The central theme of the articles reproduced in these two volumes is the role of the visual arts and architecture in the cultural interaction between medieval societies, Christian and Muslim, in the eastern Mediterranean. Visual forms of production and communication amongst Christian communities themselves, and between Christian and Muslim, are discussed within their specific social and political contexts. Placing the emphasis on areas which passed between Christian and Muslim raises questions of the formation of identities as well as the relationship of the periphery to the centre. Focusing on the areas of Egypt, Syria and Palestine in relation to Byzantium, Islam, and the West provides a framework for consideration of particular issues, especially the identity of particular communities. The core of the work considers the period between the twelfth and fourteenth centuries, when these areas were at the centre of eastern Mediterranean politics, and seeks to interpret little known evidence in the light of political and cultural circumstances with an interdisciplinary approach as its starting point. Vol. I features papers on the legacy of Byzantine art, and the medieval Christian art of Egypt. Vol. II covers the Christian art of Medieval Syria, and the art of the Crusader states.

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.

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.

A French Gothic church that showcased the virtuosity of craftsmen while sustaining a traditional style of architecture.

In the wake of the Hundred Years' War, Northern Europe saw a reordering of financial, political, and social institutions and with it a change in architectural style. The church of Saint-Maclou in Rouen, which is the most celebrated example of Late Gothic building in France, reflects a society that sought social order in the past while redefining new roles for individuals.

Its profuse ornamentation and sophisticated design established Saint-Maclou as the consummate expression of High Gothic discipline made exuberant by the excesses of Late Gothic craft. The retrospective elements of its style reflect the mood of conservative patrons, while its display of craftsmanship indicates the increasing value placed on individual expression. Linda Neagley now looks at how this particular parish came to build the church, offering a series of interpretive essays that explore its sociopolitical, artisanal, and cultural contexts.

Neagley first examines written sources to document the church's construction and articulate the design theory of architect Pierre Robin. She then focuses on those who were affected by or contributed to the construction, examining the motives of patrons, architect, craftsmen, clergy, and community members. Neagley reconsiders the architectural language of Robin against the backdrop of other structures in Paris and Normandy, and she also examines the cultural values of late medieval craftsmen that contributed to the character of Late Gothic architecture in general and Saint-Maclou in particular

Disciplined Exuberance provides a wealth of previouslyunpublished documentary evidence concerning building in fifteenth-century Rouen and Paris and applies computer-based methodology to design analysis. It offers a new criterion for examining French Flamboyant architecture and a new appreciation for this important monument.

Painting in the Age of Giotto is a revisionist account of central Italian painting in the period 1260 to 1370. The study is the first to discuss Giorgio Vasari's account of the "first age" of the Renaissance in his "Lives" and the character of the historiographical tradition that arose from that account. In opening the tradition to closer scrutiny, Hayden Maginnis explains the origins of many modern views regarding the period and the persistence of critical strategies and conventions that do not correspond to the historical realities.

Those realities are discussed in a return to the evidence of surviving works of art and in an exploration of stylistic trends that define regional currents in central Italian art. In an examination of the "new art" of the fourteenth century, Maginnis discovers not only that naturalism as an artistic ambition was remarkably short-lived but also that its chief exponents were the painters of Siena, rather than the painters of Florence. His detailed analysis of Giotto's work demonstrates that his art belonged to quite another trend.

By the fourth decade of the Trecento, the character of central Italian painting was growing ever more diverse. Painters quite consciously began to explore artistic alternatives to naturalism, thereby introducing "notable disturbances in the classification of Tuscan Trecento painting" and providing a foundation for developments toward the mid-century. Through a reexamination of the historical and art-historical evidence related to painting immediately after the plague of 1348, Maginnis demonstrates that the central thesis of Millard Meiss's brilliant Painting in Florence and Siena after the Black Death, until now the standard interpretation of this period, is untenable, and offers a new interpretation of painting at mid-century.

Professor C. R. Dodwell wrote with authority on most aspects of Western European medieval art. From his doctoral work on The Canterbury School of Illumination, he continued to maintain a steady output of important publications until his death in 1994. This book brings together most of his major papers on the subject of Anglo-Saxon, French and Norman art, and includes the study of the Reichenau school he published with D. H. Turner. There are papers on the major English illuminated manuscripts of the eleventh and twelfth centuries, and studies of metalworking and the Bayeux tapestry. There is a preface by Paul Crossley. Papers include: The Bayeux Tapestry and the French Secular Epic; Un manuscrit enlumine de Jumiege au British Museum; Techniques of Manuscript Painting in Anglo-Saxon Manuscripts; La miniature Anglo-Saxonne; The Final Copy of the Utrecht Psalter and its Relationship with the Utrecht and Eadwine Psalters; Gold Metallurgy in the Twelfth Century: the De Diversis Artibus of Theophilus the Monk; The Meaning of Sculptor in the Romanesque Period; Medieval Attitudes to the Artist; Seculars in Monasteries; Secular Artists; L'originalite iconographique de plusiers illustrations Anglo-Saxonnes de l'Ancien Testament; Losses of Anglo-Saxon Art in the Middle Ages; Reichenau Reconsidered: a Reassessment of the Place of Reichenau in Ottonian Art; A Bibliography of Professor Dodwell's Publications.

Contents include: Anglo-Saxon and Later Whitby (Philip Rahtz); Antiquaries and Archaeology in and around Ripon Minster (R. A. Hall); The Early Monastic Church of Lastingham (Richard Gem and Malcolm Thurlby); The Romanesque Church of Selby Abbey (Eric Fernie); Observations on the Romanesque Crossing Tower, Transepts and Nave Aisles of Selby Abbey (Stuart Harrison and Malcolm Thurlby); Some Design Aspects of Kirkstall Abbey (Malcolm Thurlby); The 13th-century Choir and Transepts of Rivaulx Abbey (Lawrence R. Hoey).

Written over the course of a quarter century, the nineteen essays reprinted in this volume reflect a continuing belief in the seriousness and complexity of the relationship between pictures and texts in medieval art. Professor Kessler has grouped his studies in three sections: Pictures and Scripture includes those essays which consider the various ways in which Christian pictorial representations are in continuous and varying dialogue with holy writ in Byzantium and the medieval west. Pictures in Scripture is about illustrated manuscripts, with six essays dealing with the complicated processes used to construct meaning in depictions within the texts they illustrate. Pictures as Scriptures contains nine essays which deal with pictorial cycles unassociated with the texts they serve, primarily monumental narratives in the Synagogue at Dura Europos and on the walls of Italian churches. Notes added to each article update the bibliography and consider issues that have been discussed in subsequent scholarly literature. There is a new preface and a comprehensive index.

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.

Volumes I and II bring together Professor Sauerlander's papers on Romanesque art, and complement his two previously published volumes in this series on Gothic art. The studies are again grouped around a number of common themes: structures, problems of classification, the geography of Romanesque art, and its development in Italy and the Empire. Early studies have been updated with references to the more recent literature, and there is a comprehensive index. Volume I Contents: Introduction; Forms and Structures. Romanesque Sculpture in its Architectural Context; Facade ou facades romanes; Reliquien, Altare und Portale; Die gestorte Ordnung oder "le chapiteau historie"; Initialen. Ein Versuch ueber das verworrene Verhaltnis von Bild und Schrift im Mittelalter; The Limits of Classification. Die Geographie der Stile; Style or Transition? The Fallacies of Classification discussed in the Light of German Architecture 1190-1260; Sermonizing in Stone. Uber die Komposition des Weltgerichts-Tympanons in Autun; Omnes perversi sic sunt in Tartara Mersi. Skulptur als Bildpredikt. Das Weltgerichtstympanon von Sainte-Foy in Conques; Nisi transmutetis mores. Riflessioni sull'ambiguita dell'iconografia romanica; The Diversity of French Examples. Chefs-d'Oeuvre romans des musees de province; Gislebertus von Autun. Ein Beitrag zur Entstehung seines kuenstlerischen Stils; Lowen in Lyon; Eine trauernde Maria des 12. Jahrhunderts aus dem mittleren Rhonetal; Die Fassade der Abteikirche Saint-Gilles du Gard; Sainte-Foy de Conques; Die Skulptur von Saint-Sernin in Toulouse; Zu dem romanischen Krucifix in Moissac.

Volumes I and II bring together Professor Sauerlander's papers on Romanesque art, and complement his two previously published volumes in this series on Gothic art. The studies are again grouped around a number of common themes: structures, problems of classification, the geography of Romanesque art, and its development in Italy and the Empire. Early studies have been updated with references to the more recent literature, and there is a comprehensive index. Volume II Contents: In Praise of Italy - Peculiarities and Characteristics of Italian Romanesque Sculpture. Wiligelmo in Europa; La cultura figurativa emiliana in eta romanica. Benedetto Antelami, Per un bilancio critic; Nicolaus e l'arte del suo tempo; Two Glances from the North: The Presence and the Absence of Frederick II in the Art of the Empire. The Court Art of Frederick II and the opus francigenum; Imperial Grandeur and Conservatism. L'allemagne romane, un pays de longue duree; Cluny und Speyer; Salisch oder Hochromanisch. Zu einem Stiftergrabmal in Hessen; Neither Romanesque nor Gothic. Spatstaufische Skulptur in Sachsen und Thuringen. Uberlegungen zum Stand der Forschung; Zur Stiftertumba fur Heinrich der Lowen und Herzogin Mathilde in St. Blasius zu Braunschweig; Great Historians of Romanesque Art. The Great Outsider. Mayer Schapiro; En face des Barbares et a l'ecart des devots. L'humanisme medieval d'Henri Focillon; Francis Salet (1909-2000); Additional Notes; Index.

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.

This was the first International Conference specifically devoted to the study of Ethiopian art. The Proccedings of the Conference makes available papers devoted to the study of Ethiopian art, as distinct from papers on other aspects of Ethiopian life and civilization. As such, it represents a significant contribution to the study of the art of the Ethiopian people over two thousand years. Convened by Dr. Richard Pankhurst at the Warburg Institute in October 1986, it was the first of a series, the second meeting of which was held in Warsaw in 1990. The contents of this volume are principally devoted to studies of Ethiopian painting, both manuscript illuminations and murals. There are also individual studies on Ethiopian metalwork and architecture, with a section on folk art.

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.

This anthology of translated histories, chronicles, saint's lives, theological treatises, and accounts presents an in-depth analysis of Byzantine art. Focusing on Constantinople, Mango chronicles the arts, and places them in historical, political, and theological perspective. First published in 1972.

This book is devoted to a category of manuscripts known as proskynetaria, dating mainly from the 17th and 18th centuries. Proskynetaria is the name given to manuscripts containing descriptions of the monuments of Palestine, especially the Christian ones. The manuscripts have many similarities with modern travel books, or with tourist guides to archaeological sites. The miniatures illustrating the manuscripts depict towns and sacred places, churches and monasteries, caves, mountains and lakes, as well as events from the Holy Scriptures and ecclesiastical history and tradition. The proskynetaria are brilliant examples of folk art that form a basic source for Palestine during one period of its history. Greek language text. Over 100 colour illustrations.

Close technical examinations of the techniques and materials of Edward Steichen, Mark Rothko, Jules Olitski, Jasper Johns, and others are accompanied by essays that probe issues of conserving contemporary art Volume 5 of the National Gallery of Art's biennial conservation research journal Facture explores issues associated with the conservation and technical analysis of modern and contemporary art. Focusing on works in a variety of media by celebrated artists such as Edward Steichen (1879-1973), Mark Rothko (1903-1970), Jules Olitski (1922-2007), and Jasper Johns (b. 1930), this publication's seven essays offer expertise from conservators, scientists, and art historians, yielding exceptional insights into extraordinary works of art. As in all issues of Facture, the peer-reviewed essays, enlivened with spectacularly detailed photography, navigate interdisciplinary boundaries to examine artworks from technical, scientific, and art-historical perspectives. In this issue, the dialogue is further expanded to include contributions from artists, their families, and their foundations. Distributed for the National Gallery of Art, Washington

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.

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.

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 book offers a comprehensive survey of descriptions of Constantinople written by visitors, from the pilgrims of the Middle Ages to the European travellers and diplomats of the 18th and 19th centuries. The author examines the evidence these accounts provide for the history of the city, and for monuments which have long disappeared. In its attractive synthesis of bibliographical, archaeological and historical detail, this work is a memorial to Ebersolt's scholarship and a personal tribute to the city itself. Professor Cyril Mango has contributed a preface to this reprint of the 1918 edition.

Of the four major surviving manuscripts of Anglo-Saxon poetry, MS. Junius 11 is the only one which is illustrated. This tenth-century manuscript contains four poems based on the Old and New Testaments: Genesis A and B, Exodus, Daniel, and Christ and Satan. It was given by Francis Junius in 1677 to the Bodleian Library, University of Oxford. For the first time, the entire manuscript is available here in an innovative, highly accessible format. The CD contains images of each opening and each page of the manuscript, visible at high magnification, and a 'live' transcription and translation of the poems with hyperlinks, allowing powerful global searches across the entire text. A full translation of the entire text is also linked to the transcription and the relevant manuscript page. The CD also includes high resolution images of all the drawings and initials in the manuscript, and exterior photographs of its medieval binding. The powerful and realistic magnifier makes it possible to zoom in on the manuscript pages with varying degrees of magnification. The meaning and importance of the drawings are discussed in a detailed introduction and commentary, supplemented by a full bibliography. This exciting, ground-breaking CD will appeal to all scholars and students of Anglo-Saxon literature, art, history, and culture, as well as to bibliophiles and collectors.

Baptismal fonts were necessary to the liturgical life of the medieval Christian. Baptism marked the entrance of the faithful into the right relation, with the Catholic Church representing the main cultural institution of medieval society. In the period between ca. 1050 and ca. 1220, the decoration of the font often had an important function: to underscore the theology of baptism in the context of the sacraments of the Catholic Church. This period witnessed a surge of concern about sacraments. Just as religious thinkers attempted to delineate the sacraments and define their function in sermons and Sentence collections, sculptural programs visualized the teaching of orthodox ideas for the lay audience. This book looks at three areas of primary concern around baptism as a sacrament - incarnation, initiation, and the practice of baptism within the institution of the Church - and the images that embody that religious discussion. Baptismal fonts have been recognized as part of the stylistic production of the Romanesque period, and their iconography has been generally explored as moral and didactic. Here, the message of these fonts is set within a very specific history of medieval Catholic sacramental theology, connecting erudite thinkers and lay users through their decoration and use.

This volume features many carved wooden sculptures of saints from 14th- to 20th-century Russia, which until now have been largely unknown to the western public. Officially banned by a proclamation of Peter I, they have nevertheless always been an important part of Russian religious devotion. The sculptures are grouped stylistically into two major groups: early ones are characterized by iconically transcendent austerity, while later ones refl ect western infl uences in anatomical features and gestures. German text.