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

The crusades, whether realized or merely planned, had a profound impact on medieval and early modern societies. Numerous scholars in the fields of history and literature have explored the influence of crusading ideas, values, aspirations and anxieties in both the Latin States and Europe. However, there have been few studies dedicated to investigating how the crusading movement influenced and was reflected in medieval visual cultures. Written by scholars from around the world working in the domains of art history and history, the essays in this volume examine the ways in which ideas of crusading were realized in a broad variety of media (including manuscripts, cartography, sculpture, mural paintings, and metalwork). Arguing implicitly for recognition of the conceptual frameworks of crusades that transcend traditional disciplinary boundaries, the volume explores the pervasive influence and diverse expression of the crusading movement from the twelfth through the fifteenth centuries.

The myriad ways in which colour and light have been adapted and applied in the art, architecture, and material culture of past societies is the focus of this interdisciplinary volume. Light and colour's iconographic, economic, and socio-cultural implications are considered by established and emerging scholars including art historians, archaeologists, and conservators, who address the variety of human experience of these sensory phenomena. In today's world it is the norm for humans to be surrounded by strong, artificial colours, and even to see colour as perhaps an inessential or surface property of the objects around us. Similarly, electric lighting has provided the power and ability to illuminate and manipulate environments in increasingly unprecedented ways. In the context of such a saturated experience, it becomes difficult to identify what is universal, and what is culturally specific about the human experience of light and colour. Failing to do so, however, hinders the capacity to approach how they were experienced by people of centuries past. By means of case studies spanning a broad historical and geographical context and covering such diverse themes as architecture, cave art, the invention of metallurgy, and medieval manuscript illumination, the contributors to this volume provide an up-to-date discussion of these themes from a uniquely interdisciplinary perspective. The papers range in scope from the meaning of colour in European prehistoric art to the technical art of the glazed tiles of the Shah mosque in Isfahan. Their aim is to explore a multifarious range of evidence and to evaluate and illuminate what is a truly enigmatic topic in the history of art and visual culture.

During the European Middle Ages, diagrams provided a critical tool of analysis in cosmological and theological debates. In addition to drawing relationships among diverse areas of human knowledge and experience, diagrams themselves generated such knowledge in the first place. In Diagramming Devotion, Jeffrey F. Hamburger examines two monumental works that are diagrammatic to their core: a famous set of picture poems of unrivaled complexity by the Carolingian monk Hrabanus Maurus, devoted to the praise of the cross, and a virtually unknown commentary on Hrabanus's work composed almost five hundred years later by the Dominican friar Berthold of Nuremberg. Berthold's profusely illustrated elaboration of Hrabnus translated his predecessor's poems into a series of almost one hundred diagrams. By examining Berthold of Nuremberg's transformation of a Carolingian classic, Hamburger brings modern and medieval visual culture into dialog, traces important changes in medieval visual culture, and introduces new ways of thinking about diagrams as an enduring visual and conceptual model.

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

Rising from nomadic origins as Turkish tribesmen, the powerful and culturally prolific Seljuqs and their successor states dominated vast lands extending from Central Asia to the eastern Mediterranean from the eleventh to the fourteenth century. Supported by colour images, charts, and maps, this volume examines how under Seljuq rule, migrations of people and the exchange and synthesis of diverse traditions - including Turkmen, Perso-Arabo-Islamic, Byzantine, Armenian, Crusader and other Christian cultures - accompanied architectural patronage, advances in science and technology and a great flowering of culture within the realm. It also explores how shifting religious beliefs, ideologies of authority and lifestyle in Seljuq times influenced cultural and artistic production, urban and rural architecture, monumental inscriptions and royal titulature, and practices of religion and magic. It also presents today's challenges and new approaches to preserving the material heritage of this vastly accomplished and influential civilization.

This volume explores the late medieval and early modern periods from the perspective of objects. While the agency of things has been studied in anthropology and archaeology, it is an innovative approach for art historical investigations. Each contributor takes as a point of departure active things: objects that were collected, exchanged, held in hand, carried on a body, assembled, cared for or pawned. Through a series of case studies set in various geographic locations, this volume examines a rich variety of systems throughout Europe and beyond. The Open Access version of this book, available at http://www.taylorfrancis.com/doi/view/10.4324/9781315401867, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license

Postcolonial theories have transformed literary, historical and cultural studies over the past three decades. Yet the study of medieval art and visualities has, in general, remained Eurocentric in its canon and conservative in its approaches. 'Postcolonising', as the eleven essays in this volume show, entails active intervention into the field of medieval art history and visual studies through a theoretical reframing of research. This approach poses and elicits new research questions, and tests how concepts current in postcolonial studies - such as diaspora and migration, under-represented artistic cultures, accented art making, displacement, intercultural versus transcultural, hybridity, presence/absence - can help medievalists to reinvigorate the study of art and visuality. Postcolonial concepts are deployed in order to redraft the canon of medieval art, thereby seeking to build bridges between medievalist and modernist communities of scholars. Among the varied topics explored in the volume are the appropriation of Roman iconography by early medieval Scandinavian metalworkers, multilingualism and materiality in Anglo-Saxon culture, the circulation and display of Islamic secular ceramics on Pisan churches, cultural negotiation by Jewish minorities in Central Europe and the Iberian peninsula, Holy Land maps and medieval imaginative geography, and the uses of Thomas Becket in the colonial imaginary of the Plantagenet court.

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.

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.

Foreshadowing the Reformation argues that paintings are the history of ideas in visual form. It follows, therefore, that if we are to fully understand and appreciate the late Medieval and Renaissance paintings of great Northern European artists such as Jan van Eyck and Rogier van der Weyden, we need to investigate the religious and spiritual beliefs and practices of the time. It has been quite fashionable in Medieval and Renaissance Art History over recent decades largely to ignore the contemporary religious context and to concentrate instead on the part played by economics in the creation of works of art. Much has been made, for example, of the costs of materials, the role of markets, international trade and the commissioning process-all of which are undoubtedly important. This book looks to redress this balance through its description and analysis of religious and spiritual ideas, and by offering new, exciting and radical insights about some of the paintings, altarpieces and sculptures that were created. This book argues that there was a symbiotic relationship between those artistic and spiritual worlds and that by bringing the insights from those worlds together we can get a much richer appreciation of medieval life.

Nature and Illusion is the first extended treatment of the portrayal of nature in Byzantine art and literature. In this richly illustrated study, Henry Maguire shows how the Byzantines embraced terrestrial creation in the decoration of their churches during the fifth to seventh centuries but then adopted a much more cautious attitude toward the depiction of animals and plants in the middle ages, after the iconoclastic dispute of the eighth and ninth centuries. In the medieval period, the art of Byzantine churches became more anthropocentric and less accepting of natural images. The danger that the latter might be put to idolatrous use created a constant state of tension between worldliness, represented by nature, and otherworldliness, represented by the portrait icons of the saints. The book discusses the role of iconoclasm in affecting this fundamental change in Byzantine art, as both sides in the controversy accused the other of "worshipping the creature rather than the Creator." An important theme is the asymmetrical relationship between Byzantine art and literature with respect to the portrayal of nature. A series of vivid texts described seasons, landscapes, gardens, and animals, but these were more sparingly illustrated in medieval art. Maguire concludes by discussing the abstraction of nature in the form of marble floors and revetments and with a consideration of the role of architectural backgrounds in medieval Byzantine art. Throughout Nature and Illusion, medieval Byzantine art is compared with that of Western Europe, where different conceptions of religious imagery allowed a closer engagement with nature.

An illustrated manual showing how a medieval tournament was organised, here presented in three volumes with essays on various aspects of the manuscript. Rene d'Anjou's Livre des tournois is famous as the most substantial account of the organisation of a medieval tournament that has come down to us. It survives in eight manuscripts, most of which have an almost identical layout; the best of these is a magnificent work of art in its own right. But these manuscripts have a further interest to the historian of culture, because they represent in effect the evidence for one of the first illustrated manuals, in which text and image are complementary, and form a single whole. The copyists understood this, and followed the original because the mise en page was an essential part of the whole. Justin Sturgeon's interdisciplinary study reveals the patterns and relationships which give the manual its very specific character. The study begins by exploring the relationship between the work's images and text, and brings into focus the author's identity as an authority on the subject matter. Next, the use and depiction of heraldry as essential to the construction of an embedded visual narrative within the work is explored. We then turn to the subject matter and to Rene's sources for the work and the form of tournament he describes, are examined and the author shows that Rene was drawing on specific precedents to construct his idealized version of such an event. Analysis of the visual presentation uses spatial and ritual theory to engage with a series of spectacles surrounding the punishment and review of the noble tourneyers. The last section of the book concentrates on the physical manuscripts.The codicological, textual and visual evidence from all eight known medieval manuscript copies is used to construct a new understanding of the provenance and transmission of the work, before turning to scrutinize the reception of two copies in detail. The conclusion draws together threads of identity, authority, and the importance of the Livre des tournois as a product of the culture and circumstances of its production. A series of appendices forms the second volume and directly supports the book. These appendices include the first scholarly edition of the source manuscript to make use of all eight medieval manuscripts,with full supporting data. The third volume contains 300 images of vital comparisons in high resolution close-ups using a special technique developed by the author which highlights important details within images while showing the detail in the context of the whole picture. Three Volume set.

In this book, Lisa Reilly establishes a new interpretive paradigm for the eleventh and twelfth-century art and architecture of the Norman world in France, England, and Sicily. Traditionally, scholars have considered iconic works like the Cappella Palatina and the Bayeux Embroidery in a geographically piecemeal fashion that prevents us from seeing their full significance. Here, Reilly examines these works individually and within the larger context of a connected Norman world. Just as Rollo founded the Normandy 'of different nationalities', the Normans created a visual culture that relied on an assemblage of forms. To the modern eye, these works are perceived as culturally diverse. As Reilly demonstrates, the multiple sources for Norman visual culture served to expand their meaning. Norman artworks represented the cultural mix of each locale, and the triumph of Norman rule, not just as a military victory but as a legitimate succession, and often as the return of true Christian rule.

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts. Written for a general educated audience as well as students and scholars in the field, it offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life, made up of play and laughter as well as serious work. Medieval stylistic values of variety, sweetness, good taste, and ordinary beauty are grounded in classical and medieval biological theories of change and flux in the human body, not only in symbolism and theology. The book will appeal to all lovers of medieval arts, literature, architecture, music, and painting, as well as serious students of religion and the language of beauty.

This text explains, historically and with illustrations, the origins and momentum of the German art movement of Ottonian book illumination. It shows through this movement how religion and political ideology were intertwined in Ottonian culture from about 950 to 1050.;Besides dealing with such great imperial books as the "Gospel Book of Otto III" and the "Pericopes Book of Henry II", as well as other liturgical manuscripts, this volume discusses the great art-loving bishops like Egbert of Trier and Bernard of Hildesheim, whose aims and personalities are expressed in the books they commissioned. The most important art centres of the Ottonian Empire - Reichenau, Cologne, Fulda and Corvey - are also discussed.

English Church Monuments in the Middle Ages offers a comprehensive survey of English church monuments from the pre-Conquest period to the early sixteenth century. Ground-breaking in its treatment of the subject in an historical context, it explores medieval monuments both in terms of their social meaning and the role that they played in the religious strategies of the commemorated.
Attention is given to the production of monuments, the pattern of their geographical distribution, the evolution of monument types, and the role of design in communicating the monument's message. A major theme is the self-representation of the commemorated as reflected in the main classes of effigy-those of the clergy, the knights and esquires, and the lesser landowner or burgess class, while the effigial monuments of women are examined from the perspective of the construction of gender.
While seeking to use monuments as windows onto the experiences and lives of the commemorated, it also exploits documentary sources to show what they can tell us about the influences that helped shape the monuments. An innovative chapter looks at the construction of identity in inscriptions, showing how the liturgical role of the monument limited the opportunities for expressions of self. Nigel Saul seeks to place monuments at the very centre of medieval studies, highlighting their importance not only for the history of sculpture and design, but also for social and religious history more generally.

Natasha O'Hear considers seven different visualisations of all or part of the Book of Revelation across a range of different media, from illuminated manuscripts, to tapestries, to altarpieces to paintings woodcut prints. Artists featured include the Van Eycks, Memling, Botticelli, Durer and Cranach the Elder. This study is a contribution to the history of interpretation of the Book of Revelation in the Late Medieval and Early Modern period in the form of seven visual case studies ranging from 1250-1522.
It is also is an attempt to understand the different ways in which images exhibit hermeneutical strategies akin to what is found in textual exegesis, but with the peculiar properties of synchronicity of both subject-matter and effect that distinguish them from reading a text. The book explores the multi-faceted scope of visual exegesis as a way of exploring the content and the character of a biblical text such as The Book of Revelation, as well as the complementary relationship between textual and visual exegesis.

This is the first scholarly art-historical appraisal of Anglo-Saxon coinage, from its inception in the late sixth century to Offa's second reform of the penny c.792. Outside numismatic circles, this material has largely been ignored because of its complexity, yet artistically this is the most vibrant period of English coinage, with die-cutters showing flair and innovation and employing hundreds of different designs in their work. By analysing the iconography of the early coinage, this book intends to introduce its rich legacy to a wide audience.
Anna Gannon divides the designs of the coins into four main categories: busts (including attributes and drapery), human figures, animals and geometrical patterns, presenting prototypes, sources of the repertoire and parallels with contemporary visual arts for each motif. The comparisons demonstrate the central role of coins in the eclectic visual culture of the time, with the advantages of official sanctioning and wide circulation to support and diffuse new ideas and images. The sources of the motifs clarify the relationship between the many designs of the complex Secondary phase (c.710-50). Contemporary literature and theological writings often offer the key to the interpretation of motifs, hinting at a universal preoccupation with religious themes. The richness of designs and display of learning point to a sophisticated patronage with access to exotic prototypes, excellent craftsmanship and wealth; it is likely that minsters, as rich, learned, and well-organized institutions, were behind some of the coinage. After the economic crises of the mid-eighth century this flamboyant iconography was swept away: with the notable exeption of the coins of Offa, still displaying exciting designs of high quality and inventiveness, reformed issues bore royal names and titles, and strove towards uniformity.