Contents:
An introduction to "Perspectives on the Renaissance Medal", Stephen K.Scher. Giovanni Bernardi and the question of medal attributions in sixteenth century Italy, Philip Attwood. Changing patterns of antiquarianism in the imagery of the Italian Renaissance medal, John Cunnally. Correct and incorrect: the composition of medallic reverses in late seventeenth century France, Mark Jones. 'Un gran pelago': the impresa and the medal reverse in fifteenth century Italy, Kristen Lippincott. Ancient themes on Erzgebirgishen Medals, Hermann Maue. Text and image: themes on reverses of fifteenth and sixteenth century medals, Graham Pollard. A creative moment: thoughts on the genesis of the German portrait medal, Jeffrey Chipps Smith. Mint and medal in the Renaissance, Alan Stahl. Pisanello's Paragoni, Raymond Waddington. "The Modern Lysippus": A Roman quattrocento medalist in context, Louis Alexander. Visual constructions of the art of war: images for Machiavelli's Prince. Joanna Woods-Marsden.

Essays showing how the stuff of Norman Sicily, its mosaics, frescoes, art and architecture, was used to construct its history. Material culture played a crucial role in developing the cultural narrative of Norman Sicily. The essays in this book consider how images, designs, artifacts, structures and objects were used to help create the story of the medieval kingdom, and what they reveal about the complex political and social dynamics that underpinned the so-called "multicultural" state. Arguing that a visual language developed in medieval Sicily and southern Italy in this period, the contributions journey through both familiar and unexplored aspects of Siculo-Norman art, in particular those areas which have only been made possible with recent advances in technology and international academic collaboration. Topics addressed include manuscripts and mosaics, textile diplomacy, the drama of coins and trade, new readings of old buildings, and the insights of archaeological excavations into everyday life. All of the ideas presented in this volume converge on the central theme of how material culture helped to develop story and society in the medieval kingdom of Sicily.

An examination of women as mothers in medieval French sculpture. What can medieval sculptural representations of women tell us about medieval women's experiences of motherhood? Presumably the work of male sculptors, working for clerical patrons, these sculptures are unlikely to have been shaped by women's maternal experiences during their production. Once produced, however, their beholders would have included women who were mothers and potential mothers, thus opening a space between the sculptures' intended meanings and other meanings liable to be produced by these women as they brought their own interests and concerns to these works of art. Building on theories of reception and response, this book focuses on interactions between women asbeholders and a range of sculptures made in France in the twelfth through sixteenth centuries, aiming to provide insight into women's experiences of motherhood; particular sculptures considered include the Annunciation and Visitation from Reims cathedral, the femme-aux-serpents from Moissac, the transi of Jeanne de Bourbon-Vendome, the Eve from Autun, and a number of French Gothic Virgin and Child sculptures. Marian Bleeke is Associate Professor of Art History and Chair of the Department of Art and Design at Cleveland State University.

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.

'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

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.

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.

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).

A fascinating history of marginalized identities in the medieval world While the term "intersectionality" was coined in 1989, the existence of marginalized identities extends back over millennia. Byzantine Intersectionality reveals the fascinating, little-examined conversations in medieval thought and visual culture around sexual and reproductive consent, bullying and slut-shaming, homosocial and homoerotic relationships, trans and nonbinary gender identities, and the depiction of racialized minorities. Roland Betancourt explores these issues in the context of the Byzantine Empire, using sources from late antiquity and early Christianity up to the early modern period. Highlighting nuanced and strikingly modern approaches by medieval writers, philosophers, theologians, and doctors, Betancourt offers a new history of gender, sexuality, and race. Betancourt weaves together art, literature, and an impressive array of texts to investigate depictions of sexual consent in images of the Virgin Mary, tactics of sexual shaming in the story of Empress Theodora, narratives of transgender monks, portrayals of same-gender desire in images of the Doubting Thomas, and stereotypes of gender and ethnicity in representations of the Ethiopian Eunuch. He also gathers evidence from medical manuals detailing everything from surgical practices for late terminations of pregnancy to save a mother's life to a host of procedures used to affirm a person's gender. Showing how understandings of gender, sexuality, and race have long been enmeshed, Byzantine Intersectionality offers a groundbreaking look at the culture of the medieval world.

A fascinating history of marginalized identities in the medieval world While the term "intersectionality" was coined in 1989, the existence of marginalized identities extends back over millennia. Byzantine Intersectionality reveals the fascinating, little-examined conversations in medieval thought and visual culture around sexual and reproductive consent, bullying and slut-shaming, homosocial and homoerotic relationships, trans and nonbinary gender identities, and the depiction of racialized minorities. Roland Betancourt explores these issues in the context of the Byzantine Empire, using sources from late antiquity and early Christianity up to the early modern period. Highlighting nuanced and strikingly modern approaches by medieval writers, philosophers, theologians, and doctors, Betancourt offers a new history of gender, sexuality, and race. Betancourt weaves together art, literature, and an impressive array of texts to investigate depictions of sexual consent in images of the Virgin Mary, tactics of sexual shaming in the story of Empress Theodora, narratives of transgender monks, portrayals of same-gender desire in images of the Doubting Thomas, and stereotypes of gender and ethnicity in representations of the Ethiopian Eunuch. He also gathers evidence from medical manuals detailing everything from surgical practices for late terminations of pregnancy to save a mother's life to a host of procedures used to affirm a person's gender. Showing how understandings of gender, sexuality, and race have long been enmeshed, Byzantine Intersectionality offers a groundbreaking look at the culture of the medieval world.

'Janina Ramirez is a born storyteller, and in Femina she is at the peak of her powers. This is bravura narrative history underpinned by passionate advocacy for the women whom medieval history has too often ignored or overlooked. Femina is essential reading' - Dan Jones, bestselling author of The Plantagenets and Powers and Thrones 'I am the fiery life of divine substance, I blaze above the beauty of the fields, I shine in the waters, I burn in sun, moon and stars' - Hildegard of Bingen (1098 - 1179) The middle ages are seen as a bloodthirsty time of Vikings, saints and kings: a patriarchal society which oppressed and excluded women. But when we dig a little deeper into the truth, we can see that the 'dark' ages were anything but. Oxford and BBC historian Janina Ramirez has uncovered countless influential women's names struck out of historical records, with the word FEMINA annotated beside them. As gatekeepers of the past ordered books to be burnt, artworks to be destroyed, and new versions of myths, legends and historical documents to be produced, our view of history has been manipulated. Only now, through a careful examination of the artefacts, writings and possessions they left behind, are the influential and multifaceted lives of women emerging. Femina goes beyond the official records to uncover the true impact of women like Jadwiga, the only female King in Europe, Margery Kempe, who exploited her image and story to ensure her notoriety, and the Loftus Princess, whose existence gives us clues about the beginnings of Christianity in England. See the medieval world with fresh eyes and discover why these remarkable women were removed from our collective memories.

From the acclaimed author of Blue, a beautifully illustrated history of yellow from antiquity to the present In this richly illustrated book, Michel Pastoureau-a renowned authority on the history of color and the author of celebrated volumes on blue, black, green, and red-now traces the visual, social, and cultural history of yellow. Focusing on European societies, with comparisons from East Asia, India, Africa, and South America, Yellow tells the intriguing story of the color's evolving place in art, religion, fashion, literature, and science. In Europe today, yellow is a discreet color, little present in everyday life and rarely carrying great symbolism. This has not always been the case. In antiquity, yellow was almost sacred, a symbol of light, warmth, and prosperity. It became highly ambivalent in medieval Europe: greenish yellow came to signify demonic sulfur and bile, the color of forgers, lawless knights, Judas, and Lucifer-while warm yellow recalled honey and gold, serving as a sign of pleasure and abundance. In Asia, yellow has generally had a positive meaning. In ancient China, yellow clothing was reserved for the emperor, while in India the color is associated with happiness. Above all, yellow is the color of Buddhism, whose temple doors are marked with it. Throughout, Pastoureau illuminates the history of yellow with a wealth of captivating images. With its striking design and compelling text, Yellow is a feast for the eye and mind.

An extraordinary and beautifully illustrated exploration of the medieval world through twelve manuscripts, from one of the world's leading experts. Winner of The Wolfson History Prize and The Duff Cooper Prize. A San Francisco Chronicle Holiday Book Gift Guide Pick! Meetings with Remarkable Manuscripts is a captivating examination of twelve illuminated manuscripts from the medieval period. Noted authority Christopher de Hamel invites the reader into intimate conversations with these texts to explore what they tell us about nearly a thousand years of medieval history - and about the modern world, too. In so doing, de Hamel introduces us to kings, queens, saints, scribes, artists, librarians, thieves, dealers, and collectors. He traces the elaborate journeys that these exceptionally precious artifacts have made through time and shows us how they have been copied, how they have been embroiled in politics, how they have been regarded as objects of supreme beauty and as symbols of national identity, and who has owned them or lusted after them (and how we can tell). From the earliest book in medieval England to the incomparable Book of Kells to the oldest manuscript of the Canterbury Tales, these encounters tell a narrative of intellectual culture and art over the course of a millennium. Two of the manuscripts visited are now in libraries of North America, the Morgan Library in New York and the Getty Museum in Los Angeles. Part travel book, part detective story, part conversation with the reader, Meetings with Remarkable Manuscripts allows us to experience some of the greatest works of art in our culture to give us a different perspective on history and on how we come by knowledge.

Contents: The Pre-Conquest Sculptural Tradition in Durham (Rosemary Cramp); Early Medieval Durham: the Archaeological Evidence (M.O.H. Carver); The Spiral Piers of Durham Cathedral (Eric Fernie); The Galilee Chapel (Richard Halsey); The Nine Altars at Durham and Fountains (Peter Draper); The Neville Screen (Christopher Wilson).

Contents: Sutton in the Isle of Ely and its Architectural Context (Richard Fawcett); Medieval Timberwork at Ely (John Fletcher); The Fourteenth-Century Tile Pavements in Prior Crauden's Chapel and in the South Transept (Lawrence Keen); Ely Cathedral: the Fourteenth-Century Work (Nicola Coldstream).

Emile Male's book aids understanding of medieval art and medieval symbolism, and of the vision of the world which presided over the building of the French cathedrals. It looks at French religious art in the Middle Ages, its forms, and especially the Eastern sources of sculptural iconography used in the cathedrals of France. Fully illustrated with many footnotes it acts as a useful guide for the student of Western culture.

An exploration of how power and political society were imagined, represented and reflected on in medieval English art Images and imagery played a major role in medieval political thought and culture, but their influence has rarely been explored. This book provides a full assessment of the subject. Starting with an examination of the writings of late twelfth-century courtier-clerics, and their new vision of English political life as a heightened religious drama, it argues that visual images were key to the development and expression of medieval English political ideas andarguments. It discusses the vivid pictorial metaphors used in contemporary political treatises, and highlights their interaction with public decorative schemas in English great churches, private devotional imagery, seal iconography, illustrations of English history and a range of other visual sources. Meanwhile, through an exploration of events such as the Thomas Becket conflict, the making of Magna Carta, the Barons' War and the deposition of Edward II, it provides new perspectives on the political role of art, especially in reshaping basic assumptions and expectations about government and political society in medieval England. LAURA SLATER is a Fulford Junior ResearchFellow at Somerville College, University of Oxford.

The V&A's collection of ivory carvings from the period 1200 to 1550 is one of the most important in the world, and this is the first catalogue of it to be published since 1929. Together with the earlier volume, Medieval Ivory Carvings: Early Christian to Romanesque (V&A, 2010), the books make available over 400 pieces of the ivory carver's art, discussing in detail many of the most celebrated ivories of the Middle Ages. Included here are masterpieces from the most important centres of ivory carving in the Gothic era. Among them are the Salting Leaf and Soissons Diptych from thirteenthcentury France; the early-fourteenth-century Salting Diptych from England; Giovanni Pisano's Crucified Christ and the Aldobrandini Crozier from Italy; and the unique Wingfield-Digby Crozier from fourteenth-century Norway. Additionally, important groups of Virgin and Child statuettes, tabernacle polyptychs, diptychs, triptychs, writing tablets, croziers, mirror backs, caskets and the products of the Florentine and Venetian Embriachi workshops are catalogued. Appendices include a small group of post- Byzantine and Russian ivories and the results of radiocarbon-dating of selected works. Each entry provides a comprehensive physical and scholarly discussion that incorporates much new research; also included are carvings of dubious authenticity, which are discussed as fully as the genuine pieces. Beautifully illustrated with new colour photography, Medieval Ivory Carvings 1200 - 1550 is the authoritative guide to the V&A's collection and an accessible survey of the subject.

Goldsmiths' products examined, combining discussion of object with analysis of inscription and design, and literary and archaeological evidence for smiths and their work. Throughout the Anglo-Saxon period, goldsmiths produced work of a high standard in both design and craftsmanship, both for personal adornment, and to embellish bookbindings, reliquaries, vessels and weapons. Some works are well known, particularly the magnificent gold and garnet regalia from Sutton Hoo, but this represents only a fraction even of the surviving work, and much more has been lost. This book is the first to look at the goldsmiths' products through the eyes of both a specialist in the period and a practical craftsman, combining close examination of the surface and structure of the objects with analysis of inscriptions and evidence for design, and with literary and visualsources of evidence for smiths and their work. Archaeological and documentary evidence for workshops, tools and working processes is also assessed, and up-to-date technical information on materials and techniques is juxtaposed with new practical research to throw light on manufacturing and decorative processes, and, more widely, to give a fresh idea of the position of the goldsmith in his society. Dr ELIZABETH COATSWORTH is Senior Lecturer inthe Department of History of Art and Design, Manchester Metropolitan University; Dr MICHAEL PINDER is Senior Lecturer in the Department of Architecture, Landscape and 3DD, at the same university.

Examinations of the use of diagrams, symbols etc. found as commentary in medieval texts. In our electronic age, we are accustomed to the use of icons, symbols, graphs, charts, diagrams and visualisations as part of the vocabulary of communication. But this rich ecosystem is far from a modern phenomenon. Early medievalmanuscripts demonstrate that their makers and readers achieved very sophisticated levels of "graphicacy". When considered from this perspective, many elements familiar to students of manuscript decoration - embellished charactersin scripts, decorated initials, monograms, graphic symbols, assembly marks, diagrammatic structures, frames, symbolic ornaments, musical notation - are revealed to be not minor, incidental marks but crucial elements within the larger sign systems of manuscripts. This interdisciplinary volume is the first to discuss the conflation of text and image with a specific focus on the appearance of various graphic devices in manuscript culture. By looking attheir many forms as they appear from the fourth century to their full maturity in the long ninth century, its contributors demonstrate the importance of these symbols to understanding medieval culture. Michelle P. Brown FSA is Professor Emerita of Medieval Book History at the School of Advanced Study, University of London and was formerly the Curator of Illuminated Manuscripts at the British Library; Ildar Garipzanov is Professor of Early Medieval History at the Department of Archaeology, Conservation and History at the University of Oslo; Benjamin C. Tilghman is Assistant Professor of Art History at Washington College. Contributors: Tina Bawden, Michelle P.Brown, Leslie Brubaker, David Ganz, Ildar H. Garipzanov, Cynthia Hahn, Catherine E. Karkov, Herbert L. Kessler, Beatrice Kitzinger, Kallirroe Linardou, Lawrence Nees, Eric Palazzo, Benjamin C. Tilghman.

The Book of Kells, dating from about 800, is a brilliantly decorated manuscript of the four Gospels. This new official guide (German language edition), by the former Keeper of Manuscripts at Trinity College Library, Dublin, provides fascinating insights into the Book of Kells, revealing the astounding detail and richness of one of the greatest works of medieval art. The illustrations in the guide include reproductions of complete pages, and details that allow one to marvel at the intricacy of the decoration. The Book of Kells is explored through its historical background; its structure; its decorative elements, including the richness of its symbols and themes; the scribes and artists who worked on the manuscript; and the tools and pigments used in its creation.

In this book, Henrike Lange takes the reader on a tour through one of the most beloved and celebrated monuments in the world - Giotto's Arena Chapel. Paying close attention to previously overlooked details, Lange offers an entirely new reading of the stunning frescoes in their spatial configuration. The author also asks fundamental questions that define the chapel's place in Western art history. Why did Giotto choose an ancient Roman architectural frame for his vision of Salvation? What is the role of painted reliefs in the representation of personal integrity, passion, and the human struggle between pride and humility familiar from Dante's Divine Comedy? How can a new interpretation regarding the influence of ancient reliefs and architecture inform the famous "Assisi controversy" and cast new light on the debate around Giotto's authorship of the Saint Francis cycle? Illustrated with almost 200 color plates, this volume invites scholars and students to rediscover a key monument of art and architecture history and to see it with new eyes.

A Cultural History of Color in the Medieval Age covers the period 500 to 1400. The medieval age saw an extraordinary burst of color - from illuminated manuscripts and polychrome sculpture to architecture and interiors, and from enamelled and jewelled metalwork to colored glass and the exquisite decoration of artefacts. Color was used to denote affiliation in heraldry and social status in medieval clothes. Color names were created in various languages and their resonance explored in poems, romances, epics, and plays. And, whilst medieval philosophers began to explain the rainbow, theologians and artists developed a color symbolism for both virtues and vices. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Carole P. Biggam is Honorary Senior Research Fellow in English Language and Linguistics at the University of Glasgow, UK. Kirsten Wolf is Professor of Old Norse and Scandinavian Linguistics at the University of Wisconsin-Madison, USA. Volume 2 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf