Originally published in 1931, this was the first comprehensive textbook on the development of French medieval sculpture to appear in the English language. Detailed yet accessible, it was designed to 'cater for the intelligent tourist as well as the student'. Numerous photographs are contained throughout, the majority of which were taken by the author during various church visits. Examples are drawn from more genuine and less restored pieces, and where restoration is obvious it is pointed out in the text. This is a beautifully presented book that will be of value to anyone with an interest in medieval France, church architecture and sculpture.

The collection opens with Gneuss's Rawlinson Center lecture, delivered just a few months prior to the Handlist's publication. The lecture is followed by essays by Donald Scragg and Thomas N. Hall that examine the scribes, contents, circumstances of production, and intended uses of selected manuscripts from the late Anglo-Saxon period. Four essays follow, by Kees Dekker, Rebecca Brackmann, Aaron J Kleist, and Rolf H. Bremmer Jr., investigating the fates of Anglo-Saxon manuscripts at the hands of sixteenth- and seventeenth-century antiquaries. The resulting collection addresses the concerns of Anglo-Saxon manuscript studies today, which have been given new energy by the publication of the Handlist.

From Horace Walpole to Angela Carter and the X-Files, new and familiar texts are reassessed, and common readings of Gothic themes and critical approaches to the genre are interrogated. The popularity of Gothic fictions, themes and films suggests that the genre is the norm as much as the dark underside of contemporary cultural production. Having endured for over two hundred years and settled onto numerous respectable courses of study, the meaning and value of the Gothic seems due for reappraisal. The essays in this volume, written by critics whose work over the last twenty years has considerably advanced the understanding of the Gothic genre, reexamine its literary, historical and cultural significance: from Horace Walpole to Angela Carter and the X-Files, new and familiar texts are reassessed; common readings of Gothic themes and critical approaches to the genreare interrogated: Gothic finds itself integrally involved in the production of a modern sense of the nation; it continues to haunt legal discourses; it underpins social mythologies and ideologies; informs histories of sexuality and identity; offers curious substance to notions of community and culture, and raises questions of ethics and postmodernism. Professor FRED BOTTING teaches in the Department of English at Keele University. Contributors: DAVID PUNTER, ELISABETH BRONFEN, E.J. CLERY, ROBERT MILES, JEAN-JACQUES LECERCLE, LESLIE J. MORAN, HELEN STODDART, FRED BOTTING, JERROLD E. HOGLE.

This book explores a series of powerful artifacts associated with King Solomon via legendary or extracanonical textual sources. Tracing their cultural resonance throughout history, art historian Allegra Iafrate delivers exciting insights into these objects and interrogates the ways in which magic manifests itself at a material level. Each chapter focuses on a different Solomonic object: a ring used to control demons; a mysterious set of bottles that constrain evil forces; an endless knot or seal with similar properties; the shamir, known for its supernatural ability to cut through stone; and a flying carpet that can bring the sitter anywhere he desires. Taken together, these chapters constitute a study on the reception of the figure of Solomon, but they are also cultural biographies of these magical objects and their inherent aesthetic, morphological, and technical qualities. Thought-provoking and engaging, Iafrate's study shows how ancient magic artifacts live on in our imagination, in items such as Sauron's ring of power, Aladdin's lamp, and the magic carpet. It will appeal to historians of art, religion, folklore, and literature.

Sir Steven Runciman's History of the Crusades (1951-4) remains widely read and influential but represents only a part of his wide-ranging, erudite and immensely readable literary activity. His early work focused on Byzantium in the tenth century (The Emperor Romanus Lecapenus) and the history of the first Bulgarian empire. Later he wrote with authority on ecclesiastical relations between the eastern and western Churches (The Eastern Schism), more generally on Byzantine culture (Byzantine Style and Civilization), with forays into medieval diplomacy (The Sicilian Vespers) and British colonial society (The White Rajahs). With a diplomatic past which informed his studies, he was the doyen of Byzantine studies in Britain. This volume of essays explores topics relevant to Sir Steven's interests, long planned in his honour by British Byzantinists of all generations, and includes a memoir of his life and a full bibliography of his work.

Charles Locke Eastlake (1833-1906), an interior, furniture and industrial designer, showed talent as an architect and was awarded a Silver Medal in 1854 by the Royal Academy. He is known for influencing the style of later nineteenth-century 'Modern' Gothic furniture with his Hints on Household Taste (1868), but his passion for medieval architecture developed much earlier while he was in Europe during the 1850s. In 1866 he became Secretary to the Royal Institute of British Architects, and it was in 1872 that this work was published. The book is notable for being released at the height of the Gothic Revival movement in the later nineteenth century. It includes detailed comments on the architects, societies, literature and buildings that formed the cornerstones of the Gothic Revival, primarily in Britain, from around 1650 to 1870. A valuable mine of information, it remains a key source on the topic.

Westminster Abbey contains the only surviving medieval Cosmatesque mosaics outside Italy. They comprise: the ‘Great Pavement’ in the sanctuary; the pavement around the shrine of Edward the Confessor; the saint’s tomb and shrine; Henry III’s tomb; the tomb of a royal child, and some other pieces. Surprisingly, the mosaics have never before received detailed recording and analysis, either individually or as an assemblage. This two-volume publication presents a holistic study of this outstanding group of monuments in their historical architectural and archaeological context. The shrine of St Edward is a remarkable survival, having been dismantled at the Dissolution and re-erected (incorrectly) in 1557 under Queen Mary. Large areas of missing mosaic were replaced with plaster on to which mosaic designs were carefully painted. This 16th-century fictive mosaic is unique in Britain. Conservation of the sanctuary pavement was accompanied by full archaeological recording with every piece of mosaic decoration drawn and coloured by David Neal, phase plans have been prepared, and stone-by-stone examination undertaken, petrologically identifying and recording the locations of all the materials present. It has revealed that both the pavements and tombs include a range of exotic stone types. The Cosmati study has shed fresh light on every aspect of the unique series of monuments in Westminster Abbey; this work will fill a major lacuna in our knowledge of 13th-century English art of the first rank, and will command international interest.

First published in 1951, as the revised edition of a 1935 original, this volume provides a historical study of English sculpture during the medieval period. It was created as a response to the increasing popularity of art history, providing students with a detailed, yet accessible, introduction to its subject. The text is particularly distinguished by its comprehensive range of illustrative material, containing 683 high-quality photographs from a broad range of sources. This is a fascinating book that will be of value to anyone with an interest in religious art and the development of medieval sculpture.

In the Middle Ages, religious crusaders took up arms, prayed, bade farewell to their families, and marched off to fight in holy wars. These Christian soldiers also created accounts of their lives in lyric poetry, putting words to the experience of personal sacrifice and the pious struggle associated with holy war. The crusaders affirmed their commitment to fighting to claim a distant land while revealing their feelings as they left behind their loved ones, homes, and earthly duties. Their poems and related visual works offer us insight into the crusaders' lives and values at the boundaries of earthly and spiritual duties, body and soul, holy devotion and courtly love. In The Subject of Crusade, Marisa Galvez offers a nuanced view of holy war and crusade poetry, reading these lyric works within a wider conversation with religion and culture. Arguing for an interdisciplinary treatment of crusade lyric, she shows how such poems are crucial for understanding the crusades as a complex cultural and historical phenomenon. Placing them in conversation with chronicles, knightly handbooks, artworks, and confessional and pastoral texts, she identifies a particular "crusade idiom" that emerged out of the conflict between pious and earthly duties. Galvez fashions an expanded understanding of the creative works made by crusaders to reveal their experiences, desires, ideologies, and reasons for taking up the cross.

The Bayeux Tapestry has long been recognized as one of the most problematical historical documents of the Norman Conquest of England in 1066. More than a reinterpretation of the historical evidence, Suzanne Lewis's study explores the visual and textual strategies that have made the Bayeux Tapestry's narrative such a powerful experience for audiences over the centuries. The Rhetoric of Power focuses on how the Tapestry tells its story and how it shapes the responses of reader-viewers. This involves a detailed analysis of the way the visual narrative draws on diverse literary genres to establish the cultural resonance of the story it tells. The material is organized into self-contained yet cross-referencing episodes that not only portray the events of the Conquest but locate those events within the ideological codes of Norman feudalism. Lewis's analysis conveys how the whole 232-foot tapestry would have operated as a complex cultural 'fiction' comparable to modern cinema.

Robert Deshman wove together a dense and tightly structured nexus of Early Christian, Carolingian, Anglo-Saxon, and Ottonian manuscript illuminations, ivories, textiles, mosaics, and wall paintings on the one hand, and contemporary exegetical, liturgical, and political writings on the other. In so doing, he ultimately demonstrated the intrinsic connections among visual culture, theology, philosophy, political theory, and ecclesiastic doctrine and practice. Although he used the word only once in his own writings, at the very end of his career, Deshman was truly an interdisciplinary scholar of the first order. The thirteen articles collected in this volume were published between 1971 and 1997 (four posthumously) in six different journals and four edited books. Reprinting them is meant not only to make the articles more accessible but also to present a cohesive body of work (primarily on Anglo-Saxon art) that as a whole has yet to be surpassed or methodologically replaced in the scholarly literature.

An important trade centre in the Medieval Mediterranean, Amalfi and the surrounding region of southern Italy sustained strong art production and patronage from the eleventh through to the thirteenth centuries. Merchant patrons realised a wide variety of religious and residential complexes that were evocative of Byzantine, Islamic, Western, and local traditions. With the rise of the Angevin kingdom, a demise of this eclectic art tradition took place and by the fourteenth century, Amalfitan painting and sculpture reflected compromises between local and Neapolitan styles, demonstrating the erosion of its autonomy. Originally published in 2004, this book evaluates the Amalfitan art production in terms of moral, economic, and social structures, including investment strategies, anxieties about wealth and salvation, and southern Italy's diverse religious communities. Historiographical analyses and postcolonial models of interpretation offer further insight into Amalfitan art and its ever-shifting relationship to the visual cultures of sovereign authorities in southern Italy.

Nicola Pisano was a much admired thirteenth-century Italian sculptor and architect, often considered to be the founder of modern sculpture. Within this 1938 text, G. H. and E. R. Crichton begin by giving a biographical background of Pisano, before looking at those early sculptors whose works may have inspired him. In the book's second part, the Crichtons write in detail about the sculptures of Pisano, describing the pulpits at Pisa and Siena as well as the Fountain at Perugia. The Crichtons also discuss those pieces often accredited to Pisano which seem unlikely to be his. Finally, they share their conclusions on Pisano's influence on Italian sculpture. These fascinating accounts of Pisano's life and works are supplemented by numerous illustrative plates. This book will appeal to scholars of art and sculpture in general, as well as of Pisano and thirteenth-century sculpture more specifically.

Originally published in 2001, this book examines the Venetian colonies of the Eastern Mediterranean and how their built environments express the close cultural ties with both Venice and Byzantium. Using the island of Crete and its capital city, Candia (modern Herakleion), as a case study, Maria Georgopoulou exposes the dynamic relationship that existed between colonizer and colony. She studies the military, administrative, and ecclesiastical monuments set up by the Venetian colonists which served as bold statements of control over the local Greek population and the Jewish communities who were ethnically, religiously, and linguistically distinct from them. Georgopoulou demonstrates how the Venetian colonists manipulated Crete's past history in order to support and legitimate colonial rule, particularly through the appropriation of older Byzantine traditions in civic and religious ceremonies.

The Shaping of Art History examines art history's formation in the German academy in the late nineteenth century. Focusing on the work of Wilhelm Voege and Adolph Goldschmidt, two influential scholars of medieval art, Kathryn Brush analyses their methods and particularly those scholarly projects that were critical to the development of their approaches. Her work combines intellectual and institutional history with the study of artistic monuments and biography. It considers how the study of the pioneering scholarship in the field of medieval art is critical to an understanding of the formulation of art historical method as a whole.

This 1988 volume, collected here are the principal essays of Elizabeth Salter published between 1966 and her death in 1980, together with three chapters of a book on the literary culture of England in the twelfth and thirteenth centuries on which she was working in the last years of her life, and a version of her brilliant lectures on the theme of the Annuciation to the Shepherds in literature, drama and art given during those years. Elizabeth Salter is recognised as one of the most distinguished medieval scholars of her generation, particularly noted for her work on Langland and Chaucer, and on the relationship of literature and the visual arts. The strength and consistency of her views, the persistent and urgent nature of her preoccupations, and the depth of scholarship and skill of presentation, all emerge more clearly than ever in this volume.

A comprehensive study of domestic buildings in London from about 1200 to the Great Fire in 1666. John Schofield describes houses and such related buildings as almshouses, taverns, inns, shops and livery company halls, drawing on evidence from surviving buildings, archaeological excavations, documents, panoramas, drawn surveys and plans, contemporary descriptions, and later engravings and photographs. Schofield presents an overview of the topography of the medieval city, reconstructing its streets, defences, many religious houses and fine civic buildings. He then provides details about the mediaeval and Tudor London house: its plan, individual rooms and spaces and their functions, the roofs, floors and windows, the materials of construction and decoration, and the internal fittings and furniture. Throughout the text he discusses what this evidence tells us about the special restrictions or pleasures of living in the capital; how certain innovations of plan and construction first occurred in London before spreading to other towns; and how notions of privacy developed. The text is illustrated and accompanied by a selective gazetteer of 201 sites in the City of London and its immediate

Mr Strachan was asked if he could identify or explain the illustrations in an edition of the English Great Bible of 1541. Some were simple, others quite baffling. He set out to discover their meaning and history, and succeeded in tracing their derivation. At each stage a possible influence or explanation pointed a stage farther back; in the end he found that he had to cover virtually the whole history of illustration in printed bibles during their first century. He has set down his findings in this study. There is a considerable detective interest; one sees how successive renderings of a subject produced strange garblings, until certain pictures became apparently meaningless. It is all quite easy to understand, now that Mr Strachan has explained it; but he was working backwards in time, and it was a feat of ingenuity and perseverance to have reached his conclusions. All the more so in that he had to survey the entire range of bible-printing in every important European country.

This book explores the complex interrelationship between texts and drawings in the late tenth or early eleventh-century Junius II manuscript, the only surviving illustrated Anglo-Saxon poetic manuscript. The book, which contains a plate section of sixty-one illustrations, focuses on the way in which the drawings both illustrate the text and translate it into a new visual language. Poems and illustrations work to create a carefully crafted and unified manuscript, but both also use formulaic language, iconography and compositions to construct a web of intertextual and intervisual references that open the poems to readings far more diverse than those of the biblical books on which they are based. Together poems and drawings create a new and unique version of biblical history, and suggest ways in which biblical history relates to Anglo-Saxon history and the manuscript's Anglo-Saxon audience - a process which has been extended by the manuscript's many editors to include contemporary history and the contemporary reader.

This book provides a major study of the drawings, paintings and carvings of the crucifixion from tenth- and eleventh-century England, placing these works of art within the context of the tenth-century monastic revival. The drawings and paintings of the crucifixion are discussed in relation to the literature, theology, liturgy and devotional practices of the late Anglo-Saxon period in order to reveal the richness and subtlety of religious belief at this time. Late Anglo-Saxon religious art is shown to have played a central role in the monastic life; it called to mind the gospel events and set out their theological significance; it demonstrated the truth of the gospel message; it moved men's hearts, allowing them to experience the presence of Christ and to respond as though they had actually been present at His death.

Latin paleography of the classical period and beyond the Carolingian era has been well studied and described. But from about 1100 onwards we find a period of increasing national divergence in the character of book-hands used for writing, formal MSS. In this book Professor Thomson provides 132 characteristic specimens of the period 1100 1500, reproduced by lithography (in all cases in the original size). He excludes curial or chancery hands. Opposite each plate is a transcription of several lines. Above this, Professor Thomson provides comments on the distinguishing characteristics of the script. Cumulatively, the effect of these analyses is to provide a method of dating late medieval MSS and ascribing them to their country of origin.

Graffiti ('drawings or writings scratched on a wall or other surface') are to be found incised on the walls and pillars of innumerable cathedrals and churches in Great Britain. Most were done between the twelfth and early fifteenth centuries; many are valuable as examples of medieval art; and some are important for their preservation of particular styles of epigraphy. In this work, Mrs Pritchard has studied the inscriptions and drawings in a large number of churches, mostly within a radius of sixty miles of Cambridge. These graffiti are far from mere scratchings performed by unskilled hands; they are highly imaginative, boldly executed drawings, combining freedom of line with occasional fussiness of detail, and inscriptions whose clarity and precision of lettering equal in execution the contemporary manuscript. Many were subsequently covered by medieval wall paintings; others have been partly defaced by cleaning and restoration of the original stone. Mrs Pritchard illuminates a neglected corner of medieval art; and her skilful rubbings (over two hundred of them illustrate this book) preserve these curious relics of medieval artistry against the erosion of time and restoration.

The Carolingian 'Renaissance' of the late eighth and ninth centuries, in what is now France, western Germany and northern Italy, transformed medieval European culture. At the same time it engendered a need to ensure that clergy, monks and laity embraced orthodox Christian doctrine. This book offers a fresh perspective on the period by examining transformations in a major current of thought as revealed through literature and artistic imagery: the doctrine of the Passion and the crucified Christ. The evidence of a range of literary sources is surveyed - liturgical texts, poetry, hagiography, letters, homilies, exegetical and moral tractates - but special attention is given to writings from the discussions and debates concerning artistic images, Adoptionism, predestination and the Eucharist.

"Wealth and the Demand for Art in Italy" represents a departure from previous studies, both in its focus on demand and in its emphasis on the history of the material culture of the West. By demonstrating that the roots of modern consumer society can be found in Renaissance Italy, Richard Goldthwaite offers a significant contribution to the growing body of literature on the history of modern consumerism--a movement which he regards as a positive force for the formation of new attitudes about things that is a defining characteristic of modern culture.