Mater Misericordiae-Mother of Mercy-emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy-the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees-entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. In this study, the author's primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terracotta, stained glass, architectural relief sculpture, and processional banners.

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.

This is an English-language study on the architecture and art of medieval France of the Romanesque and Gothic periods between 1000-1500. In addition to essays on individual monuments there are general discussions of given periods and specific problems such as: why did Gothic come into being? Whitney Stoddard explores the interrelationship between all forms of medieval ecclesiastical art and characterization of the Gothic cathedral, which he believes to have an almost metaphysical basis.

This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation. The drawings and watercolours catalogued and illustrated here are all in the Royal Collection, Windsor Castle, and are mostly by the artist Antonio Eclissi. The reproductions are generally in full colour, and frequently accompanied by illustrations showing the actual decoration in situ. The introductory essays outline the important phases of Cassiano dal Pozzo's career, discuss the history and significance of the 'Paper Museum', and explore the Christian tradition in seventeeth-century Rome. The Catalogue Raisonnee analyses each drawing in the greatest detail. This volume, the first to appear in the series, will be of special interest to archaeologists and medievalists engaged in the study of Rome's Early Christian churches, since many of the buildings, mosaics and paintings are now no longer extant. This collection of drawings and watercolours of the mosaics and wallpaintings of early medieval churches in Rome forms an important part of the Paper Museum, since it sheds much light on the nature and scope of antiquarianism in Italy at the time of the Counter-Reformation.

The essays collected in this volume publish the proceedings of a colloquium held at the Warburg Institute in January 2013 to mark the 100th anniversary of the birth of Ernst Kitzinger. His work has been, and still is, fundamentally influential on the present-day discipline of art history in a wide range of topics. The first half of the book is primarily biographical, with papers covering his extraordinary career, which began in Germany, Italy and England in the tumultuous years preceding World War II, before leading to internment in Australia and, eventually, to America. The second half of the book is devoted to assessments of Kitzinger's scholarship, including his concern with the theory of style, with the early medieval art of Britain and continental Europe, with the art of Norman Sicily and with the sources and impact of iconoclasm. Table of Contents: Preface (pp. ix-x) Introduction (pp. xi-xiv) Foreword: Some Personal Memories of Ernst Kitzinger (pp. xv-xx) by Hans Belting I. Biography A Scholar in his Study: Memories of Ernst Kitzinger at Work (pp. 3-13) by Rachel Kitzinger Ernst in England (pp. 14-37) by John Mitchell From London to the Antipodes: The Peregrinations of Ernst Kitzinger, and the Age of `Transformation' (pp. 39-66) by Felicity Harley-McGowan `Cordially, E.K.': Ernst Kitzinger and Teaching at Dumbarton Oaks (pp. 67-90) by Rebecca Corrie Ernst Kitzinger's Teaching at Harvard: A Style of Teaching, Teaching Style (pp. 91-101) by Eunice Dauterman Maguire II. Methods of Scholarship Ernst Kitzinger and Style (pp. 105-111) by Henry Maguire Ernst Kitzinger's Contribution to Scholarship on the Art of Western Europe (pp. 113-125) by Lawrence Nees Ernst Kitzinger's Contribution to the Study of Norman Mosaics in Sicily (pp. 127-142) by Beat Brenk Ernst Kitzinger and the Invention of Byzantine Iconoclasm (pp. 143-152 by Leslie Brubaker Appendix. A Memo written by Ernst Kitzinger in June 1941, on his way from Australia to England on board the `Themistocles' transcribed by Tony Kitzinger Index of Names

This is a catalogue of the pre-Gothic Revival stained glass found at 50 sites in Cheshire. Many of these are churches, but there are also domestic residences and other buildings. Highlights include an important 14th-century regional workshop, probably based in Chester, whose output survives at 9 sites in the county; 16th-century armorials and donors; a fascinating window of 1581 at High Legh which demonstrates the Elizabethan religious settlement; a unique window commemorating the English Civil War; and a plethora of 17th-century quarries depicting a wide range of subjects such as English monarchs, classical sibyls, military drill and menial occupations. The county's outstanding collections of foreign panels are also catalogued.
The stained glass of the neighbouring county of Lancashire appears in CVMA, Great Britain, Summary Catalogue 8, The Medieval Stained Glass of Lancashire. The introduction discusses many aspects of the stained glass of both counties: documentary sources, donors and heraldry, condition, iconography, as well as examining the style and techniques used by the glass-painters. This catalogue will be essential for scholars and students of the history of medieval and early modern art, and for all those interested in the social and religious history of Tudor and Stuart Cheshire.

Museum science, museum analysis, museum history, and museum theory all of these composite designations have come into our parlance in recent years. Above all, this expanding terminology underscores the growing scholarly interest in museums. In this new scholarship, a recurring assertion is that as an institution, the museum has largely functioned as a venue for the formation of specifically national identities. This volume, by contrast, highlights the museum as a product of transnational processes of exchange, focusing on the period from ca. 1750 to 1940."

Iconoclasm was the name given to the stance of that portion of Eastern Christianity that rejected worshipping God through images (eikones) representing Christ, the Virgin or the saints and was the official doctrine of the Byzantine Empire for most of the period between 726 and 843. It was a period marked by violent passions on either side. This is the first comprehensive account of the extant contemporary texts relating to this phenomenon and their impact on society, politics and identity. By examining the literary circles emerging both during the time of persecution and immediately after the restoration of icons in 843, the volume casts new light on the striking (re)construction of Byzantine society, whose iconophile identity was biasedly redefined by the political parties led by Theodoros Stoudites, Gregorios Dekapolites and Empress Theodora or the patriarchs Methodios, Ignatios and Photios. It thereby offers an innovative paradigm for approaching Byzantine literature.

In this new edition of A Short History of the Middle Ages, Barbara H. Rosenwein offers a panoramic view of the medieval world. Volume I ranges from northeastern North America to Kievan Rus', while never losing sight of the main contours of the period c.300 to c.1150. The lively and informative narrative covers the major developments, political and religious movements, people, saints and sinners, economic and cultural changes, ideals, fears, and fantasies of the period in Europe, Byzantium, and the Islamic world. A comprehensive new map program, updated for the global reach of this edition, offers a way to visualize the era's enormous political, economic, and religious changes. Line drawings make clear archaeological finds and architectural structures. All of the maps, genealogies, and figures in the book, as well as practice questions and suggested answers, are available at utphistorymatters.com.

In 1559 and 1561, the Antwerp print publisher Hieronymus Cock issued an unprecedented series of landscape prints known today simply as the Small Landscapes. The forty-four prints included in the series offer views of the local countryside surrounding Antwerp in simple, unembellished compositions. At a time when vast panoramic and allegorical landscapes dominated the art market, the Small Landscapes represent a striking innovation. This book offers the first comprehensive analysis of the significance of the Small Landscapes in early modern print culture. It charts a diachronic history of the series over the century it was in active circulation, from 1559 to the middle of the seventeenth century. Adopting the lifespan of the prints as the framework of the study, Alexandra Onuf analyzes the successive states of the plates and the changes to the series as a whole in order to reveal the shifting artistic and contextual valences of the images at their different moments and places of publication. This unique case study allows for a new perspective on the trajectory of print publishing over the course of the late sixteenth and early seventeenth centuries across multiple publishing houses, highlighting the seminal importance of print publishers in the creation and dissemination of visual imagery and cultural ideas. Looking at other visual materials and contemporary sources - including texts as diverse as humanist poetry and plays, agricultural manuals, polemical broadsheets, and peasant songs - Onuf situates the Small Landscapes within the larger cultural discourse on rural land and the meaning of the local in the turbulent early modern Netherlands. The study focuses new attention on the active and reciprocal intersections between printed pictures and broader cultural, economic and political phenomena.

This is a catalogue of the pre-Gothic Revival stained glass found at 57 sites in Lancashire. Many of these are churches, but there are also domestic halls, museums, and schools.
Highlights include important glazing dating from the 14th and 15th centuries at Cartmel Priory; a major window of c.1500 depicting the legend of St Helen at Ashton-under-Lyne; a sixteenth-century Seven Sacraments window at Cartmel Fell; fine imported 15th- and 16th-century continental panels at Chorley; and above all the magnificent but hitherto virtually unknown collection belonging to the Walker Art Gallery in Liverpool.
The introduction discusses many aspects of the stained glass of both Lancashire and the neighboring county of Cheshire: documentary sources, donors and heraldry, condition, iconography, as well as examining the style and techniques used by the glass-painters.
The county's indigenous surviving glass mostly dates from the 16th century and while it is predominantly heraldic, several sites demonstrate the region's strong attachment to traditional Catholicism at the time of the English Reformation. This catalogue will therefore be essential not only for scholars and students of the history of medieval and early modern art, but also those with an interest in the social and religious history of Tudor Lancashire.

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

This volume provides a full analytical catalog of all known pre-Norman sculpture from this region. As little documentary evidence survives from the area, the sculpture is vital to understanding the early development of the Church, the shifting relationships between communities, and the ways in which political affiliations gave access to a variety of cultural centers across England, Ireland, mainland Europe and Scandinavia.
Among the significant carvings are the crosses at Sandbach with their elaborate figural sculpture and the delicate carvings from Halton and Hornby in the Lune valley. Much of the work is of the 10th- and 11th-century Viking period, and shows an intriguing mixture of Scandinavian-derived motifs alongside Christian iconography.
Introductory chapters set the material within its historical, topographical and art-historical context.

Material culture is not static: objects are created, used and re-used, sometimes for centuries, and their lives interact with those of the people who made and used them. The essays in this book discuss the 'social lives' of objects in late-medieval and renaissance Italy, ranging from maiolica, through sculpture and prostitutes' jewellery, to miraculous painted images.
Demonstrates the continued life of these objects well past the deaths of their creators and patrons.
Contains a series of original contributions by young scholars, representing a broad range of approaches.

This book addresses a critical era in the history of the city of Rome, the eighth century CE. This was the moment when the bishops of Rome assumed political and administrative responsibility for the city's infrastructure and the physical welfare of its inhabitants, in the process creating the papal state that still survives today. John Osborne approaches this using the primary lens of 'material culture' (buildings and their decorations, both surviving and known from documents and/or archaeology), while at the same time incorporating extensive information drawn from written sources. Whereas written texts are comparatively few in number, recent decades have witnessed an explosion in new archaeological discoveries and excavations, and these provide a much fuller picture of cultural life in the city. This methodological approach of using buildings and objects as historical documents is embodied in the phrase 'history in art'.