The Virgin and Child Hodegetria was a widely venerated Byzantine image depicting the Virgin holding and pointing to her son as the way to salvation. In this book, Jaroslav Folda traces the appropriation of this image by thirteenth-century Crusader and central Italian painters, where the Virgin Mary is transformed from the human mother of god, the Theotokos, of Byzantine icons, to the resplendent Madonna radiant in her heavenly home with Christ and the angels. This transformation, Folda demonstrates, was brought about by using chrysography, or golden highlighting, which came to be used on both the Virgin and Child. This book shows the important role played by Crusader painters in bringing about this shift and in disseminating the new imagery to Central Italy. By focusing on the Virgin and Child Hodegetria, Folda reveals complex artistic interchanges and influences extending across the Mediterranean from Byzantium and the Holy Land to Italy.

The cult of the Christ Child flourished in late medieval Europe across lay and religious, as well as geographic and cultural boundaries. Depictions of Christ's boyhood are found throughout popular culture, visual art, and literature. The Christ Child in Medieval Culture is the first interdisciplinary investigation of how representations of the Christ Child were conceptualized and employed in this period. The contributors to this unique volume analyse depictions of the Christ Child through a variety of frameworks, including the interplay of mortality and divinity, the medieval conceit of a suffering Christ Child, and the interrelationships between Christ and other figures, including saints and ordinary children. The Christ Child in Medieval Culture synthesizes various approaches to interpreting the cultural meaning of medieval religious imagery and illuminates the significance of its most central figure.

The studies in this volume all deal with images and texts that relate to the veneration of the saints in Byzantium after the 9th century. Some papers are devoted to the church calendar and the annual commemorations of hundreds of saints through liturgical poetry and sequences of isolated images in fresco, icon painting and illuminated manuscripts. Others are concerned with the longer and rarer, narrative cycles devoted to the life of a single saint, cycles found mainly in fresco and on the so-called vita icons that first appear in the East in the late 12th century. Additional studies deal with the developing role of icons in liturgical ceremonies, and with images of a saint being approached by a supplicant or patron. A final section is devoted to places made holy by the saints, and to their holy relics.

This collection of fifteen papers ranges from the author's initial interest in the Tapestry as a source of information on early medieval dress, through to her startling recognition of the embroidery's sophisticated narrative structure. Developing the work of previous authors who had identified graphic models for some of the images, she argues that not just the images themselves but the contexts from which they were drawn should be taken in to account in 'reading' the messages of the Tapestry. In further investigating the minds and hands behind this, the largest non-architectural artefact surviving from the Middle Ages, she ranges over the seams, the embroidery stitches, the language and artistry of the inscription, the potential significance of borders and the gestures of the figures in the main register, always scrutinising detail informatively. She identifies an over-riding conception and house style in the Tapestry, but also sees different hands at work in both needlecraft and graphics. Most intriguingly, she recognises an sub-contractor with a Roman source and a clownish wit. The author is Professor of Anglo-Saxon Culture at The University of Manchester, UK, a specialist in Old English poetry, Anglo-Saxon material culture and medieval dress and textiles.

The first monograph on the Vita Humana cycle at Tre Fontane, this book includes an overview of the medieval history of the Roman Cistercian abbey and its architecture, as well as a consideration of the political and cultural standing of the abbey both within Papal Rome and within the Cistercian order. Furthermore, it considers the commission of the fresco cycle, the circumstances of its making, and its position within the art historical context of the Roman Duecento. Examining the unusual blend of images in the Vita Humana cycle, this study offers a more nuanced picture of the iconographic repertoire of medieval art. Since the discovery of the frescoes in the 1960s, the iconographic programme of the cycle has remained mysterious, and an adequate analysis of the Vita Humana cycle as a whole has so far been lacking. Kristin B. Aavitsland covers this gap in the scholarship on Roman art circa 1300, and also presents the first interpretative discussion of the frescoes that is up-to-date with the architectural investigations undertaken in the monastery around 2000. Aavitsland proposes a rationale behind the conception of the fresco cycle, thereby providing a key for understanding its iconography and shedding new light on thirteenth-century Cistercian culture.

2012 Reprint of 1930 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. Fulcanelli is almost certainly a pseudonym assumed during the early 20th century, by a French alchemist and esoteric author whose identity is still debated. Fulcanelli was undoubtedly a Frenchman, educated profoundly, and learned in the ways of alchemical lore, architecture, art, science, and languages. Fulcanelli wrote two books that were published after his disappearance during 1926, having left his magnum opus with his only student, Eugene Canseliet. These two works-- "Le Mystere des Cathedrals," and "Les Demeures philosophales" -propose to decipher the symbols and alchemy represented in such French monuments as Notre-Dame, Amiens Cathedrals and others.

In "Miserere Mei, "Clare Costley King'oo examines the critical importance of the Penitential Psalms in England between the end of the fourteenth and the beginning of the seventeenth century. During this period, the Penitential Psalms inspired an enormous amount of creative and intellectual work: in addition to being copied and illustrated in Books of Hours and other prayer books, they were expounded in commentaries, imitated in vernacular translations and paraphrases, rendered into lyric poetry, and even modified for singing. "Miserere Mei "explores these numerous transformations in materiality and genre. Combining the resources of close literary analysis with those of the history of the book, it reveals not only that the Penitential Psalms lay at the heart of Reformation-age debates over the nature of repentance, but also, and more significantly, that they constituted a site of theological, political, artistic, and poetic engagementacross the many polarities that are often said to separate late medieval from early modern culture."Miserere Mei "features twenty-five illustrations and provides new analyses of works based on the Penitential Psalms by several key writers of the time, including Richard Maidstone, Thomas Brampton, John Fisher, Martin Luther, Sir Thomas Wyatt, George Gascoigne, Sir John Harington, and Richard Verstegan. It will be of value to anyone interested in the interpretation, adaptation, and appropriation of biblical literature; the development of religious plurality in the West; the emergence of modernity; and the periodization of Western culture. Students and scholars in the fields of literature, religion, history, art history, and the history of material texts will find "Miserere Mei" particularly instructive and compelling. "Seldom have I read a first book of such subtlety and sustained by such learning, particularly welcome for the way it so easily and gracefully crosses the artificial barriers we raise between the Middle Ages and the Renaissance. This is an original and often touching study of biblical materials that have seen a surge of interest. Those interested in the Psalms, in art history, in David, in translation, to say nothing of early modern sexuality, should rush to read it." --Anne Lake Prescott, Barnard College and Columbia University

More than any other secular story of the Middle Ages, the tale of Tristan and Isolde fascinated its audience. Adaptations in poetry, prose, and drama were widespread in western European vernacular languages. Visual portrayals of the story appear not only in manuscripts and printed books but in individual pictures and pictorial narratives, and on an amazing array of objects including stained glass, wall paintings, tiles, tapestries, ivory boxes, combs, mirrors, shoes, and misericords.The pan-European and cross-media nature of the surviving medieval evidence is not adequately reflected in current Tristan scholarship, which largely follows disciplinary and linguistic lines. The contributors to "Visuality and Materiality in the Story of Tristan and Isolde" seek to address this problem by opening a cross-disciplinary dialogue and by proposing a new set of intellectual coordinates--the concepts of materiality and visuality--without losing sight of the historical specificity or the aesthetic character of individual works of art and literature. Their theoretical paradigm allows them to survey the richness of the surviving evidence from a variety of disciplinary approaches, while offering new perspectives on the nature of representation in medieval culture. Enriched by numerous illustrations, this volume is an important examination of the story of Tristan and Isolde in the European context of its visual and textual transmission. "Comprehensive and cutting edge, "Visuality and Materiality in the Story of Tristan and Isolde "defines the moment in the history of Tristan scholarship. The essays, gathered from both sides of the Atlantic, enrich and expand the key concepts of materiality and visuality to account for the proliferation of the Tristan story in an astonishing range of media. The collection gives scholars in several disciplines the tools to explore the productive connections between the verbal and the visual in medieval culture." --Sarah Westphal-Wihl, Washington University in St. Louis

Churches contain much of the most interesting medieval sculpture in Britain. Magnificent effigies, whether of cast copper-alloy or stone, never cease to provoke awe and wonder, conjuring up glamorous images of an age of chivalry.
Among the many joys of visiting churches is the experience of discovering sculptural treasures; monuments open doors to the past and introduce us to the characters from our history books that inhabited that lost world. Yet in their intended setting such monuments are often little known to non-specialists.
Lavishly illustrated with high-quality color photographs, this book uncovers monuments as a rich source of information for anyone interested not only in church history but also in costume, armor, heraldry, sculpture and genealogy.

Diese Ausgabe der Eulenspiegeleien in moderner Neuubertragung vermittelt das Wesentliche des Schalks und ist ausgestattet mit neuen, auf den Gehalt seiner Historien sorgfaltig abgestimmten Uberschriften. Sie hat zum Ziel, den Aspekt des Tricksters, einer Gestalt-Form des Animus, herauszustellen, der in Bezug auf Till Eulenspiegel bisher nicht in der ihm gebuhrenden Weise Beachtung gefunden hat. Der Grundsatz der Ubertragung von Roland Lukner nach dem Strassburger Druck von 1515 besteht darin, die Historien in das Sprachgewand unserer Zeit zu kleiden und sie dadurch an unser heutiges Vorstellungsvermogen anzunahern, ohne ihren Gehalt auch nur geringfugig verandern zu wollen. Diese Neu-Ausgabe ist somit der gelungene Versuch, ein auf verschiedenartige Weise in Vergessenheit geratenes, jedoch geniales Schriftwerk europaischen Gedankengutes wieder starker ins Licht unserer Zeit zu rucken und ihm dadurch die aktuelle Wirkung zu verleihen: Till Eulenspiegel mit Biss Denn diese Gestalt ist eine archetypische Erscheinung eines ubermachtigen, geistvollen, letztendlich von lebender Wahrheit und echter Liebe bestimmten Tricksters, der noch unbewusst agierend einen notwendigen Bewusstseinswandel herbeizufuhren sucht

John Fitchen systematically treats the process of erecting the great edifices of the Gothic era. He explains the building equipment and falsework needed, the actual operations undertaken, and the sequence of these operations as specifically as they can be deduced today. Since there are no contemporary accounts of the techniques used by medieval builders, Fitchen's study brilliantly pieces together clues from manuscript illuminations, from pictorial representations, and from the fabrics of the building themselves.
"Anyone who has caught the fascination of Gothic Churches (and once caught, has almost necessarily got it in the blood) will find this book enthralling. . . . Clearly written and beautifully illustrated." --A. D. R. Caroe, "Annual Review, " Central Council for the Care of Churches
"Fitchen's study is a tribute to the extraordinary creative and engineering skills of successive generations of mediaeval builders. . . . This study enables us to appreciate more fully the technical expertise and improvements which enabled the creative spirit of the day to find such splendid embodiment." --James Lingwood, "Oxford Art Journal"
"Fitchen, in what can only be defined as an architectural detective story, fully explores the problems confronting the medieval vault erectors and uncovers their solution. . . . This is a book that no serious student of architecture will want to miss." --"Progressive Architecture"

Romanesque is the style name given to the art and architecture of Europe in the 11th and 12th centuries. Coined to express the indebtedness of the artistic culture of this period to the Classical past, it has been in continuous use for two centuries and has outlived other paradigms in the study of medieval culture. The study of Romanesque as a stylistic phenomenon is today almost exclusively the preserve of art historians, particularly in the English-speaking world. In this polemical book 'the Romanesque', especially as applied to architecture, is subjected to a long overdue, theoretically-informed, archaeological inquiry. The main aim is to liberate the buildings in question from the exclusive grip of unimaginative, uncritical, and ideologically-suspect, scholarship. The book's principal interpretative argument is that the pan-European corpus of buildings described as Romanesque is a product of the fragmentation of the heritage of romanitas in the 1000s and 1100s, rather than a product of its renaissance.