Shahnama: The Visual Language of the Persian Book of Kings presents the first comprehensive examination of the interplay between text and image in the celebrated Persian national epic, the Shahnama, written by the poet Firdausi of Tus. The Shahnama is one of the longest poems ever composed and recounts the history of Iran from the dawn of time to the Muslim Arab conquests of the seventh century AD. There is no Persian text, in prose or poetry, which has been so frequently and lavishly illustrated. Offering fresh insights through a range of varied art-historical approaches to the Shahnama, the essays in this volume reveal how the subtle alterations in text and image serve to document changes in taste and style and can be understood as reflections of the changing role of the national epic in the imagination of Iranians and the equally changing messages - often political in nature - which the familiar stories were made to convey over the centuries.

The function of images in the major illustrated English poetic works from the Anglo-Saxon period to the early fifteenth century is the primary concern of this book. Hilmo argues that the illustrations have not been sufficiently understood because modern judgments about their artistic merit and fidelity to the literary texts have got in the way of a historical understanding of their function. The author here proves that artists took their work seriously because images represented an invisible order of reality, that they were familiar with the vernacular poems, and that they were innovative in adapting existing iconographies to guide the ethical reading process of their audience. To provide a theoretical basis for the understanding of early monuments, artefacts, and texts, she examines patristic opinions on image-making, supported by the most authoritative modern sources. Fresh emphasis is given to the iconic nature of medieval images from the time of the iconoclastic debates of the 8th and 9th centuries to the renewed anxiety of image-making at the time of the Lollard attacks on images. She offers an important revision of the reading of the Ruthwell Cross, which changes radically the interpretation of the Cross as a whole. Among the manuscripts examined here are the Caedmon, Auchinleck, Vernon, and Pearl manuscripts. Hilmo's thesis is not confined to overtly religious texts and images, but deals also with historical writing, such as Layamon's Brut, and with poetry designed ostensibly for entertainment, such as the Canterbury Tales. This study convincingly demonstrates how the visual and the verbal interactively manifest the real "text" of each illustrated literary work. The artistic elements place vernacular works within a larger iconographic framework in which human composition is seen to relate to the activities of the divine Author and Artificer.Whether iconic or anti-iconic in stance, images, by their nature, were a potent means of influencing the way an English author's words, accessible in the vernacular, were thought about and understood within the context of the theology of the Incarnation that informed them and governed their aesthetic of spiritual function. This is the first study to cover the range of illustrated English poems from the Anglo-Saxon period to the early 15th century.

Built in 1290, the cathedral at Orvieto, Italy, is a masterpiece of Italian gothic architecture. The decoration of the Cappella Nuova, commenced by Fra Angelico in 1447 and magnificently completed by Luca Signorelli in 1499 and 1504, displays an awe-inspiring Last Judgement and Apocalypse and, below it, scenes from Dante and classical literature. Drawing on years of detailed research into the history of the chapel, Sara Nair James identifies Signorelli's theological advisors as a group of Dominican scholars, known as the 'Masters of the Sacred Page of this city'. She presents the decoration as an integrated whole, a program complex in iconography, message, source material and theory and, through a detailed response to Dante's Divine Comedy and a moralized reading of classical legends, explains how the events of the end-time join the literary narratives to form a sermon on salvation through penance. The book is not simply a work of traditional iconography, explaining the stories behind the pictures. It is an important study in the theory and techniques of the visual representation of religious belief and its reception by the laity. The detailed illustration includes many photographs taken after the restoration of the chapel in 1996.

Francis Cheetham's classic survey of English medieval alabasters includes a richly illustrated catalogue of the Victoria and Albert Museum's unparalleled collection. English alabasters represent a unique contribution to medieval art. Less sophisticated, perhaps, than other contemporary forms of religious art, they were a neglected area of study until this volume was first published in 1984. Stories from the New Testament and The Golden Legend were the most favoured subjects, and the numerous examples that survive in churches and museums throughout Europe attest to their wide and enduring appeal. FrancisCheetham examines here all aspects of their production and demonstrates how the panels and altarpieces can aid our understanding of life and devotional practice in medieval times. At the heart of this fascinating study is arichly illustrated catalogue of the 260 examples in the collection of London's Victoria and Albert Museum: a collection "so comprehensive that it would be possible to write a survey of the subject almost without recourse to pieces elsewhere," as Sir Roy Strong notes in his Foreword. Their division into subject categories is an invaluable aid to identification and classification. The late Francis Cheetham was an acknowledged expert on medieval English alabasters, and this reissue of his classic work will be welcomed by historians, art historians, collectors and dealers alike, taking its place alongside his Alabaster Images of Medieval England which was published by the Boydell Press in 2003.

Christopher Walter's study of the cult and iconography of Byzantine warrior saints - George, Demetrius, the two Theodores, and dozens more - is at once encyclopaedic and interpretative, and the first comprehensive study of the subject. The author delineates their origins and development as a distinctive category of saint, showing that in its definitive form this coincides with the apogee of the Byzantine empire in the 10th-11th centuries. He establishes a repertory, particularly of their commemorations in synaxaries and their representations in art, and describes their iconographical types and the functions ascribed to them once enrolled in the celestial army: support for the terrestrial army in its offensive campaigns, and a new protective role when the Byzantine Empire passed to the defensive. The survey highlights the lack of historicity among the Byzantines in their approach to the lives of these saints and their terrestrial careers. An epilogue briefly treats the analogous traditions in the cultures of neighbouring peoples. Walter draws attention to the development of an echelon of military saints, notably in church decoration, which provides the surest basis for defining their specificity; also to the way in which they were depicted, generally young, handsome and robust, and frequently 'twinned' in pairs, so calling attention to the importance of camaraderie among soldiers. At the same time, this work opens a new perspective on the military history of the Byzantine Empire. Its ideology of war consistently followed that of the Israelites; protected and favoured by divine intervention, there was no occasion to discuss the morality of a 'just war'. Consequently, when considering Byzantine methods of warfare, due attention should be given to the important role which they attributed to celestial help in their military campaigns.

Scholarship often treats the post-Roman art produced in central and north-western Europe as representative of the pagan identities of the new 'Germanic' rulers of the early medieval world. In this book, Matthias Friedrich offers a critical reevaluation of the ethnic and religious categories of art that still inform our understanding of early medieval art and archaeology. He scrutinises early medieval visual culture by combining archaeological approaches with art historical methods based on contemporary theory. Friedrich examines the transformation of Roman imperial images, together with the contemporary, highly ornamented material culture that is epitomized by 'animal art.' Through a rigorous analysis of a range of objects, he demonstrates how these pathways produced an aesthetic that promoted variety (varietas), a cross-cultural concept that bridged the various ethnic and religious identities of post-Roman Europe and the Mediterranean worlds.

The purpose of the project is to provide the most up-to-date survey on issues dealing with practical geometry and how it might have been applied in the design of medieval architecture. Chronologically, the topics cover a wide span - from early Medieval through Late Gothic. Geographically, the monuments under discussion range from Early Medieval Florence through Carolingian Germany, Crusader Cyprus, Romanesque France and Gothic England. The applications of both geometry and metrology are considered in this volume, often with illustrations generated by computer-assisted design (CAD) software. The project therefore offers recent scholarship in the field, as well as cutting-edge technology which helps propel the pursuit of such studies. To this end, the project is the first of its kind both in terms of its focus and its comprehensiveness. Such a project is sorely needed to introduce this highly specialized discipline to other historians of art, history, and science of the Middle Ages, as well as historians in most humanistic areas.

This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading.

Sacred Skin offers the first systematic evaluation of the dissemination and development of the cult of St. Bartholomew in Spain. Exploring the paradoxes of hagiographic representation and their ambivalent effect on the observer, the book focuses on literary and visual testimonies produced from the emergence of a distinctive vernacular voice through to the formalization of Bartholomew's saintly identity and his transformation into a key expression of Iberian consciousness. Drawing on and extending advances in cultural criticism, particularly theories of selfhood and the complex ontology of the human body, its five chapters probe the evolution of hagiographic conventions, demonstrating how flaying poses a unique challenge to our understanding of the nature and meaning of identity. See inside the book.

Very few poets except the authors of the Hebrew Scriptures and the New Testament have tried to write in any extended way about God. Even Dante confines his vision of Christ and the Trinity to a few passages at the end of Paradiso and most religious lyric poets concentrate more on their own attitudes and reactions to God, their prayer, longing, repentance, suffering or joy, than on the nature of God. Among English poems, three narratives, Piers Plowman, Paradise Lost and Paradise Regained are exceptional in their extensive, explicit poetry about god and their direct concern with the mysteries of Biblical faith. This work looks at Piers Plowman, confronting not only the alterity of culture resulting from a lapse of almost 700 years, but also the more profound alterity of the subject matter.

Where do we go after we die? This book traces how the European Middle Ages offered distinctive answers to this universal question, evolving from Antiquity through to the sixteenth century, to reflect a variety of problems and developments. Focussing on texts describing visions of the afterlife, alongside art and theology, this volume explores heaven, hell, and purgatory as they were imagined across Europe, as well as by noted authors including Gregory the Great and Dante. A cross-disciplinary team of contributors including historians, literary scholars, classicists, art historians and theologians offer not only a fascinating sketch of both medieval perceptions and the wide scholarship on this question: they also provide a much-needed new perspective. Where the twelfth century was once the 'high point' of the medieval afterlife, the essays here show that the afterlives of the early and later Middle Ages were far more important and imaginative than we once thought.

In this book, Irina Chernetsky examines how humanists, patrons, and artists promoted Florence as the reincarnation of the great cities of pagan and Christian antiquity - Athens, Rome, and Jerusalem. The architectural image of an ideal Florence was discussed in chronicles and histories, poetry and prose, and treatises on art and religious sermons. It was also portrayed in paintings, sculpture, and sketches, as well as encoded in buildings erected during the fourteenth and fifteenth centuries. Over time, the concept of an ideal Florence became inseparable from the real city, in both its social and architectural structures. Chernetsky demonstrates how the Renaissance notion of genealogy was applied to Florence, which was considered to be part of a family of illustrious cities of both the past and present. She also explores the concept of the ideal city in its intellectual, political, and aesthetic contexts, while offering new insights into the experience of urban space.

A collection of papers presented to the 1992 international British Archaeological Association conference in Chester. Presented in chronological order, the fourteen essays comprise Martin Henig's analysis of carved stonework from Roman Deva; Alan Thacker's study of the formation of the town and its parishes during the early medieval period; Simon Ward, Virginia Jansen, John Maddison and Christa Grossinger examine the architecture, fittings and restoration of the Cathedral and churches; Elizabeth Danbury, J Patrick Greene and Nigel Ramsay assess the life and dissolution of religious foundations; Roland B Harris looks at the origins of the famous Chester Rows and Sharon Cather, David Park and Robyn Pender discuss the recently rediscovered Henry III wall paintings at Chester Castle. A broad and illustrated guide to many aspects of Chester's long history.

This volume covers two closely related themes. Essays in the first section deal with the varieties of clerics and their hierarchical arrangements in the churches of western Europe in the early Middle Ages, the formative period in which the ordering of clerics in the Western Church evolved. The number and numbering of clerics was debated and then established, as was their status as minor and sacred orders. In one of several hitherto unpublished pieces in this collection the significance of the elevation of the subdeacon to a sacred order in the later 11th century is examined, together with its effect on the status of the highest grades of priest and bishop, often seen to be one in order but distinct in office. In the second section, visual depictions of clerics in early medieval manuscripts are shown to have reflected their hierarchical ordering, especially in their ordinations, in the vestments and symbols assigned them, and in their functioning at conciliar gatherings.

'Arnold Hausers Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hausers extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989

The abbey of Bury St. Edmund's was one of the richest and most powerful of the monasteries of medieval England. The Libert of the Eight and a Half Hundreds, over which the abbot exercised the authority of Sherriff, covered all west Suffolk and survived as a separate administrative district until the country reorganisation of 1974. As its centre was an even more privileged area, the town and suburbs of Bury St. Edmunds, which grew up to service the abbey's worldly needs and remained under the abbot's absolute control; today it survives as the prosperous borough of Bury St. Edmunds. The abbey church itself was larger than Durham cathedral and housed the shrine of St. Edmund, king and martyr, who had been killed by the Danes in 870 when they invaded East Anglia, and whose cult was the abbey's raison d'etre . In April 1994 the British Archaeological Association held a four day conference at Culford School, near Bury St. Edmunds, which was devoted to the study of the abbey and town. Most of the conference papers are printed in the preent Transactions, with the addition of three specially commissioned papers. They cover a wide range of subjects and break much new ground. There are papers on the abbey's architecture and on the layout of the medieval town, studies on St. Edmund's shrine, relics and cult, and on the abbey's administration and economic history, including papers on the mint, which the abbot administered, on the abbey's woodlands, and on its salterns in Lincolnshire. An especial feature of the volume are the papers on the abbey's manuscripts, comprising studies on their art, palaeography, and bindings, and on the monastic library. The volume ends with the catalogue prepared for the exhibitions held in Cambridge for delegates to the conference, of Bury manuscripts owned by a number of Cambridge colleges and by Cambridge University Library. In all, these transactions make an important contribution to the study of medieval Bury St. Edmunds and will no doubt stimulate further research.

The abbey of Bury St. Edmund's was one of the richest and most powerful of the monasteries of medieval England. The Libert of the Eight and a Half Hundreds, over which the abbot exercised the authority of Sherriff, covered all west Suffolk and survived as a separate administrative district until the country reorganisation of 1974. As its centre was an even more privileged area, the town and suburbs of Bury St. Edmunds, which grew up to service the abbey's worldly needs and remained under the abbot's absolute control; today it survives as the prosperous borough of Bury St. Edmunds. The abbey church itself was larger than Durham cathedral and housed the shrine of St. Edmund, king and martyr, who had been killed by the Danes in 870 when they invaded East Anglia, and whose cult was the abbey's raison d'etre . In April 1994 the British Archaeological Association held a four day conference at Culford School, near Bury St. Edmunds, which was devoted to the study of the abbey and town. Most of the conference papers are printed in the preent Transactions, with the addition of three specially commissioned papers. They cover a wide range of subjects and break much new ground. There are papers on the abbey's architecture and on the layout of the medieval town, studies on St. Edmund's shrine, relics and cult, and on the abbey's administration and economic history, including papers on the mint, which the abbot administered, on the abbey's woodlands, and on its salterns in Lincolnshire. An especial feature of the volume are the papers on the abbey's manuscripts, comprising studies on their art, palaeography, and bindings, and on the monastic library. The volume ends with the catalogue prepared for the exhibitions held in Cambridge for delegates to the conference, of Bury manuscripts owned by a number of Cambridge colleges and by Cambridge University Library. In all, these transactions make an important contribution to the study of medieval Bury St. Edmunds and will no doubt stimulate further research.

The 1997 conference of the British Archaeological Association was held in Glasgow and took the Cathedral there ars its main theme. This volume includes many of the papers given at the conference. Follwoing a general introduction on the building history of the cathedral, there are chapters covering the cult of St Kentigern, the major excavations of 1992-3, the design of the crypt, the choir and its timber ceiling. Other chapters look at aspects of patronage, the wider architectural context of the cathedral, and at the Romaneque sculpture and manuscripts with the diocese.

Perhaps because of the fact that modern Greece is, through the Orthodox Church, inextricably linked with the Byzantine heritage, the precise meaning of this heritage, in its various aspects, has hitherto been surprisingly little discussed by scholars. This collection of specially commissioned essays aims to present an overview of some of the different, and often conflicting, tendencies manifested by modern Greek attitudes to Byzantium since the late eighteenth-century Enlightenment. The aim is to show just how formative views of Byzantium have been for modern Greek life and letters: for historiography and imaginative literature, on the one hand, and on the other, for language, law, and the definition of a culture. All Greek has been translated, and the volume is aimed at Byzantinists and Neohellenists alike.

Twenty papers, eleven of which were delivered at a British Archaeological Association congress in July 1995. Topics studied specific to Southwell Minster include the Romanesque East End; the Romanesque crossing capitals, the choir, and the chapter house. Additional papers examine features of other churches and abbeys of Nottinghamshire. Contributors include J McNeill, L Hoey, U Engel, M Thurlby, G Zarnecki and S Harrison.

Essays centred round the representation of weaving, both real and imagined, in the early middle ages. The triple themes of textile, text, and intertext, three powerful and evocative subjects within both Anglo-Saxon studies and Old English literature itself, run through the essays collected here. Chapters evoke the semantic complexities of textile references and images drawn from the Bayeux Tapestry, examine parallels in word-woven poetics, riddling texts, and interwoven homiletic and historical prose, and identify iconographical textures in medieval art. The volume thus considers the images and creative strategies of textiles, texts, and intertexts, generating a complex and fascinating view of the material culture and metaphorical landscape of the Anglo-Saxon peoples. It is therefore a particularly fitting tribute to Professor Gale R. Owen-Crocker, whose career and lengthy list of scholarly works have centred on her interests in the meaning and cultural importance of textiles, manuscripts and text, and intertextual relationships between text and textile. MAREN CLEGG HYER is Associate Professor and Graduate Coordinator in the Department of English at Valdosta State University; JILL FREDERICK is Professor of English at Minnesota State University Moorhead. Contributors: Marilina Cesario, Elizabeth Coatsworth, Martin Foys, Jill Frederick, Joyce Hill, Maren Clegg Hyer, Catherine E. Karkov, Christina Lee, Michael Lewis, Robin Netherton, Carol Neuman de Vegvar, Donald Scragg, Louise Sylvester, Paul Szarmach, Elaine Treharne.

Originally published between 1920-70, the aim of the general editor, C.K. Ogden, was to summarize the most up-to-date findings and theories of historians, anthropologists, archaeologists and sociologists. This reprinted material is available as a set or in the following groupings: "Prehistory and Historical Ethnography" set of 12: 0-415-15611-4 (u800); "Greek Civilization" set of 7: 0-415-15612-2 (u450); "Roman Civilization" set of 6: 0-415-15613-0 (u400); "Eastern Civilizations" set of 10: 0-415-15614-9 (u650); "Judaeo-Christian Civilization" set of 4: 0-415-15615-7: (u250); "European Civilization" set of 11: 0-415-15616-5 (u700).

In this volume, Karin Krause examines conceptions of divine inspiration and authenticity in the religious literature and visual arts of Byzantium. During antiquity and the medieval era, "inspiration" encompassed a range of ideas regarding the divine contribution to the creation of holy texts, icons, and other material objects by human beings. Krause traces the origins of the notion of divine inspiration in the Jewish and polytheistic cultures of the ancient Mediterranean and Near Eastern worlds and their reception in Byzantine religious culture. Exploring how conceptions of authenticity are employed in Eastern Orthodox Christianity to claim religious authority, she analyzes texts in a range of genres, as well as images in different media, including manuscript illumination, icons, and mosaics. Her interdisciplinary study demonstrates the pivotal role that claims to the divine inspiration of religious literature and art played in the construction of Byzantine cultural identity.