Modern scholarship, particularly historical studies, has long acknowledged the importance of the past to medieval conceptions of the present. This volume brings art history and music into dialogue with historical studies. The essays draw out the strategies shared by these fields in the realm of historical representation. How was the creative representation of past practices--in illuminated manuscripts, monumental sculpture, and architecture, as well as in musical notation, motet composition, and performance--understood as both a historical and historicizing act? What kinds of relationships did composers, patrons, chroniclers, and musicians entertain with their predecessors? Historical studies have shown how chroniclers and annalists rewrote tradition while self-consciously writing themselves into it; the essays in this volume explore such strategies in art and music.

The contributors are Jaume Aurell, Jeffrey A. Bowman, Susan Boynton, Ardis Butterfield, Margot Fassler, Patrick J. Geary, Lindy Grant, James Grier, Cynthia Hahn, Joan A. Holladay, Laurent Morelle, Lawrence Nees, Susan Reynolds, Gabrielle M. Spiegel, and Christine B. Verzar.

Doula Mouriki's death in 1991 was a great loss to Greek scholarship. In a career of just under thirty years she made a major contribution to the study of Byzantine art in Greece. This volume brings together eight of the most influential of Professor Mouriki's papers on late Byzantine painting. These are principally concerned with Palaeologan monumental painting in Greece, and include two papers on Georgian fresco cycles, and an important study of the thirteenth-century icons of Cyprus. Dr. Melita Emmanuel has contributed a preface and supplementary notes.

Originally published in 1909, this book contains a guide in English and French to the sculptures of Chartres Cathedral. The text is illustrated with over one hundred photographic plates of the sculptures, with an explanation for each in both languages on the facing page. Some of the photographs included are among the earliest published examples of telephotography. This book will be of value to anyone with an interest in French medieval sculpture, the cathedral at Chartres or the history of photography.

Recent research into the texts, practices, and visual culture of late medieval devotional life in western Europe has clearly demonstrated the centrality of devotions to Christ's Passion. The situation in Castile, however, could not have been more different. Prior to the final decades of the fifteenth century, individual relationships to Christ established through the use of "personalized" Passion imagery simply do not appear to have been a component of Castilian devotional culture.

In Imagining the Passion in a Multiconfessional Castile, Cynthia Robinson argues that it is necessary to reorient discussions of late medieval religious art produced and used in Castile, placing Iberian devotional art in the context of Iberian devotional practice. Instead of focusing on the segregation of the religious lives of members of late medieval Iberia's much-discussed "Three Confessions" (Judaism, Christianity, and Islam), Robinson offers concrete evidence of the profound impact of each sect on the other two.

Imagining the Passion in a Multiconfessional Castile ranges across traditional disciplinary and cultural divides. Robinson considers altarpieces that differ radically from their European contemporaries; architectural ornament; a rare series of narratives of Christ's life; indulgenced prayers; Muslim and Jewish mystical texts; lives, hours, devotions, and Psalters of and to the Virgin which appear to be uniquely Iberian and find resonances in both Hebrew and Arabic mystical literature; sacred gardens and trees in both textual and visual culture from Muslim, Christian, and Jewish contexts; and preaching manuals written by converted Jews. Together, these texts and images offer striking evidence of the plurality of late medieval Iberian religious life, both within the supposed boundaries of a specific religion and in terms of each culture's relationship with the other.

David--the greatest king of Israel, the founder of Jerusalem, and one of the pivotal figures of the Old Testament--was a rich source of inspiration for artists and their patrons throughout the medieval world. Regarded as a direct ancestor of Jesus, the "sweet psalmist of Israel" appears in countless works of art, from the Dura Europus paintings to the many illuminated psalters of the later medieval period. These depictions of David are as varied as they are numerous. He appears, among other roles, as musician, author, warrior, lover, shepherd, politician, worshipper, father, king, refugee, and mourner. This volume is the first comprehensive survey of the vast profusion of David images in both Byzantium and the West, providing an authoritative guide to the entire range of medieval depictions. With over 5,000 entries organized into more than 240 recognizable episodes from his richly illustrated life, the catalogue includes all of the David entries in the Index of Christian Art's card files and database.

The objects catalogued here range in date from the third to the fifteenth century, and represent fourteen different media, including frescoes, ivories, manuscripts, stained glass, sculpture, mosaics, and textiles. Each entry gives detailed information on the object's current location, date, and primary subject. The catalogue is enhanced by over a hundred photographs illustrating a wide range of episodes from David's life. An index allows the reader to browse the medieval world geographically for images of David still in situ, and the modern world for objects in museums, libraries, and other collections. The volume also includes an extensive bibliography on David in Early Christian, Byzantine, and Western medieval art.

The private archive of the Spinelli, acquired by Yale University's Beinecke Library in 1988, constitutes the largest fund of information about a Florentine family anywhere outside Italy. The Spinelli of Florence tells the story of these merchants and their ascent to social and economic prominence during the fourteenth and fifteenth centuries. This book gives an intimate portrait of daily life--the worlds of papal finance, silk and wool manufacturing, and household affairs--as recorded in letters and financial ledgers preserved for two hundred years since the extinction of the male line.

The fame of this family rests largely on the extraordinary success of one individual, Tommaso Spinelli, who broke into banking through the Alberti and Borromei organizations, later to serve as depository general under Pope Eugenius IV and financial officer to three subsequent popes. Tommaso sought to raise his status in society through ties of marriage and business rather than entering the political arena, which had led to the demise and exile of older, established Florentine families, notably the Peruzzi and Alberti. Like his contemporaries, Cosimo de'Medici, Giovanni Rucellai, and Francesco Sassetti, Tommaso poured his considerable wealth into the patronage of private palaces and villas in Rome and Florence, as well as through donations to the great Franciscan church of Santa Croce. Despite his reputation for magnificence, it was Tommaso's obeisance to the codes of religious decorum and his adherence to older artistic traditions that allowed him to commemorate himself and his family without censure.

The authors of this collaborative study, an architectural historian and economic historian, add significantly to our knowledge of private and papal banking, wool and silk manufacturing, and patronage of the arts. The Spinelli of Florence is important for scholars of history, economic history, social history, and art history.

Michelangelo, Raphael, Bramante-together these artists created some of the most glorious treasures of the Vatican, viewed daily by thousands of tourists. But how many visitors understand the way these artworks reflect the passions, dreams, and struggles of the popes who commissioned them? For anyone making an artistic pilgrimage to the High Renaissance splendors of the Vatican, George L. Hersey's book is the ideal guide. Before starting the tour of individual works, Hersey describes how the treacherously shifting political and religious alliances of sixteenth-century Italy, France, and Spain played themselves out in the Eternal City. He offers vivid accounts of the lives and personalities of four popes, each a great patron of art and architecture: Julius II, Leo X, Clement VII, and Paul III. He also tells of the complicated rebuilding and expanding of St. Peter's, a project in which Bramante, Raphael, and Michelangelo all took part. Having set the historical scene, Hersey then explores the Vatican's magnificent Renaissance art and architecture. In separate chapters, organized spatially, he leads the reader through the Cortile del Belvedere and Vatican Museums, with their impressive holdings of statuary and paintings; the richly decorated Stanze and Logge of Raphael; and Michelangelo's Last Judgment and newly cleaned Sistine Chapel ceiling. A fascinating final chapter entitled "The Tragedy of the Tomb" recounts the vicissitudes of Michelangelo's projected funeral monument to Julius II. Hersey is never content to simply identify the subject of a painting or sculpture. He gives us the story behind the works, telling us what their particular themes signified at the time for the artist, the papacy, and the Church. He also indicates how the art was received by contemporaries and viewed by later generations. Generously illustrated and complete with a useful chronology, High Renaissance Art in St. Peter's and the Vatican is a valuable reference for any traveler to Rome or lover of Italian art who has yearned for a single-volume work more informative and stimulating than ordinary guidebooks. At the same time, Hersey's many anecdotes and intriguing comparisons with works outside the Vatican will provide new insights even for specialists.

The poetry of the late Roman world has a fascinating history. Sometimes an object of derision, sometimes an object of admiration, it has found numerous detractors and defenders among classicists and Latin literary critics. This volume explores the scholarly approaches to late Latin poetry that have developed over the last 40 years, and it seeks especially to develop, complement and challenge the seminal concept of the ‘Jeweled Style’ proposed by Michael Roberts in 1989. While Roberts’s monograph has long been a vade mecum within the world of late antique literary studies, a critical reassessment of its validity as a concept is overdue. This volume invites established and emerging scholars from different research traditions to return to the influential conclusions put forward by Roberts. It asks them to examine the continued relevance of The Jeweled Style and to suggest new ways to engage it. In a joint effort, the nineteen chapters of this volume define and map the jeweled style, extending it to new genres, geographic regions, time periods and methodologies. Each contribution seeks to provide insightful analysis that integrates the last 30 years of scholarship while pursuing ambitious applications of the jeweled style within and beyond the world of late antiquity.

From the bestselling author of Meetings With Remarkable Manuscripts, a captivating account of the last surviving relic of Thomas Becket The assassination of Thomas Becket in Canterbury Cathedral on 29 December 1170 is one of the most famous events in European history. It inspired the largest pilgrim site in medieval Europe and many works of literature from Chaucer's Canterbury Tales to T. S. Eliot's Murder in the Cathedral and Anouilh's Becket. In a brilliant piece of historical detective work, Christopher de Hamel here identifies the only surviving relic from Becket's shrine: the Anglo-Saxon Psalter which he cherished throughout his time as Archbishop of Canterbury, and which he may even have been holding when he was murdered. Beautifully illustrated and published to coincide with the 850th anniversary of the death of Thomas Becket, this is an exciting rediscovery of one of the most evocative artefacts of medieval England.

The Livre des faits de Jacques de Lalaing (Book of the Deeds of Jacques de Lalaing), a famous Flemish illuminated manuscript, relays the audacious life of Jacques de Lalaing (1421-1453), a story that reads more like a fast-paced adventure novel. Produced in the tradition of chivalric biography, a genre developed in the mid-fifteenth century to celebrate the great personalities of the day, the manuscript's text and illuminations begin with a magnificent frontispiece by the most acclaimed Flemish illuminator of the sixteenth century, Simon Bening. A Knight for the Ages: Jacques de Lalaing and the Art of Chivalry presents a kaleidoscopic view of the manuscript with essays written by the world's leading medievalists, adding rich texture and providing a greater understanding of the many aspects of the manuscript's background, creation, and reception, revealing for the first time the full complexity of this illuminated romance. The texts are accompanied by stunning reproductions of all of the manuscripts' miniatures-never before published in colour-as well as a plot summary and translations, allowing the reader to follow Jacques de Lalaing on his knightly journeys and experience the thrilling triumphs of his legendary tournaments and battles.

Covering the arts of Ireland and England with some incursions onto mainland Europe, where the same stylistic influences are found, the terms "Insular" and "Anglo-Saxon" are two of the most problematic in medieval art history. Originally used to define the manuscripts of ninth- and tenth-century Ireland and the north of England, "Insular" is now more widely applied to include all of the media of these and earlier periods. It is a style that is closely related to the more narrowly defined Anglo-Saxon. Stretching from the sixth or seventh centuries possibly to the late eleventh century, these styles are two of the most innovative of the Middle Ages. The studies in this volume, which were undertaken by some of the most eminent scholars in the field, highlight the close interaction between the two worlds of Ireland and England in the early medieval period. Studies deal with topics as diverse as the Books of Kells and Durrow, the high cross, reliquaries, and shrines as well as issues of reception, liturgy, color, performance, and iconography.

The contributors are Herbert R. Broderick III, Michelle P. Brown, Carol Farr, Peter Harbison, Paul Meyvaert, Lawrence Nees, Nancy Netzer, Carol Neuman de Vegvar, eamonn o Carragain, Neil O'Donoghue, Jennifer O'Reilly, Heather Pulliam, Jane Rosenthal, Michael Ryan, Ben C. Tilghman, and Benjamin Withers.

Edward Garrison's work on early Italian panels resulted in the publication in 1949 of the first comprehensive index of Romanesque Italian panel painting, which remains the standard work of reference on the subject. Subsequently, his four-volume Studies in the History of Medieval Italian Painting, published in Florence between 1953 and 1962, represents the most considerable body of research yet published on Italian miniature and panel painting from the eleventh to the thirteenth centuries. These two volumes collect together all the author's articles on Italian fresco and panel painting which have been published in art-historical journals since 1945. This provides both an indispensable supplement to the author's earlier Studies in the History of Medieval Italian Painting, and in including three successive Addenda to his Index of Italian Romanesque Panel Paintings, also serves the function of updating the earlier publications. Contents: Preface Notes on the History of Certain Twelfth-Century Central Italian Manuscripts of Importance for the History of Painting Notes on Certain Italian Medieval Manuscripts I-II A Giant Venetian Bible of the Earlier Thirteenth Century A Lucchese Passionary Related to the Sarzana Crucifix Additional Certainly, Probably and Possibly Lucchese Manuscripts I-II: A Pisan Homilary with Lucca-lnfluenced Initials Three Manuscripts for Lucchese Canons of S. Frediano in Rome A Third 'S. Bononio Manuscript' for S. Michele a Marturi Random Notes on Early Italian Manuscripts, I-III Saints Equizio, Onorato and Libertino in Eleventh- and Twelfth-Century Italian Litanies as Clues to the Attribution of Manuscripts Index.

Medieval prayer books held not only the devotions and meditations of Christianity, but also housed, slipped between pages, sundry notes, reminders, and ephemera, such as pilgrims' badges, sworn oaths, and small painted images. Many of these last items have been classified as manuscript illumination, but Kathryn M. Rudy argues that these pictures should be called, instead, parchment paintings, similar to postcards. In a delightful study identifying this group of images for the first time, Rudy delineates how these objects functioned apart from the books in which they were kept. Whereas manuscript illuminations were designed to provide a visual narrative to accompany a book's text, parchment paintings offered a kind of autonomous currency for exchange between individuals-people who longed for saturated color in a gray world of wood, stone, and earth. These small, colorful pictures offered a brilliant reprieve, and Rudy shows how these intriguing and previously unfamiliar images were traded and cherished, shedding light into the everyday life and relationships of those in the medieval Low Countries.

Death and rebirth was of vital importance to early Christians in late antiquity. In late antiquity, death was all encompassing. Mortality rates were high, plague and disease in urban areas struck at will, and one lived on the knife's edge regarding one's health. Religion filled a crucial role in this environment, offering an option for those who sought cure and comfort. Following death, the inhumed were memorialized, providing solace to family members through sculpture, painting, and epigraphy. This book offers a sustained interdisciplinary treatment of death and rebirth, a theme that early Christians (and scholars) found important. By analysing the theme of death and rebirth through various lenses, the contributors deepen our understanding of the early Christian funerary and liturgical practices as well as their engagement with other groups in the Empire.

A survey of the architecture and history of the Tao-Klarjeti region. This book, comprising the proceedings of a 2014 symposium at Koc University's Vehbi Koc Ankara Studies Research Center, fills an important gap in the research surrounding the historical principality of Tao-Klarjeti. This political entity founded by the Georgian Bagrationis dynasty in the early ninth century covers the modern-day provinces of Artvin, Erzurum (partially), Ardahan in Turkey, and the provinces of Samtskhe-Javakheti and Ajara in Georgia. This volume explores the religious and secular buildings, decor programs, facade articulations, stone reliefs of monastic and Cathedral churches, mason builders, and donors of Tao-Klarjeti's architecture. A particular focus is placed on recent archaeological discoveries in Savsat Castle and the heritage of manuscripts produced in scriptoriums and literary centers of the region.

Standing on Holy Ground in the Middle Ages illuminates how the floor surface shaped the ways in which people in medieval western Europe and beyond experienced sacred spaces. The ground beneath our feet plays a crucial, yet often overlooked, role in our relationship with the environments we inhabit and the spaces with which we interact. By focusing on this surface as a point of encounter, Lucy Donkin positions it within a series of vertically stacked layers-the earth itself, permanent and temporary floor coverings, and the bodies of the living above ground and the dead beneath-providing new perspectives on how sacred space was defined and decorated, including the veneration of holy footprints, consecration ceremonies, and the demarcation of certain places for particular activities. Using a wide array of visual and textual sources, Standing on Holy Ground in the Middle Ages also details ways in which interaction with this surface shaped people's identities, whether as individuals, office holders, or members of religious communities. Gestures such as trampling and prostration, the repeated employment of specific locations, and burial beneath particular people or actions used the surface to express likeness and difference. From pilgrimage sites in the Holy Land to cathedrals, abbeys, and local parish churches across the Latin West, Donkin frames the ground as a shared surface, both a feature of diverse, distant places and subject to a variety of uses over time-while also offering a model for understanding spatial relationships in other periods, regions, and contexts.

Integrating the written sources with Rome's surviving remains and, most importantly, with the results of the past half-century's worth of medieval archaeology in the city, The Making of Medieval Rome is the first in-depth profile of Rome's transformation over a millennium to appear in any language in over forty years. Though the main focus rests on Rome's urban trajectory in topographical, architectural, and archaeological terms, Hendrik folds aspects of ecclesiastical, political, social, military, economic, and intellectual history into the narrative in order to illustrate how and why the cityscape evolved as it did during the thousand years between the end of the Roman Empire and the start of the Renaissance. A wide-ranging synthesis of decades' worth of specialized research and remarkable archaeological discoveries, this book is essential reading for anyone interested in how and why the ancient imperial capital transformed into the spiritual heart of Western Christendom.

Faces of Power and Piety is the second in the Medieval Imagination series of small, affordable books that draw on manuscript illuminations in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme to provide an accessible and delightful introduction to the imagination of the medieval world. The vivid and charming faces featured in this volume include portraits of both illustrious historical figures and celebrated contemporaries. They reveal that medieval artists often disregarded physical appearance in favor of emphasizing qualities such as power and piety, capturing how their subjects wished to be remembered for the ages. Faces of Power and Piety also looks at the development of portraiture in the modern sense during the Renaissance, when likeness became an important component of portrait painting. An exhibition of the same name will be on view at the J. Paul Getty Museum from August 12 through October 26, 2008.

The concept of the medieval city is fixed in the modern imagination, conjuring visions of fortified walls, towering churches, and winding streets. In Riemenschneider in Rothenburg, Katherine M. Boivin investigates how medieval urban planning and artistic programming worked together to form dynamic environments, demonstrating the agency of objects, styles, and spaces in mapping the late medieval city. Using altarpieces by the famed medieval artist Tilman Riemenschneider as touchstones for her argument, Boivin explores how artwork in Germany’s preeminent medieval city, Rothenburg ob der Tauber, deliberately propagated civic ideals. She argues that the numerous artistic pieces commissioned by the city’s elected council over the course of two centuries built upon one another, creating a cohesive structural network that attracted religious pilgrims and furthered the theological ideals of the parish church. By contextualizing some of Rothenburg’s most significant architectural and artistic works, such as St. James’s Church and Riemenschneider’s Altarpiece of the Holy Blood, Boivin shows how the city government employed these works to establish a local aesthetic that awed visitors, raising Rothenburg’s profile and putting it on the pilgrimage map of Europe. Carefully documented and convincingly argued, this book sheds important new light on the history of one of Germany’s major tourist destinations. It will be of considerable interest to medieval art historians and scholars working in the fields of cultural and urban history.

Davies' study of medieval Armenian architecture focuses on one of Armenia's most outstanding medieval monuments, the Church of the Holy Cross at Aght'amar. The church, built a thousand years ago, has survived intact and provides a valuable glimpse of the art of the 10th-century kingdom of Vaspurakin. The sculptural and mural programmes are discussed in detail as are the influences on the artwork and the subsequent history of the church up to the present day.