How West African gold and trade across the Sahara were central to the medieval world The Sahara Desert was a thriving crossroads of exchange for West Africa, North Africa, the Middle East, and Europe in the medieval period. Fueling this exchange was West African gold, prized for its purity and used for minting currencies and adorning luxury objects such as jewelry, textiles, and religious objects. Caravans made the arduous journey by camel southward across the Sahara carrying goods for trade-glass vessels and beads, glazed ceramics, copper, books, and foodstuffs, including salt, which was obtained in the middle of the desert. Northward, the journey brought not only gold but also ivory, animal hides and leatherwork, spices, and captives from West Africa forced into slavery. Caravans of Gold, Fragments in Time draws on the latest archaeological discoveries and art historical research to construct a compelling look at medieval trans-Saharan exchange and its legacy. Contributors from diverse disciplines present case studies that form a rich portrayal of a distant time. Topics include descriptions of key medieval cities around the Sahara; networks of exchange that contributed to the circulation of gold, copper, and ivory and their associated art forms; and medieval glass bead production in West Africa's forest region. The volume also reflects on Morocco's Gnawa material culture, associated with descendants of West African slaves, and movements of people across the Sahara today. Featuring a wealth of color images, this fascinating book demonstrates how the rootedness of place, culture, and tradition is closely tied to the circulation of people, objects, and ideas. These "fragments in time" offer irrefutable evidence of the key role that Africa played in medieval history and promote a new understanding of the past and the present. Published in association with the Mary and Leigh Block Museum of Art, Northwestern University Exhibition Schedule Block Museum of Art, Northwestern University January 26-July 21, 2019 Aga Khan Museum, Toronto September 21, 2019-February 23, 2020 Smithsonian National Museum of African Art, Washington, DC April 8-November 29, 2020

Embroidered in 1885-1886, Reading's version of the famous Bayeux Tapestry is a faithful, full-length replica of the original except in a few beguiling details. True to the principles of the Arts and Crafts movement, its Victorian makers in the Leek Embroidery Society, matched their materials, colours and techniques to those of the eleventh century nuns thought to have created the original. The result is an extraordinarily vibrant reproduction, important in its own right and on permanent display in a purpose-built gallery in Reading Museum. Scene-by-scene, read through the story of the succession to the English throne by first Harold and then William the Conqueror. Find out why the Duke of Normandy had a claim to be King of England and what the original purpose of the tapestry may have been. Discover how Victorian society's values affected the replica and how it came to reside in Reading, so fittingly close to the ruins of the Abbey built by William's youngest son, Henry I.

An examination of the passion and crucifixion of Christ as depicted in the visual and religious culture of Anglo-Norman England. The twelfth century has long been recognised as a period of unusual vibrancy and importance, witnessing seminal changes in the inter-related spheres of theology, devotional practice, and iconography, especially with regard to thecross and the crucifixion of Christ. However, the visual arts of the period have been somewhat neglected, scholarly activity tending to concentrate on its textual and intellectual heritage. This book explores this extraordinarily rich and vibrant visual and religious culture, offering new and exciting insights into its significance, and studying the dynamic relationships between ideas and images in England between 1066 and the first decades of the thirteenth century. In addition to providing the first extensive survey of surviving Passion imagery from the period, it explores those images' contexts: intellectual, cultural, religious, and art-historical. It thus not only enhances our understanding of the place of the cross in Anglo-Norman culture; it also demonstrates how new image theories and patterns of agency shaped the life of the later medieval church. John Munns is a Fellow of MagdaleneCollege, Cambridge.

The extraordinary array of images included in this volume reveals the full and rich history of the Middle Ages. Exploring material objects from the European, Byzantine and Islamic worlds, the book casts a new light on the cultures that formed them, each culture illuminated by its treasures. The objects are divided among four topics: The Holy and the Faithful; The Sinful and the Spectral; Daily Life and Its Fictions, and Death and Its Aftermath. Each section is organized chronologically, and every object is accompanied by a penetrating essay that focuses on its visual and cultural significance within the wider context in which the object was made and used. Spot maps add yet another way to visualize and consider the significance of the objects and the history that they reveal. Lavishly illustrated, this is an appealing and original guide to the cultural history of the Middle Ages.

"The grace of God, our savior, in these last days appeared in his servant Francis to all who are truly humble and truly friends of holy poverty." Bonaventure's Life of St. Francis Art historian Timothy Verdon tells the story of the life of St. Francis of Assisi in story and art. The 28 stunning thirteenth-century frescoes by Giotto that cover the walls of the famous Basilica in Assisi named for the saint are reproduced in full color, together with a schematic drawing showing their placement in the church. Through detailed descriptions and illuminating commentary on each of the famous frescoes, Verdon tells the story of Francis's extraordinary life, allowing today's reader the opportunity to "read" the art on those walls in the same way that a medieval Christian might have done.

Understanding late medieval pictorial representations of violence. Destroyed faces, dissolved human shapes, invisible enemies: violence and anonymity go hand in hand. The visual representation of extreme physical violence makes real people nameless exemplars of horror-formless, hideous, defaced. In Defaced, Valentin Groebner explores the roots of the visual culture of violence in medieval and Renaissance Europe and shows how contemporary visual culture has been shaped by late medieval images and narratives of violence. For late medieval audiences, as with modern media consumers, horror lies less in the "indescribable" and "alien" than in the familiar and commonplace. From the fourteenth century onward, pictorial representations became increasingly violent, whether in depictions of the Passion, or in vivid and precise images of torture, execution, and war. But not every spectator witnessed the same thing when confronted with terrifying images of a crucified man, misshapen faces, allegedly bloodthirsty conspirators on nocturnal streets, or barbarian fiends on distant battlefields. The profusion of violent imagery provoked a question: how to distinguish the illegitimate violence that threatened and reversed the social order from the proper, "just," and sanctioned use of force? Groebner constructs a persuasive answer to this question by investigating how uncannily familiar medieval dystopias were constructed and deconstructed. Showing how extreme violence threatens to disorient, and how the effect of horror resides in the depiction of minute details, Groebner offers an original model for understanding how descriptions of atrocities and of outrageous cruelty depended, in medieval times, on the variation of familiar narrative motifs.

The magnificent bronze doors of Hildesheim Cathedral, the ivory, gold, enameled, and bejeweled book covers made to contain superbly illuminated manuscripts, the startling reliquary caskets made in the shape of the part of the body supposed to be contained within them-these and other sacred objects were contained within church treasuries and cloisters in the early Middle Ages in Europe. This beautiful book traces the development of these so-called Minor Arts and the major role they played alongside the other pictorial arts and architectural sculpture of the period. Although it is impossible to establish a strict chronology of this period, since styles evolved concurrently and with varying speed across diverse regions of Europe, Peter Lasko has established an object-based chronology that enables him to trace the developments of these styles. In addition, he describes the personalities, stylistic traits, and influence of some of the great craftsmen whose names are briefly recorded in cathedral treasury records. He surveys the sacred arts from Scandinavia to Spain and from Italy to England, examining the impact of English art on the court of Charlemagne and investigating external influences on English art both before and after the Norman Conquest. Lasko records the wide range of opinions on style and method and also explicates his own; his comprehensive survey of craftsmanship alters previous assumptions about chronologies, creates new groupings of materials, and reassesses stylistic sources.

A look into an enchanting, underexplored genre of illustrated manuscripts that reveals new insights into urban life in the Middle Ages In this innovative study, Nina Rowe examines a curious genre of illustrated book that gained popularity among the newly emergent middle class of late medieval cities. These illuminated World Chronicles, produced in the Bavarian and Austrian regions from around 1330 to 1430, were the popular histories of their day, telling tales from the Bible, ancient mythology, and the lives of emperors in animated, vernacular verse, enhanced by dynamic images. Rowe's appraisal of these understudied books presents a rich world of storytelling modes, offering unprecedented insight into the non-noble social strata in a transformative epoch. Through a multidisciplinary approach, Rowe also shows how illuminated World Chronicles challenge the commonly held view of the Middle Ages as socially stagnant and homogeneously pious. Beautifully illustrated and backed by abundant and accessible analyses of social, economic, and political conditions, this book highlights the engaging character of secular literature during the late medieval era and the relationship of illustrated books to a socially diverse and vibrant urban sphere.

This volume analyses the history of Chinese art during the time of the Ming Dynasty during which the various traditions of painting academies were developed further leading to new painting styles and schools. The volume also highlights the developments in music, crafts, porcelain, and architecture. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

With over 200 color illustrations, Byzantine Silk on the Silk Roads examines in detail the eclectic iconography of the Byzantine period and its impact on design and creativity today. Through an examination of the extraordinary variety of designs in these captivating silks, an international team of experts reveal that Byzantine culture was ever-moving and open to diverse influences across the length of the Silk Road. Commentaries from curators at key collections - including the Museum of Arts, Boston, the Smithsonian (Cooper Hewitt), the V&A and the Vatican - reveal the spread of silk embroidery and designs from East to West, and from West to East, from China to Rome, and from Constantinople to Korea. Drawing on exclusive imagery from worldwide collections within museums, churches and archives as case studies, their analysis of these unique woven silks explores the relationship between color and power, material culture and status, and offers broader insight into Byzantine culture, trade, society and ceremony. Byzantine Silk ... takes us on a journey from the past to the present, too, where Byzantine story-telling and image-making is revisited, through color, imagery and pattern, in contemporary fashion collections. Exploring Byzantine culture through a contemporary filter, the book shows how the Byzantine era still influences textile and fashion designers today in their choices of materials and colors, and their utilization of images and patterns, acting as a unique source of inspiration to designers and creators in the 21st century.

Friars transformed the relationship of the church to laymen by taking religion outside to public and domestic spaces. Mendicant commitment to apostolic poverty bound friars to donors in an exchange of donations in return for intercessory prayers and burial: association with friars was believed to reduce the suffering of purgatory. Mendicant convents became urban cemeteries, warehouses filled with family tombs, flags, shields, and private altars. As mendicants became progressively institutionalized and sought legitimacy, friars adopted the architectural structures of monasticism: chapter houses, cloisters, dormitories, and refectories. They also created piazzas for preaching and burying outside their churches. Construction depended on assembling adequate funding from communes, confraternities, and private individuals; it was also sometimes supported by the expropriation of property from heretics. Because of irregular funding, construction was episodic, with substantial changes in scale and design. Choir screens served as temporary west facades while funds were raised for completion. This is the first book to analyze the friars' influence on the growth and transformation of medieval buildings and urban spaces.

The sacred and the secular in medieval literature have too often been perceived as opposites, or else relegated to separate but unequal spheres. In Medieval Crossover: Reading the Secular against the Sacred, Barbara Newman offers a new approach to the many ways that sacred and secular interact in medieval literature, arguing that (in contrast to our own cultural situation) the sacred was the normative, unmarked default category against which the secular always had to define itself and establish its niche. Newman refers to this dialectical relationship as "crossover"-which is not a genre in itself, but a mode of interaction, an openness to the meeting or even merger of sacred and secular in a wide variety of forms. Newman sketches a few of the principles that shape their interaction: the hermeneutics of "both/and," the principle of double judgment, the confluence of pagan material and Christian meaning in Arthurian romance, the rule of convergent idealism in hagiographic romance, and the double-edged sword in parody. Medieval Crossover explores a wealth of case studies in French, English, and Latin texts that concentrate on instances of paradox, collision, and convergence. Newman convincingly and with great clarity demonstrates the widespread applicability of the crossover concept as an analytical tool, examining some very disparate works. These include French and English romances about Lancelot and the Grail; the mystical writing of Marguerite Porete (placed in the context of lay spirituality, lyric traditions, and the Romance of the Rose); multiple examples of parody (sexually obscene, shockingly anti-Semitic, or cleverly litigious); and Rene of Anjou's two allegorical dream visions. Some of these texts are scarcely known to medievalists; others are rarely studied together. Newman's originality in her choice of these primary works will inspire new questions and set in motion new fields of exploration for medievalists working in a large variety of disciplines, including literature, religious studies, history, and cultural studies.

Elizabeth Sears here combines rich visual material and textual evidence to reveal the sophistication, warmth, and humor of medieval speculations about the ages of man. Medieval artists illustrated this theme, establishing the convention that each of life's phases in turn was to be represented by the figure of a man (or, rarely, a woman) who revealed his age through size, posture, gesture, and attribute. But in selectiing the number of ages to be depicted--three, four, five, six, seven, ten, or twelve--and in determining the contexts in which the cycles should appear, painters and sculptors were heirs to longstanding intellectual tradtions. Ideas promulgated by ancient and medieval natural historians, physicians, and astrologers, and by biblical exegetes and popular moralists, receive detailed treatment in this wide-ranging study. Professor Sears traces the diffusion of well-established schemes of age division from the seclusion of the early medieval schools into wider circles in the later Middle Ages and examines the increasing use of the theme as a structure of edifying discourse, both in art and literature. Elizabeth Sears is Assistant Professor of Art History at Princeton University. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

An examination of the fabrics, garments and cloth of the Iberian Middle Ages, bringing out in particular the international context. The Medieval Iberian Peninsula, encompassing various territories which make up present-day Spain and Portugal, was an ethnic and religious melting pot, comprising Christian, Jewish and Muslim communities, each contributing to a vibrant textile economy. They were also defined and distinguished by the material culture of clothing and dress, partly dictated by religious and cultural tradition, partly imposed by rulers anxious to avoid cross-ethnic relationships considered undesirable. Nevertheless, textiles, especially magnificent Islamic silks, crossed these barriers. The essays in this volume offer the first full analysis of Iberian textiles from the period, drawing on both material remains and historical documents, supported by evidence from contemporary artwork. Chapters cover surviving textiles, many of them magnificent silks; textile industries and trade; court dress and its use as a language of power and patronage; the vast market in utilitarian textiles for lower-status clothing and furnishings; and Muslim and Jewish dress. It also considers Arabic and Jewish texts as sources of information on textiles and the Arabic garment-names which crossed into Spanish. Particular emphasis is given to the the different ethnicities of Iberia and their influences on the use and trade of garments (both precious and common-place) and textiles.

This up-to-date, reliable introductory account and interpretation of early medieval art combines art, history, and ideas from around 600 to 1050. Diebold describes diversity and complexity of early medieval art by examining the relationship of word and image. The concept of word and image is broad enough to encompass the Anglo-Saxon art and oral culture of the Sutton Hoo treasure, as well as the literate art of the Carolingian and Ottonian courts. Diebold describes and explains the stunning variety of early medieval objects--illustrated manuscripts, rich metal work, ivories, textiles, statuary, jewels, painting and architecture produced north of the Alps beginning with Pope Gregory's Christianization of England and his justification of images, and ending with the spectacular gold reliquary statue of Ste. Foy at Conques, which separates Early Medieval art from the Romanesque. Diebold also discusses the function of (and audience for) medieval art; he shows why, how, and for whom it was made. Diebold outlines the role of artists and patrons in medieval society, and he explains art's institutional and social status. He defines basic historical and art-historical terms and concepts as they are encountered, and illustrations, a map, a glossary, notes, suggestions for further reading, and an index are included.

This is the first book to examine the full range of the evidence for Irish charms, from medieval to modern times. As Ireland has one of the oldest literatures in Europe, and also one of the most comprehensively recorded folklore traditions, it affords a uniquely rich body of evidence for such an investigation. The collection includes surveys of broad aspects of the subject (charm scholarship, charms in medieval tales, modern narrative charms, nineteenth-century charm documentation); dossiers of the evidence for specific charms (a headache charm, a nightmare charm, charms against bleeding); a study comparing the curses of saints with those of poets; and an account of a newly discovered manuscript of a toothache charm. The practices of a contemporary healer are described on the basis of recent fieldwork, and the connection between charms and storytelling is foregrounded in chapters on the textual amulet known as the Leabhar Eoin, on the belief that witches steal butter, and on the nature of the belief that effects supernatural cures.

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.

Saints and Spectacle examines the origins and reception of the Middle Byzantine program of mosaic decoration. This complex and colorful system of images covers the walls and vaults of churches with figures and compositions seen against a dazzling gold ground. The surviving eleventh-century churches with their wall and vault mosaics largely intact, Hosios Loukas, Nea Moni and Daphni in Greece, pose the challenge of how, when and where this complex and gloriously conceived system was created. Using an interdisciplinary approach, Connor explores the urban culture and context of church-building in Constantinople, capital of the Byzantine Empire, during the century following the end of Iconoclasm, of around 843 to 950. The application of an innovative frame of reference, through ritual studies, helps recreate the likely scenario in which the medium of mosaics attained its highest potential, in the mosaiced Byzantine church. For mosaics were enlisted to convey a religious and political message that was too nuanced to be expressed in any other way. At a time of revival of learning and the arts, and development of ceremonial practices, the Byzantine emperor and patriarch were united in creating a solution to the problem of consolidating the Greek Orthodox Byzantine Empire. It was through promoting a vision of the unchallengeable authority residing in God and his earthly representative, the emperor. The beliefs and processional practices affirming the protective role of the saints in which the entire city participated, were critical to the reception of this vision by the populace as well as the court. Mosaics were a luxury medium that was ideally situated aesthetically to convey a message at a particularly important historical moment-a brilliant solution to a problem that was to subtly unite an empire for centuries to come. Supported by a wealth of testimony from literary sources, Saints and Spectacle brings the Middle Byzantine church to life as the witness to a compelling and fascinating drama.