A unique coloring book of Knight images drawn by Christopher Finn.

1928. This volume grew out of Lowell lectures delivered at Boston, Massachusetts. Contents: Monastic Artists (1); Monastic Artists (2); Monastic Artists (3); The Lay Artist; Four Self-Characterizations; The Freemasons; The Mason's Mark; The Hand-Grip; Eton and King's College; From Prentice to Master; Wander Years; Symbolism; The People's Mind; The Poor Man's Bible; Art and Religion; Architectural Finance; The Puritan Revolt; Reformation or Renaissance?; Protestantism and Art; The Roots of the Renaissance; Renaissance and Destruction; Renaissance and Construction (1); and Renaissance and Construction (2).

In the Middle Ages, liturgies, books, song, architecture and poetry were performed as collaborative activities in which performers and audience together realized their work anew. In this book, essays by leading scholars analyse how the medieval arts invited and delighted in collaborative performances designed to persuade. The essays cast fresh light on subjects ranging from pilgrim processions within Chartres Cathedral, to polyphonic song, and the 'rhetoric of silence' perfected by the Cistercians. Rhetoric is defined broadly in this book to encompass its relationship to its sister arts of music, architecture, and painting, all of which use materials and media in addition to words, sometimes altogether without words. Contributors have concentrated on those aspects of formal rhetoric that are performative in nature, the sound, gesture and facial expressions of persuasive speech in action. Delivery (performance) is shown to be at the heart of rhetoric, that aspect of it which is indeed beyond words.

Anna Comnena is described as the first female historian, the author of her father's celebratory biography. She was an educated princess in eleventh-century Constantinople, the daughter of the Emperor Alexius. She was expected to succeed him, and raised as heir, but her hopes were dashed by the birth of a younger brother. In what is over-modestly described as a biography, Naomi Mitchison combines her story with that of her father, and the whole civilisation of the Eastern Empire, indeed the whole known world of the time. The Eastern Empire is seen as a necessary bulwark between a young and promising Europe and the perils of Islam and wild tribes in Asia. Mitchison also warns her readership of the perils of a dead civilisation, and writing in 1928 she poses a challenge to the direction of Europe in these perilous postwar years. Thwarted ambition at last drove Anna to attempt to kill her brother, who, says Mitchison, went on to be one of the best of Emperors. Isobel Murray is Emeritus Professor of Modern Scottish Literature at the University of Aberdeen.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

The Oxford Handbook of Early Christian Archaeology brings together expert work by leading scholars of the archaeology of Early Christianity and the Roman world in the Mediterranean and surrounding regions. The thirty-four contributions to this volume survey Christian material culture and ground the history, culture, and society of the first seven centuries of Christianity in archaeological method, theory, and research. The essays emphasize the link between archaeological fieldwork, methods, and regional and national traditions in constructing our knowledge of the Early Church and Christian communities within the context of the ancient Mediterranean, Near East, and Europe. Three sweeping introductory essays provide historical perspectives on the archaeology of the Early Christian world. These are followed by a series of topical treatments that focus on monuments and environments ranging from Christian churches to catacombs, martyria, and baths, as well as classes of objects of religious significance such as ceramics, lamps, and icons. Finally, the volume locates the archaeology of the Early Christian world in fifteen regional studies stretching from Britain to Persia, highlighting the unique historical contexts that have shaped scholarly discussion across time and space. The thorough, carefully-researched essays offer the most intensive, state-of-the-art treatment of recent research into the archaeology of Early Christianity available.

Both an introduction to the great civilization of Byzantium and a 50th anniversary celebration of the founding of the Byzantine Centre at Dumbarton Oaks in Washington, DC, this collection of essays demonstrates the place of Byzantine civilization in world history and shows the role of Dumbarton Oaks in interpreting that civilization for what its founders called "an everchanging present".;The first essay, written by Milton Anastos - a scholar who first came to Dumbarton Oaks in 1941, one year after Robert Woods Bliss and Mildred Bliss founded the Byzantine Cente - is devoted to the institution itself and to the role that it has played in Byzantine studies over the past 50 years. The following chapters, by Speros Vyronis, Dimitri Obolensky, Irfan Shahid, and Angeliki Laiou, discuss the relationship between Byzantium and its neighbouring civilizations of Islam, the Slavic countries, and Western Europe, and display the great legacy that Byzantium left to those cultures. Two final essays, by Gary Vikan and Henry Maguire, present Byzantine art, today the most prominent aspect of Byzantine achievements, and discuss its reception by modern critics and historians.

This monograph looks at Byzantine art in its widest sense as well as its influence right up to the 20th century. It is well illustrated with a largely descriptive text. The chapters are divided by genre of art - mosaic, architecture, sculpture etc, with seperate chapters on the influence of Byzantine art in the Baltic and Russia, as well as in later centuries. The range of the study is a real strength and the parallels it draws are illuminating.

The latest volume in the acclaimed Corpus series completes the cataloguing of the stone sculptures of Yorkshire, and boosts our understanding of the artistic development of southern Northumbria in the pre-Viking and Anglo-Scandinavian periods.
The monuments in the historic West Riding of Yorkshire include important collections from Dewsbury, Ilkley, Leeds and Otley, containing individual pieces of the highest quality; and there are fine examples of early architectural sculpture at Ledsham and Rothwell.
Many of the finest monuments are connected with important ecclesiastical estates, such as Ripon; the iconography of the sculptures tells us about how these estates continued into the Anglo-Scandinavian period.
Introductory chapters set the material within an historical, topographical and art-historical context, and there are specialist contributions concerning the inscriptions and geology of the monuments. There is a full photographic record of each monument which includes many new illustrations.
The volume complements Corpus Volume III (York and Eastern Yorkshire) and Volume VI (Northen Yorkshire). It will be an indispensable research tool both for students of the early English church, and for all those interested in the relationship between artistic styles and the successive waves of settlement in England.

A riveting exploration of how the Fatimid dynasty carefully orchestrated an architectural program that proclaimed their legitimacy This groundbreaking study investigates the early architecture of the Fatimids, an Ismaili Shi'i Muslim dynasty that dominated the Mediterranean world from the 10th to the 12th century. This period, considered a golden age of multicultural and interfaith tolerance, witnessed the construction of iconic structures, including Cairo's al-Azhar and al-Hakim mosques and crucial renovations to Jerusalem's Dome of the Rock and Aqsa Mosque. However, it also featured large-scale destruction of churches under the notorious reign of al-Hakim bi-Amr Allah, most notably the Church of the Holy Sepulcher in Jerusalem. Jennifer A. Pruitt offers a new interpretation of these and other key moments in the history of Islamic architecture, using newly available medieval primary sources by Ismaili writers and rarely considered Arabic Christian sources. Building the Caliphate contextualizes early Fatimid architecture within the wider Mediterranean and Islamic world and demonstrates how rulers manipulated architectural form and urban topographies to express political legitimacy on a global stage.

Unsurpassed in the years since its first publication in 1917, English Church Woodwork is the definitive guide to the ornate craftsmanship of the Gothic period. FH Crossley spent over twenty years recording, measuring and photographing churches across England and Wales: from his archive of over 10,000 pictures, the 380 reproduced here show the finest examples. Accompanied throughout by FE Howard's clear and authoritative text, the survey includes rood screens, misericords, quire stalls, pulpits, lecterns, doorways and font covers, highlighting both the incredible levels of skill and fascinating regional variations in the woodwork. English Church Woodwork is both ambitiously wide in scope and satisfyingly comprehensive: a fitting tribute to what is arguably the finest legacy of the medieval ages.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

Surviving fragments of information about Pythagoras (born ca. 570 BCE) gave rise to a growing set of legends about this famous sage and his followers, whose reputations throughout Antiquity and the Middle Ages have never before been studied systematically. This book is the first to examine the unified concepts of harmony, proportion, form, and order that were attributed to Pythagoras in the millennium after his death and the important developments to which they led in art, architecture, mathematics, astronomy, music, medicine, morals, religion, law, alchemy, and the occult sciences. In this profusely illustrated book, Christiane L. Joost-Gaugier sets out the panorama of Pythagoras's influence and that of Christian and Jewish thinkers who followed his ideas in the Greek, Roman, early Christian, and medieval worlds. In illuminating this tradition of thought, Joost-Gaugier shows how the influence of Pythagoreanism was far broader than is usually realized, and that it affected the development of ancient and medieval art and architecture from Greek and Roman temples to Gothic cathedrals.Joost-Gaugier demonstrates that Pythagoreanism—centered on the dim memory of a single person that endured for centuries and grew ever-greater—inspired a new language for artists and architects, enabling them to be "modern."

Reaching its peak in the 11th and 12th centuries, the Romanesque movement was marked by a peculiar, vivid, and often monumental expressiveness in architecture and fine arts. The main centres were located in Italy, France, the German-language countries, Spain, and England, though the voices of Scandinavia and Eastern Europe expressed themselves distinctly in the genre, which patterned itself on antique and Byzantine art. Despite untold losses, countless Romanesque masterpieces remain preserved today. Highlights include: Frescoes in Galliano near Cantu, Sant'Angelo in Formis, Saint Chef, Saint-Savin-sur Gartempe, Lambach, S. Pietro al Monte near Civate, S. Clemente in Rome, from S. Maria de Tahull, Berze-la-Ville, Tavant, Panteon de los Reyes in Leon, Castel Appiano, from Sigena; the golden Altar-Piece from Lisbjerg; the Bayeux Tapestry; stained glasses in the Cathedral of Augsburg and Le Mans, mosaics in S. Clemete, Rome, and in S. Marco, Venice; coloured panels und crosses from La Seo de Urgel, Sarzana and the panted ceiling in St. Michael, Hildesheim; sculptures in Souillac, Autun, Santiago de Compostela; and examples of metalwork, of manuscripts and enamels. Each book in TASCHEN's "Basic Genre" series features: a detailed introduction with approximately 35 photographs, plus a timeline of the most important events (political, cultural, scientific, etc.) that took place during the time period, and a selection of the most important works of the epoch; each is presented on a 2-page spread with a full-page image and, on the facing page, a description/interpretation of the work and brief biography of the artist as well as additional information such as a reference work, portrait of the artist, and/or citations.

1928. This volume grew out of Lowell lectures delivered at Boston, Massachusetts. Contents: Monastic Artists (1); Monastic Artists (2); Monastic Artists (3); The Lay Artist; Four Self-Characterizations; The Freemasons; The Mason's Mark; The Hand-Grip; Eton and King's College; From Prentice to Master; Wander Years; Symbolism; The People's Mind; The Poor Man's Bible; Art and Religion; Architectural Finance; The Puritan Revolt; Reformation or Renaissance?; Protestantism and Art; The Roots of the Renaissance; Renaissance and Destruction; Renaissance and Construction (1); and Renaissance and Construction (2).

Surviving fragments of information about Pythagoras (born ca. 570 BCE) gave rise to a growing set of legends about this famous sage and his followers, whose reputations throughout Antiquity and the Middle Ages have never before been studied systematically. This book is the first to examine the unified concepts of harmony, proportion, form, and order that were attributed to Pythagoras in the millennium after his death and the important developments to which they led in art, architecture, mathematics, astronomy, music, medicine, morals, religion, law, alchemy, and the occult sciences. In this profusely illustrated book, Christiane L. Joost-Gaugier sets out the panorama of Pythagoras's influence and that of Christian and Jewish thinkers who followed his ideas in the Greek, Roman, early Christian, and medieval worlds. In illuminating this tradition of thought, Joost-Gaugier shows how the influence of Pythagoreanism was far broader than is usually realized, and that it affected the development of ancient and medieval art and architecture from Greek and Roman temples to Gothic cathedrals.Joost-Gaugier demonstrates that Pythagoreanism—centered on the dim memory of a single person that endured for centuries and grew ever-greater—inspired a new language for artists and architects, enabling them to be "modern."

Barbaric Splendour: the use of image before and after Rome comprises a collection of essays comparing late Iron Age and Early Medieval art. Though this is an unconventional approach, there are obvious grounds for comparison. Images from both periods revel in complex compositions in which it is hard to distinguish figural elements from geometric patterns. Moreover, in both periods, images rarely stood alone and for their own sake. Instead, they decorated other forms of material culture, particularly items of personal adornment and weaponry. The key comparison, however, is the relationship of these images to those of Rome. Fundamentally, the book asks what making images meant on the fringe of an expanding or contracting empire, particularly as the art from both periods drew heavily from - but radically transformed - imperial imagery.