting simple scenes related to health care, such as patients' consultations with physicians, procedures like bloodletting, and foods and beverages recommended for good health. Borland argues that these images provide important details about the nature of women's agency in the home-and offer highly compelling evidence that women enacted multiple types of health care. Additionally, she contends, the Regime opens a window onto the history of medieval women as owners, patrons, and readers of books. Interdisciplinary in scope, this book broadens notions of the medieval medical community and the role of women in medieval health care. It will be welcomed by scholars and students of women's history, art history, book history, and the history of medicine.

The concept of the medieval city is fixed in the modern imagination, conjuring visions of fortified walls, towering churches, and winding streets. In Riemenschneider in Rothenburg, Katherine M. Boivin investigates how medieval urban planning and artistic programming worked together to form dynamic environments, demonstrating the agency of objects, styles, and spaces in mapping the late medieval city. Using altarpieces by the famed medieval artist Tilman Riemenschneider as touchstones for her argument, Boivin explores how artwork in Germany’s preeminent medieval city, Rothenburg ob der Tauber, deliberately propagated civic ideals. She argues that the numerous artistic pieces commissioned by the city’s elected council over the course of two centuries built upon one another, creating a cohesive structural network that attracted religious pilgrims and furthered the theological ideals of the parish church. By contextualizing some of Rothenburg’s most significant architectural and artistic works, such as St. James’s Church and Riemenschneider’s Altarpiece of the Holy Blood, Boivin shows how the city government employed these works to establish a local aesthetic that awed visitors, raising Rothenburg’s profile and putting it on the pilgrimage map of Europe. Carefully documented and convincingly argued, this book sheds important new light on the history of one of Germany’s major tourist destinations. It will be of considerable interest to medieval art historians and scholars working in the fields of cultural and urban history.

Why does a society seek out images of violence? What can the consumption of violent imagery teach us about the history of violence and the ways in which it has been represented and understood? Assaf Pinkus considers these questions within the context of what he calls galleries of violence, the torment imagery that flourished in German-speaking regions during the fourteenth and fifteenth centuries. Exploring these images and the visceral bodily responses that they produced in their viewers, Pinkus argues that the new visual discourse on violence was a watershed in premodern conceptualizations of selfhood. Images of martyrdom in late medieval Germany reveal a strikingly brutal parade of passion: severed heads, split skulls, mutilated organs, extracted fingernails and teeth, and myriad other torments. Stripped from their devotional context and presented simply as brutal acts, these portrayals assailed viewers’ bodies and minds so violently that they amounted to what Pinkus describes as “visual aggressions.” Addressing contemporary discourses on violence and cruelty, the aesthetics of violence, and the eroticism of the tortured body, Pinkus ties these galleries of violence to larger cultural concerns about the ethics of violence and bodily integrity in the conceptualization of early modern personhood. Innovative and convincing, this study heralds a fundamental shift in the scholarly conversation about premodern violence, moving from a focus on the imitatio Christi and the liturgy of punishment to the notion of violence as a moral problem in an ethical system. Scholars of medieval and early modern art, history, and literature will welcome and engage with Pinkus’s research for years to come.

This volume is a pioneer study focused on a corpus of 89 fragments of exquisitely illuminated manuscripts that were produced under the patronage of the Turkic-speaking Uygurs in the Turfan region of East Central Asia between the 8th and 11th centuries CE. Through detailed analyses and interpretations aided by precise computer drawings, the author introduces an important group of primary sources for future comparative research in Central Asian art, mediaeval book illumination, and Manichaean studies.

The touchstones of Gothic monumental art in France - the abbey church of Saint-Denis and the cathedrals of Chartres, Reims, and Bourges - form the core of this collection dedicated to the memory of Anne Prache. The essays reflect the impact of Prache's career, both as a scholar of wide-ranging interests and as a builder of bridges between the French and American academic communities. Thus the authors include scholars in France and the United States, both academics and museum professionals, while the thematic matrix of the book, divided into architecture, stained glass, and sculpture, reflects the multiple media explored by Prache during her long career. The essays employ a varied range of methodologies to explore Gothic monuments. The chapters in the architectural section include an intensive archeological analysis of the foundations of Reims Cathedral, the close reading of a late medieval literary text for a symbolic understanding of Paris, and essays that explore the medieval use of practical geometry in designing entire buildings and their components. Saint-Denis, Reims, and Chartres, all monuments studied by Prache, are discussed in the next part, on stained glass. These chapters demonstrate how old problems can be clarified by new evidence, whether from the accessibility of previously unknown archival information, for Reims, or through revelations that arise from restoration, at Chartres. These essays also include a study showing the complexity of making attributions for the storied glass of Saint-Denis. The final set of essays likewise takes different approaches to sculpture, whether constructing links to the liturgy at Reims, or discussing the meaning of a sculptural ensemble studied by Prache early in her career, the cloister of Notre-Dame-en-Vaux in ChAclons-en-Champagne, or scrupulously examining the faAade sculpture at Bourges Cathedral for insights into the design process. As a whole, the volume provides a window onto key directions in the study of

This volume explores the importance of Norwich as the second city of England for 500 years. It addresses two of the most ambitious Romanesque buildings in Europe: cathedral and castle, and illuminates the role of Norwich-based designers and makers in the region.

Princeton University first started collecting Western manuscripts in 1876 and continues to this day with the specific aim of developing a research and teaching tool. That unique collection of medieval manuscripts forms the nucleus of this collection of essays. Stretching from Ottonian to the late Gothic-early Renaissance periods, these studies examine the secular as well as the religious and look at a variety of themes, from the book of hours to the grisaille manuscript. The studies all attempt to place the university's collection in the broader framework of manuscript studies, and a number of them deal with general topics not represented within the manuscript library. Written by some of the most celebrated scholars in the field, the studies make every effort to help us understand the power of the written and illuminated word.
The contributors are Adelaide Bennett, Walter Cahn, Marc Michael Epstein, Marilyn Aronberg Lavin, Henry Mayr-Harting, Elizabeth Moodey, Stella Panayotova, Virginia Reinburg, Mary Rouse, Richard Rouse, Lucy Freeman Sandler, Don C. Skemer, Anne Rudloff Stanton, and Patricia Stirnemann.

Today we take the word “icon” to mean “a sign,” or we equate it with portraits of Christ and the saints. In The Sensual Icon, Bissera Pentcheva demonstrates how icons originally manifested the presence of the Holy Spirit in matter. Christ was the ideal icon, emerging through the Incarnation; so, too, were the bodies of the stylites (column-saints) penetrated by the divine pneuma (breath or spirit), or the Eucharist, or the Justinianic space of Hagia Sophia filled with the reverberations of chants and the smoke of incense. Iconoclasm (726–843) challenged these Spirit-centered definitions of the icon, eventually restricting the word to mean only the lifeless imprint (typos) of Christ’s visual characteristics on matter. By the tenth century, mixed-media relief icons in gold, repoussé, enamel, and filigree offered a new paradigm. The sun’s rays or flickering candlelight, stirred by drafts of air and human breath, animated the rich surfaces of these objects; changing shadows endowed their eyes with life. The Byzantines called this spectacle of polymorphous appearance poikilia, that is, presence effects sensually experienced. These icons enabled viewers in Constantinople to detect animation in phenomenal changes rather than in pictorial or sculptural naturalism. “Liveliness,” as the goal of the Byzantine mixed-media relief icon, thus challenges the Renaissance ideal of “lifelikeness,” which dominated the Western artistic tradition before the arrival of the modern. Through a close examination of works of art and primary texts and language associated with these objects, and through her new photographs and film capturing their changing appearances, Pentcheva uncovers the icons’ power to transform the viewer from observer to participant, communing with the divine.

Abraham, son of Terah or Azar and husband of Sarah, is one of the pivotal figures of the Old Testament and is generally seen as the founder of the Christian, Jewish, and Muslim faiths. He was a rich source of inspiration in all three faiths for artists of the medieval period. His life narrative from birth to death is richly recorded in a variety of media dating from the early Christian period to the end of the sixteenth century. As varied as they are numerous, the images in all three faiths show Abraham as father, husband, lover, warrior, politician, refugee, and traveler but most importantly as the symbol par excellence of steadfastness in faith. Featuring the extensive files from the Index of Christian Art, this volume also includes contributions from The Bezalel Narkiss Index of Jewish Art by Ariella Amar and Michel Sternthal and a catalogue of Islamic imagery compiled by Rachel Milstein.

This is the first volume from the Index of Christian Art to include not only images from the rich Christian holdings but also from Judaism and Islam. Covering media from enamels to terra cotta, each entry gives specific information on the object's current location, source, date, and artist, where this is known.

The long and vibrant history of north-eastern England has left rich material deposits in the form of buildings, works of art, books and other artefacts. This heritage is examined here in fifteen studies, ranging from the sculpture of the Roman occupation through the monuments and architecture of the Anglo-Saxon and Norman periods, to the manuscripts and fortified houses of the later Middle Ages. The monasteries at Hexham, Lindisfarne and Tynemouth, and the City of Newcastle itself, are all subjected to individual analysis, and there are papers on Alnwick and Warkworth castles, the great keep at Newcastle, the coffin of St Cuthbert and the Lindisfarne Gospels. The expert opinions presented here are intended to stimulate and advance scholarly debate on the material culture of a region which has played a critical role in English history, and whose broad and varied profile still offers many opportunities for critical inquiry.

Ottonian Imperial Art and Portraiture represents the first art historical consideration of the patronage of the Ottonian Emperors Otto III (983-1002) and Henry II (1002-1024). Author Eliza Garrison analyzes liturgical artworks created for both rulers with the larger goal of addressing the ways in which individual art objects and the collections to which they belonged were perceived as elements of a material historical narrative and as portraits. Since these objects and images had the capacity to stand in for the ruler in his physical absence, she argues, they also performed political functions that were bound to their ritualized use in the liturgy not only during the ruler's lifetime, but even after his death. Garrison investigates how treasury objects could relay officially sanctioned information in a manner that texts alone could not, offering the first full length exploration of this central phenomenon of the Ottonian era.

This deeply informed and lavishly illustrated book is a comprehensive introduction to the modern study of Middle English manuscripts. It is intended for students and scholars who are familiar with some of the major Middle English literary works, such as The Canterbury Tales, Gawain and the Green Knight, Piers Plowman, and the romances, mystical works or cycle plays, but who may not know much about the surviving manuscripts. The book approaches these texts in a way that takes into account the whole manuscript or codex its textual and visual contents, physical state, readership, and cultural history. Opening Up Middle English Manuscripts also explores the function of illustrations in fashioning audience response to particular authors and their texts over the course of the fourteenth and fifteenth centuries

Kathryn Kerby-Fulton, Linda Olson, and Maidie Hilmo scholars at the forefront of the modern study of Middle English manuscripts focus on the writers most often taught in Middle English courses, including Geoffrey Chaucer, William Langland, the Gawain Poet, Thomas Hoccleve, Julian of Norwich, and Margery Kempe, highlighting the specific issues that shaped literary production in late medieval England. Among the topics they address are the rise of the English language, literacy, social conditions of authorship, early instances of the "Alliterative Revival," women and book production, nuns' libraries, patronage, household books, religious and political trends, and attempts at revisionism and censorship. Inspired by the highly successful study of Latin manuscripts by Raymond Clemens and Timothy Graham, Introduction to Manuscript Studies (also published by Cornell), this book demonstrates how the field of Middle English manuscript studies, with its own unique literary and artistic environment, is changing modern approaches to the culture of the book."

Covering the arts of Ireland and England with some incursions onto mainland Europe, where the same stylistic influences are found, the terms "Insular" and "Anglo-Saxon" are two of the most problematic in medieval art history. Originally used to define the manuscripts of ninth- and tenth-century Ireland and the north of England, "Insular" is now more widely applied to include all of the media of these and earlier periods. It is a style that is closely related to the more narrowly defined Anglo-Saxon. Stretching from the sixth or seventh centuries possibly to the late eleventh century, these styles are two of the most innovative of the Middle Ages. The studies in this volume, which were undertaken by some of the most eminent scholars in the field, highlight the close interaction between the two worlds of Ireland and England in the early medieval period. Studies deal with topics as diverse as the Books of Kells and Durrow, the high cross, reliquaries, and shrines as well as issues of reception, liturgy, color, performance, and iconography.

The contributors are Herbert R. Broderick III, Michelle P. Brown, Carol Farr, Peter Harbison, Paul Meyvaert, Lawrence Nees, Nancy Netzer, Carol Neuman de Vegvar, eamonn o Carragain, Neil O'Donoghue, Jennifer O'Reilly, Heather Pulliam, Jane Rosenthal, Michael Ryan, Ben C. Tilghman, and Benjamin Withers.

No story is more central to Western culture than the crucifixion of Jesus Christ in the New Testament, and none better demonstrates the power of representation in shaping religious faith and practice. The incidence of Passion imagery in diverse media is fundamental to the histories of Christian piety, church politics, and art in European and American societies. At the same time, the visualization and reenactment of Christ's suffering has for centuries been the principal engine generating popular perceptions of Jews and Judaism. The provocative essays collected here, written by eminent scholars with an eye toward the nonspecialist reader, broadly survey the depiction and dramatization of the Passion and consider the significance of this representational focus for both Christians and Jews. This anthology provides a unique, multifaceted overview of a subject of enduring importance in today's religiously pluralistic societies.

Contributors include Robin Blaetz, Stephen Campbell, Jody Enders, Christopher Fuller, James Marrow, Walter Melion, David Morgan, David Nirenberg, Adele Reinhartz, Miri Rubin, Lisa Saltzman, and Marc Saperstein.

The British Archaeological Association's 2007 conference celebrated the material culture of medieval Coventry, the fourth wealthiest English city of the later middle ages. The nineteen papers collected in this volume set out to remedy the relative neglect in modern scholarship of the city's art, architecture and archaeology, as well as to encompass recent research on monuments in the vicinity. The scene is set by two papers on archaeological excavations in the historic city centre, especially since the 1970s, and a paper investigating the relationships between Coventry's building boom and economic conditions in the city in the later middle ages. Three papers on the Cathedral Priory of St Mary bring together new insights into the Romanesque cathedral church, the monastic buildings and the post-Dissolution history of the precinct, derived mainly from the results of the Phoenix Initiative excavations (19992003). Three more papers provide new architectural histories of the spectacular former parish church of St Michael, the fine Guildhall of St Mary and the remarkable surviving west range of the Coventry Charterhouse. The high-quality monumental art of the later medieval city is represented by papers on wall-painting (featuring the recently conserved Doom in Holy Trinity church), on the little-known Crucifixion mural at the Charterhouse, and on a reassessment of the working practices of the famous master-glazier, John Thornton. Two papers on a guild seal and on the glazing at Stanford on Avon parish church consider the evidence for Coventry as a regional workshop centre for high quality metalwork and glass-painting. Beyond the city, three papers deal with the development of Combe Abbey from Cistercian monastery to country house, with the Beauchamp family's hermitage at Guy's Cliffe, and with a newly identified stonemasons' workshop in the 'barn' at Kenilworth Abbey. Two further papers concern the architectural patronage of the earls and dukes of Lancaster in the 14th century at Kenilworth Castle and in the Newarke at Leicester Castle.

As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies.

Richard L. Feigen has amassed a collection of Italian paintings that is widely admired for its depth and quality, especially for the works it features by the principal masters of the early Italian Renaissance. This beautifully illustrated catalogue of the complete collection presents rare masterpieces by artists from Bernardo Daddi to Fra Angelico, Orazio Gentileschi's Danae, Annibale Carracci's Virgin and Child, and precious, small-scale coppers by major Mannerist and Baroque masters. Italian Paintings from the Richard L. Feigen Collection catalogues more than fifty major works from the 14th to the 17th century, and is the first publication of this remarkable and important collection. Published in association with the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery, New Haven (5/28/10-9/12/10)

Anyone who has strolled through the halls of a museum knows that portraits occupy a central place in the history of art. But did portraits, as such, exist in the medieval era? Stephen Perkinson's "The Likeness of the King" challenges the canonical account of the invention of modern portrait practices, offering a case against the tendency of recent scholarship to identify likenesses of historical personages as "the first modern portraits."

Unwilling to accept the anachronistic nature of these claims, Perkinson both resists and complicates grand narratives of portraiture art that ignore historical context. Focusing on the Valois court of France, he argues that local practice prompted shifts in the late medieval understanding of how images could represent individuals and prompted artists and patrons to deploy likeness in a variety of ways. Through an examination of well-known images of the fourteenth- and early fifteenth-century kings of France, as well as largely overlooked objects such as wax votive figures and royal seals, Perkinson demonstrates that the changes evident in these images do not constitute a revolutionary break with the past, but instead were continuous with late medieval representational traditions.

"A lively, well-researched, and insightful work of scholarship on late-medieval portraiture and its cultural and intellectual context. "The Likeness of the King" provides a strong account of late-medieval aesthetics and specific, concrete examples of image-making and the often political needs it served. It offers smart handling of literary, philosophical, and archival sources; close and insightful reading of images; and a willingness to counter received ideas."--Rebecca Zorach, University of Chicago