The spectacle of the wounded body figured prominently in the Middle Ages, from images of Christ's wounds on the cross, to the ripped and torn bodies of tortured saints who miraculously heal through divine intervention, to graphic accounts of battlefield and tournament wounds-evidence of which survives in the archaeological record-and literary episodes of fatal (or not so fatal) wounds. This volume offers a comprehensive look at the complexity of wounding and wound repair in medieval literature and culture, bringing together essays from a wide range of sources and disciplines including arms and armaments, military history, medical history, literature, art history, hagiography, and archaeology across medieval and early modern Europe. Contributors are Stephen Atkinson, Debby Banham, Albrecht Classen, Joshua Easterling, Charlene M. Eska, Carmel Ferragud, M.R. Geldof, Elina Gertsman, Barbara A. Goodman, Maire Johnson, Rachel E. Kellett, Ilana Krug, Virginia Langum, Michael Livingston, Iain A. MacInnes, Timothy May, Vibeke Olson, Salvador Ryan, William Sayers, Patricia Skinner, Alicia Spencer-Hall, Wendy J. Turner, Christine Voth, and Robert C. Woosnam-Savage.

This is the first study in any language to trace the emergence of the art historical interest in icon painting in the nineteenth century with its evident impact on the course of Russian modernism in the twentieth century. Given the surge in popularity of the Russian avant-garde, a book devoted to the gradual awareness of the artistic value of icons and their effect on Russian aesthetics is timely. The discoveries, the false starts, the incompetence, the interaction of dilettantes and academics, the meddling of tsars and church officials, all make for a fascinating tale of growing cultural awarenss. It is a story that prepares the ground for the explosioin of Russian cultural creativity and acceptability in the early twentieth century.

The first dynasty to mint gold dinars outside of the Abbasid heartlands, the Aghlabid (r. 800-909) reign in North Africa has largely been neglected in the scholarship of recent decades, despite the canonical status of its monuments and artworks in early Islamic art history. The Aghlabids and their Neighbors focuses new attention on this key dynasty. The essays in this volume, produced by an international group of specialists in history, art and architectural history, archaeology, and numismatics, illuminate the Aghlabid dynasty's interactions with neighbors in the western Mediterranean and its rivals and allies elsewhere, providing a state of the question on early medieval North Africa and revealing the centrality of the dynasty and the region to global economic and political networks. Contributors: Lotfi Abdeljaouad, Glaire D. Anderson, Lucia Arcifa, Fabiola Ardizzone, Alessandra Bagnera, Jonathan M. Bloom, Lorenzo Bondioli, Chloe Capel, Patrice Cressier, Mounira Chapoutot-Remadi, Abdelaziz Daoulatli, Claire Delery, Ahmed El Bahi, Kaoutar Elbaljan, Ahmed Ettahiri, Abdelhamid Fenina, Elizabeth Fentress, Abdallah Fili, Mohamed Ghodhbane, Caroline Goodson, Soundes Gragueb Chatti, Khadija Hamdi, Renata Holod, Jeremy Johns, Tarek Kahlaoui, Hugh Kennedy, Sihem Lamine, Faouzi Mahfoudh, David Mattingly, Irene Montilla, Annliese Nef, Elena Pezzini, Nadege Picotin, Cheryl Porter, Dwight Reynolds, Viva Sacco, Elena Salinas, Martin Sterry.

In Conflict, Commerce, and an Aesthetic of Appropriation in the Italian Maritime Cities, 1000-1150, Karen Rose Mathews analyzes the relationship between war, trade, and the use of spolia (appropriated objects from past and foreign cultures) as architectural decoration in the public monuments of the Italian maritime republics in the eleventh and twelfth centuries.

Crusade scholarship has exploded in popularity over the past two decades. This volume captures the resulting diversity of approaches, which often cross cultures and academic disciplines. The contributors to this volume offer new perspectives on topics as varied as the application of Roman law on slavery to the situation of Muslims in the Latin East, Muslim appropriation of Latin architectural spolia, the roles played by the crusade in medieval preaching, and the impact of Latin East refugees on religious geography in late medieval Cyprus. Together these essays demonstrate how pervasive the institution of crusade was in medieval Christendom, as much at home in Europe as in the Latin East, and how much impact it carried forth into the modern era. Contributors are Richard Allington, Jessalynn Bird, Adam M. Bishop, Tomasz Borowski, Yan Bourke, Sam Zeno Conedera, Charles W. Connell, Cathleen A. Fleck, Lisa Mahoney, and C. Matthew Phillips.

Receptions of Antiquity, Constructions of Gender in European Art, 1300-1600 presents scholarship in classical reception at its nexus with art history and gender studies. It considers the ways that artists, patrons, collectors, and viewers in late medieval and early modern Europe used ancient Greek and Roman art, texts, myths, and history to interact with and shape notions of gender. The essays examine Giotto's Arena Chapel frescoes, Michelangelo's Medici Chapel personifications, Giulio Romano's decoration of the Palazzo del Te, and other famous and lesser-known sculptures, paintings, engravings, book illustrations, and domestic objects as well as displays of ancient art. Visual responses to antiquity in this era, the volume demonstrates, bore a complex and significant relationship to the construction of, and challenges to, contemporary gender norms.

This book is devoted to the Old Rus' dress of the Upper Volga area, as gleaned from the archaeological evidence of the burial sites. The organic remains of dress and metal and glass ornaments and fasteners are considered. Issues such as the social status and age of the buried individuals, as well as the influence of various ethnic groups (including East Slavic groups, Finno-Ugric tribes and the Balts ) on the dress of the Old Rus', are addressed through the study of variants of male and female headdresses, clothes and accessories. Furthermore, a detailed study of the evolution of the headdress and the structure of jewelry from the late 10th century to the 13th century is offered.

This volume offers a sample of the many ways that medieval Franciscans wrote, represented in art, and preached about the 'model of models' of the medieval religious experience, the Virgin Mary. This is an extremely valuable collection of essays that highlight the significant role the Franciscans played in developing Mariology in the Middle Ages. Beginning with Francis, Clare, and Anthony, a number of significant theologians, spiritual writers, preachers, and artists are presented in their attempt to capture the significance and meaning of the Virgin Mary in the context of the late Middle Ages within the Franciscan movement. Contributors are Luciano Bertazzo, Michael W. Blastic, Rachel Fulton Brown, Leah Marie Buturain, Marzia Ceschia, Holly Flora, Alessia Francone, J. Isaac Goff, Darrelyn Gunzburg, Mary Beth Ingham, Christiaan Kappes, Steven J. McMichael, Pacelli Millane, Kimberly Rivers, Filippo Sedda, and Christopher J. Shorrock.

Transforming Type examines kinetic or moving type in a range of fields including film credits, television idents, interactive poetry and motion graphics. As the screen increasingly imitates the properties of real-life environments, typographic sequences are able to present letters that are active and reactive. These environments invite new discussions about the difference between motion and change, global and local transformation, and the relationship between word and image. In this illuminating study, Barbara Brownie explores the ways in which letterforms transform on screen, and the consequences of such transformations. Drawing on examples including Kyle Cooper's title sequence design, kinetic poetry and MPC's idents for the UK's Channel 4, she differentiates motion from other kinds of kineticism, with particular emphasis on the transformation of letterforms into other forms and objects, through construction, parallax and metamorphosis. She proposes that each of these kinetic behaviours requires us to revisit existing assumptions about the nature of alphabetic forms and the spaces in which they are found.

"Medieval renaissance Baroque" celebrates Marilyn Aronberg Lavin's breakthrough achievements in both the print and digital realms of art and cultural history. Fifteen friends and colleagues present tributes and essays that reflect every facet of this renowned scholar's brilliant career. Tribute presenters include Ellen Burstyn, Langdon Hammer, Phyllis Lambert, and James Marrow. Contributors include Kirk Alexander, Horst Bredekamp, Nicola Courtright, David Freedberg, Jack Freiberg, Marc Fumaroli, David A. Levine, Daniel T. Michaels, Elizabeth Pilliod, Debra Pincus, and Gary Schwartz. 79 illustrations, bibliography of Marilyn Lavin's works, index.

Julian Gardner s preeminent role in British studies of the art of the 13th and 14th centuries, particularly the interaction of papal and theological issues with its production and on either side of the Alps, is celebrated in these studies by his pupils. They discuss Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, as well as monochrome dado painting up to Giotto, Duccio's representations of proskynesis, a Parisian reliquary in Assisi, Riminese painting for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of Love at Sabbionara, the cult of Urban V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardner s career itself. The contributors to the volume are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.

An introduction to the medieval cathedral, those churches that are regarded as the greatest achievements of medieval architecture. Details their social history, who built them, how they were built, and why. Forty photos and maps help to guide the reader through a narrated tour of these awe-inspiring churches. When we think of cathedrals, we usually envision the great Gothic Buildings of 12th- and 13th-century Europe. But other than being a large church, a cathedral is neither a specific building type nor specifically medieval. What a makes a large church a cathedral is the presence of a single item of furniture: the chair (in Latin: cathedra) or throne that is the symbol of the ecclesiastical and spiritual authority of a bishop. This book is an introduction to the medieval cathedral, those churches that are usually regarded as among the greatest achievements of medieval architecture. While cathedrals were often the most prominent urban structure in many European cities, their construction was never a civic responsibility, but remained the responsibility of the clergy in charge of the day to day activities and services. Beginning with an overview of the social history of cathedrals, Clark examines such topics as patrons, builders and artists, and planning and construction; and provides an in-depth examination of the French Cathedral at Reims—a seminal building with significant technological advances, important sculptural programs, a surviving bishop's palace, and other structures. The volume concludes with a series of illustrations, a selection of original texts, and a selected bibliography for further study. A full index is also provided.

This volume incorporates all the articles and reviews published in volume 14 (2014) of the Journal of Hebrew Scriptures.

Bringing together the work of scholars from disparate fields of enquiry, this volume provides a timely and stimulating exploration of the themes of transmission and translation, charting developments, adaptations and exchanges - textual, visual, material and conceptual - that reverberated across the medieval world, within wide-ranging temporal and geographical contexts. Such transactions generated a multiplicity of fusions expressed in diverse and often startling ways - architecturally, textually and through peoples' lived experiences - that informed attitudes of selfhood and 'otherness', senses of belonging and ownership, and concepts of regionality, that have been further embraced in modern and contemporary arenas of political and cultural discourse. Contributors are Tarren Andrews, Edel Bhreathnach, Cher Casey, Katherine Cross, Amanda Doviak, Elisa Foster, Matthias Friedrich, Jane Hawkes, Megan Henvey, Aideen Ireland, Alison Killilea, Ross McIntire, Lesley Milner, John Mitchell, Nino Simonishvili, and Rachael Vause.

The collection Migration, Integration and Connectivity on the Southeastern Frontier of the Carolingian Empire offers insights into the Carolingian southeastern frontier-zone from historical, art-historical and archaeological perspectives. Chapters in this volume discuss the significance of the early medieval period for scholarly and public discourses in the Western Balkans and Central Europe, and the transfer of knowledge between local scholarship and macro-narratives of Mediterranean and Western history. Other essays explore the ways local communities around the Adriatic (Istria, Dalmatia, Dalmatian hinterland, southern Pannonia) established and maintained social networks and integrated foreign cultural templates into their existing cultural habitus. Contributors are Mladen Ancic, Ivan Basic, Goran Bilogrivic, Neven Budak, Florin Curta, Danijel Dzino, Kresimir Filipec, Richard Hodges, Nikola Jaksic, Miljenko Jurkovic, Ante Milosevic, Marko Petrak, Peter Stih, Trpimir Vedris.

This book is dedicated to an outstanding architectural monument of medieval Armenia - the church of the Holy Cross, built in the tenth century on the island of Alt'amar on Lake Van, and a UNESCO world heritage site. This jewel of architecture has been researched mainly from an art historical perspective. The current multi-author volume offers diverse studies aimed at placing the construction of the church in its proper historical, political, religious, and spiritual context. It explores the intellectual climate in the Kingdom of Vaspurakan during the reign of its founder, King Gagik Arcruni, the Kingdom's relations with Byzantium and the Abbasids, analyzes local historiography, biblical exegesis, hagiography, veneration of the True Cross, and royal ideology. Novel interpretations of architectural features and sculptural decorations close the volume. Le livre est consacre a l'un des plus importants monuments architecturaux de l'Armenie medievale, l'eglise de la Sainte-Croix construite au Xe siecle sur l'ile d'Alt'amar sur le lac de Van. Elle est inscrite sur la liste du patrimoine mondial de l'UNESCO. Ce joyau de l'architecture armenienne a ete etudie principalement dans la perspective de l'histoire de l'art. Le present volume multi-auteurs propose une diversite d'approches qui placent la construction de cette eglise dans le contexte historique, politique, religieux et spirituel. Il etudie l'ambiance intellectuelle du Royaume du Vaspurakan durant le regne de son fondateur, le roi Gagik Arcruni, les relations du Royaume avec Byzance et les Abbassides, il analyse l'historiographie locale, l'exegese biblique, l'hagiographie, le culte de la Vraie Croix et l'ideologie royale. De nouvelles interpretations des particularites architecturales et des decors sculptes achevent le volume. Contributors are Krikor Beledian, Jean-Claude Cheynet, Patrick Donabedian, Bernard Flusin, Tim Greenwood, Gohar Grigoryan, Armen Kazaryan, Davit Kertmenjyan, Sergio La Porta, Jean-Pierre Mahe, Zaroui Pogossian, Robert Thomson (), Alison Vacca, Edda Vardanyan.

The artistic and literary maze of Latin-occupied Greece cannot be analysed by a conventional approach. Follow the author and the historical protagonists of his tales in a journey through a fragmentary shape-shifting corpus, from the medieval translations of Aristotle to pornographic animal tales carved on church columns. The book explains how art and literature were intertwined, how they evolved from the times of Nicetas Choniates to those of Isabella of Lusignan, and under what influences. It is based on the assumption that history is a form of literature, as they both share an "arbitrary distribution of emphasis" (Isaiah Berlin).