At Chartres Cathedral, for the first time in medieval art, the lowest register of stained-glass windows depicts working artisans and merchants instead of noble and clerical donors. Jane Welch Williams challenges the prevailing view that pious town tradesmen donated these windows. In Bread, Wine, and Money, she uncovers a deep antagonism between the trades and the cathedral clergy in Chartres; the windows, she argues, portray not town tradesmen but trusted individuals that the fearful clergy had taken into the cloister as their own serfs.Williams weaves a tight net of historical circumstances, iconographic traditions, exegetical implications, political motivations, and liturgical functions to explain the imagery in the windows of the trades. Her account of changing social relationships in thirteenth-century Chartres focuses on the bakers, tavern keepers, and money changers whose bread, wine, and money were used as means of exchange, tithing, and offering throughout medieval society. Drawing on a wide variety of original documents and scholarly work, this book makes important new contributions to our knowledge of one of the great monuments of Western culture. This book is an example of the social history of art at its very best . . . Our vision of all cathedrals is challenged by this penetrating study, which places them within the class conflicts of the earthly city rather than the heavenly ideal one.--Michael Camille, author of The Gothic Idol: Ideology and Image-Making in Medieval Art

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.

The Rimini Crucifixion Altarpiece is considered to be one of the finest achievements of transalpine art sculpture from the 1430s and is a major work of the Liebieghaus Sculpture Collection in Frankfurt/Main. Acquired in 1913 the 12 statuettes of apostles and the crucifixion scene accompanied by many figures has always attracted great interest not just amongst experts and not only due to the use of alabaster and the scope of the Southern Dutch ensemble but also on account of its enormous artistic quality and craftsmanship. The restoration of the altarpiece over a period of several years involved intensive research of a technological, geochemical and art-historical nature. New facts and surprising details came to light as a result. These insights but also the new restoration methods are vividly illustrated in this first monograph on the Rimini altarpiece.

Gewalt und Krieg sind heute wie auch in der Vormoderne keine ausschliesslich mannliche Domane, sondern Raume der Manner und Frauen gleichermassen. In Zeiten kriegerischer Auseinandersetzungen werden Geschlechterrollen ausgebildet, konforme und abweichende Verhaltensweisen ausprobiert und Konzepte von Mannlichkeit und Weiblichkeit entwickelt. Erstmals fur die Epoche des Mittelalters (7.-16. Jahrhundert) werden daraus resultierende Fragestellungen im interdisziplinaren und kulturubergreifenden Vergleich untersucht. Die Beitrage eroertern Geschlechterbeziehungen auf Darstellungs- und Handlungsebene und beschreiben Interaktionsformen in Kontexten von Gewalt und Krieg. UEber den europaischen Raum mit seinen zahlreichen Fehden und Heerzugen hinaus werden auch die Kreuzzuge in den Blick genommen.

The so-called chasuble of Thomas Becket (1118-1170) is one of the most magnificent medieval textiles in the Mediterranean region. Richly decorated with ornaments, fabulous animals and figures in lavish gold embroidery with Arabic inscriptions, this precious liturgical garment provides impressive proof of the reutilisation of the Islamic arts in the Christian world. Venerated as a relic of St Thomas of Canterbury, the chasuble was produced in Spanish-Muslim workshops and probably reached Italy as a donation to the Cathedral of Fermo in about 1200. Despite its outstanding artistic quality and fascinating history, this magnificent garment has never hitherto been the subject of a detailed study. Richly illustrated with numerous details, this volume investigates the meaning of the inscriptions and motifs, examines manufacturing techniques and the function of the chasuble, traces its "biography" and places it within the historical context of the political, economic and cultural situation in the Mediterranean region.

Fur den Deckenschmuck der Abtsstube schlagt die Studie erstmalig eine Deutung vor. Sie versteht die sieben Medaillons als Bildprogramm zur Verherrlichung des Klosterpatrons und bezieht die sechs Tiersujets, die den Drachentoeter St. Georg umgeben, typologisch auf die Zentralfigur. Zum Nachweis dieser Moeglichkeit ermittelt sie zunachst anhand von Quellen die herkoemmlichen allegorischen Auslegungen der Tiere (Physiologustradition); dann zeigt sie Analogien auf zwischen den Tiergeschichten bzw. -exegesen und dem legendaren Leben und Wirken des Martyrers. So interpretiert, erhalt das bislang unbeachtete Deckenprogramm kunsthistorische Relevanz als innovatives Beispiel der Heiligenverehrung.

The most important of Eliane Vergnolle's publications focus on the study of Romanesque art in France. In particular, she has concentrated on the period during which this type of art was born and has investigated the processes which, from the beginning of the 11th century onwards, led to the renewal of monumental sculpture in several regions. Having investigated previous methods of analysis, she has proposed a new way of looking at the chronological order of the first steps in this period, notably from the example of the exceptional workshop which created the abbey of Saint-Benoit-sur-Loire. Her study of the Corinthian capital and its multiple transformations came about from a greater understanding of the notion of the Renaissance of Antiquity, which recurs throughout the period. Other studies concentrate on the role of sculptural decoration in the buildings, as well as the genesis of certain forms of architectural structure. Much of this research has appeared in the form of monographic studies of important individual monuments. These nineteen studies are principally concerned with the Loire valley, the Berry, the Bourbonnais and Burgundy and they delineate the artistic landscape of those regions which were among the most precocious and the most inventive in the Capetian kingdom.

Ce sixieme volume de la serie des repertoires est consacre aux vitraux de la seconde moitie du XVIe siecle et de la premiere moitie du XVIIe siecle qui subsistent en Wallonie, dans les provinces du Brabant wallon, du Hainaut, de Liege et de Namur. Lauteur, Isabelle Lecocq, sest attachee depuis plusieurs annees a letude de ces vitraux monumentaux qui ont trop peu retenu lattention des chercheurs jusqua present. Ces uvres sinscrivent en effet dans une periode particulierement sombre et troublee de lhistoire des anciens Pays-Bas meridionaux, qui commence avec le regne de Philippe II et qui coincide avec la Guerre de Quatre-Vingts Ans (1568-1648). Elles meritent neanmoins une attention particuliere car elles sont lexpression concrete de la mutation generalisee qui se produisit dans lart entre la Renaissance et le Baroque. Lauteur a realise sur place un examen minutieux et une abondante documentation photographique. Louvrage presente pour chaque verriere une etude systematique dauthenticite completee par une recherche approfondie des archives ainsi que par toutes les autres demarches de lhistoire de lart. Elle a pu confirmer de maniere etayee levidence dune continuite de la production de vitraux dans lespace wallon, malgre la situation tourmentee de lepoque. Toutes les uvres sont replacees dans leurs contextes artistique, technique, politique, etc., ce qui eclaire aussi levolution de leurs concepteurs, de leurs realisateurs et de leurs commanditaires. Le volume a ete publie avec le concours de lInstitut royal du Patrimoine artistique et le soutien du Fonds Courtin-Bouche gere par la Fondation Roi Baudouin.

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)

Relations between Byzantium and its neighbours are the focus of this volume. The papers address questions of cultural exchange, with special attention to art historical relations as shown by technical, iconographic and diplomatic exchanges. While addressed to specialists, both their approach and the language make these papers accessible to students at all levels.

In recent decades, art historical writing has focused strongly on the use and reception of images. The contributions in this publication are devoted to two crucial concepts or functions of Christian images in the Middle Ages and the post-Reformation period: the image of cult and the image of devotion ('Andachtsbild').The contributions present and discuss visual art and the receptions and functions of pictures in the western (and eastern) European area from Late Antiquity to the 18th century. Furthermore, they bring into focus a rich Nordic material, which until now has been practically unknown in an international context. Several of the articles are are written in German.

This edition comprises 87 miniatures of early 15th century Parisian book illuminations in facsimile form, with wide decorative borders, floriated initials, and Gothic script. The French text, written in the 1380s by Gaston Phebus, Count of Foix, contains not only technical details about the practice of huntsmanship in the 14th-century, but also descriptions of the wild animals which were then hunted. The particular manuscript on which this text is based is dated 1405-10.;The facsimile of the entire Phebus manuscript is followed by an introduction and commentary. The former identifies the various owners of the manuscript throughout its history and analyzes the complex links between this and related manuscripts. It also discusses the attribution of hands and the methods adopted by the artists responsible for the scenes and backgrounds of the miniatures. The commentary then summarizes the contents of each chapter of the text, relating it to the imagery of the miniatures.

A characteristic shared by the Roman and Byzantine illustrated calendars is that they represent the twelve months of the year, referable to an iconographic repertoire which is divided into three themes: the astrological-astronomical, the festive-ritual and the rural-seasonal. With regard to the first type, the months are depicted through images of the signs of the zodiac, often associated with images of the guardian deities of the months; the second category includes depictions of the months that refer to some important religious festivals; finally, the third theme includes images of the months that allude to the most important work activities performed in the countryside. The figurative calendars, which in most cases are made on mosaics, are characterized by a wide distribution in terms of time, concentrated between the 3rd and 6th century, and geography, with the areas of greatest attestation consisting of Italy, Africa Proconsularis, Greece and Arabia. With regard to the architectural context, the calendars from the West are prevalently documented in the domus, while those from the East are particularly attested in ecclesiastical buildings. The aim of research presented in this volume is the in-depth study of the connections between the meaning of the iconography of the Roman and Byzantine illustrated calendars and their historical and cultural context. Italian description: La caratteristica comune dei calendari figurati romani e bizantini consiste nella rappresentazione dei dodici mesi dell'anno, riferibile a un repertorio iconografico articolato in tre temi: quelli di tipo astrologico-astronomico, festivo-rituale e rurale-stagionale. Per quanto riguarda la prima tipologia, i mesi sono raffigurati mediante le immagini dei segni zodiacali, spesso associate a quelle delle divinita tutelari mensili; la seconda categoria include quelle raffigurazioni dei mesi che si riferiscono ad alcune importanti festivita religiose; la terza tematica, infine, comprende quelle immagini dei mesi che alludono alle piu rilevanti attivita lavorative svolte in ambito campestre. I calendari figurati, realizzati nella maggioranza dei casi su mosaico, si contraddistinguono per un'ampia distribuzione in senso temporale, con una concentrazione cronologica fra il III e il VI secolo d.C., e geografico, con le aree di maggior attestazione costituite dall'Italia, l'Africa Proconsularis, la Grecia e l'Arabia. In merito invece al contesto architettonico, i calendari di provenienza occidentale sono documentati in prevalenza presso le domus, mentre per quanto concerne quelli orientali, sono attestati in particolare negli edifici ecclesiastici. L'obiettivo della ricerca presentata in questo volume si focalizza sull'approfondimento delle connessioni esistenti tra il significato dell'iconografia dei calendari figurati romani e bizantini e il loro contesto storico- culturale.

Das Buch komplettiert die Reihe der zu den mittelalterlichen Glasmalereien des noerdlichen Sachsen-Anhalt erschienenen Bande des Corpus Vitrearum. Gewidmet ist es drei Scheibenbestanden: Teilen eines um 1410 entstandenen Zyklus im Dom zu Havelberg, die gemeinsam mit weiteren hochrangigen Kunstwerken die Neuausstattungsphase des Domes im 15. Jh. vertreten, den um 1170 zu datierenden Fragmenten aus Kloster Jericho, die von einer qualitatvollen romanischen Verglasung zeugen und zu den altesten Glasmalereien Mitteldeutschlands gehoeren, und schliesslich einem 1860 gestifteten Kompositfenster mit spatmittelalterlichen Glasmalereien in St. Marien in Beetzendorf. Der Band enthalt eine kunsthistorische Einfuhrung sowie Einzelstudien zu Erhaltung, Technik, Stil und Geschichte der Glasmalereien.

Die hochmittelalterlichen Fernstrassen nach Rom, allen voran die bekannte Via Francigena, dienten als multifunktionale Transferlinien der religioesen, politischen und kunstlerischen Kommunikation. Entlang der italienischen Streckenabschnitte, an den brisantesten Kulminationspunkten des Konflikts zwischen dem roemisch-deutschen Kaiser und dem Papst, wurde im 12. Jahrhundert unter der AEgide kaiserlicher Statthalter mit architektonischen Gestaltmotiven unterschiedlichster Herkunft und Konnotation experimentiert. Das Buch wirft ein neues Licht auf den Bedeutungsgehalt der aussergewoehnlichsten und zugleich exemplarischen Bauten, und es entwickelt ein ikonologisches Modell zur Analyse asthetischer Spiegelungen kontextueller Prozesse in der mittelalterlichen Architektur im Allgemeinen.

Die vorliegende Publikation schliesst ein Forschungsprojekt ab, in dem erstmalig samtliche illustrierten, astronomischen und astrologischen Handschriften von 800-1500 systematisch erfasst und bearbeitet wurden. Damit wurde fur das Verstandnis der profanen Bildkultur, der Antikenrezeption sowie der astronomischen Wissenschaft in Mittelalter und Renaissance eine voellig neue Basis geschaffen. Astronomie und Astrologie sind in besonderem Masse auf Bilder angewiesen, um ihren Gegenstand und ihre Theoriemodelle zu veranschaulichen. An der Geschichte der Sternbilderdarstellungen treten deshalb in eindrucklicher Weise die vielfaltigen Verschrankungen von Erkenntnisprozess und Verbildlichung, von Bildtradition und bewegter Phantasie, von kosmischer Wirklichkeit und antiker Mythologie zu Tage.

This study deals with the iconographic theme of imperial Byzantine 'heavenly coronation', or Andre Grabar's couronnement symbolique, with particular attention to fine arts and numismatics. This theme, along with the rituals of imperial investiture, represents the concept of divine kingship in figurative terms, a significant ideological premise for Byzantine theocracy. The book is structured in seven chapters, investigating both the origination and conclusion of the iconographical subject and its political derivations. It attempts to assemble all the known images of the 'heavenly coronation' theme and to explain its political and iconographical roots.

Das Dom Museum Wien prasentiert sich architektonisch und konzeptionell neu ausgerichtet im Spannungsfeld von Kunst, Kirche und Gesellschaft. Die Sammlungsbestande des neu eroeffneten Hauses sind einzigartig: die mittelalterlichen Schatze des Wiener Stephansdoms, Avantgarde-Klassiker aus der legendaren Sammlung Otto Mauer und zeitgenoessische kunstlerische Positionen treten hier mit den BesucherInnen in einen anregenden Dialog. Dieser Band zeigt einen Auszug aus den vielfaltigen kostbaren Kunstschatzen dieses Museums im Zentrum der Stadt in Text und Bild und bietet den LeserInnen eine spannende Erfahrung - mit formal aussergewoehnlichen, inhaltlich vielfaltigen, mitunter aber auch ratselhaften Kunstobjekten aus unterschiedlichen Epochen der europaischen Geschichte.