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.

Iconography, the descriptive and classificatory investigation of subject matter in the arts (and often associated with Erwin Panofsky), has been central to art history since the early twentieth century. In this volume from the Index of Christian Art, a group of distinguished scholars makes skilled use of the methodology to examine a number of significant medieval manuscripts, including the Morgan Picture Bible.

Although iconography is often regarded as a means of analyzing the content of a work of art, the essays in Between the Picture and the Word draw upon the methodology to elucidate issues that range from meaning to style and provenance. Large themes, such as architecture, kingship, women, and Judaism, are considered alongside specific details (e.g., poses of authority, pregnancy) in order to shed light on both vernacular and sacred art, the Anglo-Saxon as well as the Jewish, the Bible Historiale as well as the Book of Hours.

Several essays in this volume focus upon the Morgan Picture Bible, famed for its splendid illuminations and the insights they provide into medieval life. Its illuminations--340 in all--present Old Testament stories as dramatic scenes, set in castles and churches, that involve not only warfare but also the daily activities of kings, priests, and warriors as well as ordinary people. These appealing pictures also pose complex questions that are slowly being resolved by scholars. In the Index of Christian Art volume, the iconography of the Picture Bible and many of its details are studied again, yielding results that reinforce, extend, and refute previous scholarship.

Between the Picture and the Word presents some of the most innovative thinking in medieval studies. Its numerous color and black-and-white illustrations enhance the discussions and give readers insight into the beauty of medieval manuscript art.

The contributors are Adelaide Bennett, Alison Beringer, Anne-Marie Bouche, Judith Golden, Gerald Guest, Laura Hollengreen, Libby Karlinger Escobedo, Katrin Kogman-Appel, Jane Rosenthal, Lucy Freeman Sandler, Marianna Shreve Simpson, Judith Steinhoff, Patricia Stirnemann, Alison Stones, and William Voelkle.

Earliest (12th century) treatise on arts written by practicing artist. Pigments, glass blowing, stained glass, gold and silver work, more. 34 illus.

This easily accessible volume, which grew out of a series of lectures presented at the Smithsonian Institution in 1991, aims to provide a coherent introduction to Byzantine culture with a focus on the interconnected realms of art and religion. The eight participants have revised their lectures into chapters on Byzantine history, theology, icons and icon theory, church architecture, monumental painting, silver church furnishings, illustrated liturgical books, and pilgrimage. In addition to presenting current research on this range of topics, the chapters each contribute original scholarship from authors who are recognized experts in their respective fields.

The Introduction, by Linda Safran, deals with views and definitions of Byzantium over the course of its long history and considers why that civilization deserves our attention today. It underscores the essential unifying role of the Orthodox religion in a vast and fluid empire and clarifies how the experiential aspects of that religion--churches, liturgy, church arts and imagery, religious travel--open a window into Byzantine culture. Throughout the book, the past is made vivid by considering what Byzantine believers heard and said and did, as well as what they saw.

The book's chapters are cross-referenced and are complemented both by endnotes that cite primary and secondary sources and by "Suggestions for Further Reading" that include English and foreign-language references. There is no comparable art history text that combines this high-caliber range of current scholarship with more than 250 illustrations, including 16 pages of color plates, to introduce Byzantine culture to a broad readership.

Contributors are Joseph Alchermes, Susan A. Boyd, Anna Kartsonis, Henry Maguire, Robert Ousterhout, Eric D. Perl, Nancy Patterson sevčenko, and Gary Vikan.

Painting in the Age of Giotto is a revisionist account of central Italian painting in the period 1260 to 1370. The study is the first to discuss Giorgio Vasari's account of the "first age" of the Renaissance in his "Lives" and the character of the historiographical tradition that arose from that account. In opening the tradition to closer scrutiny, Hayden Maginnis explains the origins of many modern views regarding the period and the persistence of critical strategies and conventions that do not correspond to the historical realities.

Those realities are discussed in a return to the evidence of surviving works of art and in an exploration of stylistic trends that define regional currents in central Italian art. In an examination of the "new art" of the fourteenth century, Maginnis discovers not only that naturalism as an artistic ambition was remarkably short-lived but also that its chief exponents were the painters of Siena, rather than the painters of Florence. His detailed analysis of Giotto's work demonstrates that his art belonged to quite another trend.

By the fourth decade of the Trecento, the character of central Italian painting was growing ever more diverse. Painters quite consciously began to explore artistic alternatives to naturalism, thereby introducing "notable disturbances in the classification of Tuscan Trecento painting" and providing a foundation for developments toward the mid-century. Through a reexamination of the historical and art-historical evidence related to painting immediately after the plague of 1348, Maginnis demonstrates that the central thesis of Millard Meiss's brilliant Painting in Florence and Siena after the Black Death, until now the standard interpretation of this period, is untenable, and offers a new interpretation of painting at mid-century.

In 1993 and 1994, The Centre for Christianity and the Arts at the Institute of Church History, University of Copenhagen, arranged symposia with liturgy and the arts in the Middle Ages as the uniting theme. Scholars, with different professional backgrounds and from different European countries, as well as from the USA, presented papers of which 11 are collected and published in this book.

Contents: The Contribution of Archaeology to our Understanding of re-Norman London, 1973-1988; Medieval and Tudor Domestic Buildings in the City of London; Shops and Shopping in Medieval London; The Romanesque Architecture of Old St Paul's Cathedral and its late eleventh-century Context.; The First Facade of Old St Paul's Cathedral and its Place in English Thirteenth - Century Architecture; Restorations of the Temple Church, London; 'Liber Horn', 'Liber Custumarum' and Other Manuscripts of the Queen Mary Psalter Workshops; London, Londoners and Opus Anglicanum; Some New Types of Late Medieval Tombs in the London Area.

Rainbow Like an Emerald is the most comprehensive study of Lorraine stained glass as a regional style developed in conjunction with the typical Gothic architecture of the province.

Situated between France and Germany, medieval Lorraine increasingly looked to France for it cultural standards. While French in inspiration, however, its Gothic architecture and stained glass quickly developed strong regional and distinctive characteristics. This architecture has only in the last decade been studied, and Lillich's work is the first serious analysis of the windows.

Loraine has always been known as a glass-making center, and in the Gothic era it seems to have produced a range of handsome greens. However, the turbulent history of the region has left little glass from the period, and today no glass program survives in it entirety, while some, such as Metz, are now lost beyond retrieval. This book presents all the Gothic stained glass that remains in Lorraine: Toul Cathedral, Saint-Gengoult in Toul, the rural parish of Menillot (just outside of Toul), Saint-Die in the Vosges, the pilgrimage church of Avioth on the Belgian border, and the various groups now installed in Metz Cathedral, with appendixes dealing with fragments surviving at Sainte-Segolene in Metz, Ecrouves near Toul, and the Cistercian abbey of La Chalade.

Though many patches of the puzzle remain--and will remain--blank, some of the outlines are strong and some of the precious detail still commands the power to astonish and delight us.

In recent decades, art historical writing has focused strongly on the use and reception of images. The contributions in this publication are devoted to two crucial concepts or functions of Christian images in the Middle Ages and the post-Reformation period: the image of cult and the image of devotion ('Andachtsbild').The contributions present and discuss visual art and the receptions and functions of pictures in the western (and eastern) European area from Late Antiquity to the 18th century. Furthermore, they bring into focus a rich Nordic material, which until now has been practically unknown in an international context. Several of the articles are are written in German.

This volume is a pioneer study focused on a corpus of 89 fragments of exquisitely illuminated manuscripts that were produced under the patronage of the Turkic-speaking Uygurs in the Turfan region of East Central Asia between the 8th and 11th centuries CE. Through detailed analyses and interpretations aided by precise computer drawings, the author introduces an important group of primary sources for future comparative research in Central Asian art, mediaeval book illumination, and Manichaean studies.

Street corners, guild halls, government offices, and confraternity centers contained paintings that made the city of Florence a visual jewel at precisely the time of its emergence as an international cultural leader. This book considers the paintings that were made specifically for consideration by lay viewers, as well as the way they could have been interpreted by audiences who approached them with specific perspectives. Their belief in the power of images, their understanding of the persuasiveness of pictures, and their acceptance of the utterly vital role that art could play as a propagator of civic, corporate, and individual identity made lay viewers keenly aware of the paintings in their midst. Those pictures affirmed the piety of the people for whom they were made in an age of social and political upheaval, as the city experimented with an imperfect form of republicanism that often failed to adhere to its declared aspirations.

This volume explores the importance of Norwich as the second city of England for 500 years. It addresses two of the most ambitious Romanesque buildings in Europe: cathedral and castle, and illuminates the role of Norwich-based designers and makers in the region.

The touchstones of Gothic monumental art in France - the abbey church of Saint-Denis and the cathedrals of Chartres, Reims, and Bourges - form the core of this collection dedicated to the memory of Anne Prache. The essays reflect the impact of Prache's career, both as a scholar of wide-ranging interests and as a builder of bridges between the French and American academic communities. Thus the authors include scholars in France and the United States, both academics and museum professionals, while the thematic matrix of the book, divided into architecture, stained glass, and sculpture, reflects the multiple media explored by Prache during her long career. The essays employ a varied range of methodologies to explore Gothic monuments. The chapters in the architectural section include an intensive archeological analysis of the foundations of Reims Cathedral, the close reading of a late medieval literary text for a symbolic understanding of Paris, and essays that explore the medieval use of practical geometry in designing entire buildings and their components. Saint-Denis, Reims, and Chartres, all monuments studied by Prache, are discussed in the next part, on stained glass. These chapters demonstrate how old problems can be clarified by new evidence, whether from the accessibility of previously unknown archival information, for Reims, or through revelations that arise from restoration, at Chartres. These essays also include a study showing the complexity of making attributions for the storied glass of Saint-Denis. The final set of essays likewise takes different approaches to sculpture, whether constructing links to the liturgy at Reims, or discussing the meaning of a sculptural ensemble studied by Prache early in her career, the cloister of Notre-Dame-en-Vaux in ChAclons-en-Champagne, or scrupulously examining the faAade sculpture at Bourges Cathedral for insights into the design process. As a whole, the volume provides a window onto key directions in the study of

This study deals with the iconographic theme of imperial Byzantine 'heavenly coronation', or Andre Grabar's couronnement symbolique, with particular attention to fine arts and numismatics. This theme, along with the rituals of imperial investiture, represents the concept of divine kingship in figurative terms, a significant ideological premise for Byzantine theocracy. The book is structured in seven chapters, investigating both the origination and conclusion of the iconographical subject and its political derivations. It attempts to assemble all the known images of the 'heavenly coronation' theme and to explain its political and iconographical roots.

The long and vibrant history of north-eastern England has left rich material deposits in the form of buildings, works of art, books and other artefacts. This heritage is examined here in fifteen studies, ranging from the sculpture of the Roman occupation through the monuments and architecture of the Anglo-Saxon and Norman periods, to the manuscripts and fortified houses of the later Middle Ages. The monasteries at Hexham, Lindisfarne and Tynemouth, and the City of Newcastle itself, are all subjected to individual analysis, and there are papers on Alnwick and Warkworth castles, the great keep at Newcastle, the coffin of St Cuthbert and the Lindisfarne Gospels. The expert opinions presented here are intended to stimulate and advance scholarly debate on the material culture of a region which has played a critical role in English history, and whose broad and varied profile still offers many opportunities for critical inquiry.

Ottonian Imperial Art and Portraiture represents the first art historical consideration of the patronage of the Ottonian Emperors Otto III (983-1002) and Henry II (1002-1024). Author Eliza Garrison analyzes liturgical artworks created for both rulers with the larger goal of addressing the ways in which individual art objects and the collections to which they belonged were perceived as elements of a material historical narrative and as portraits. Since these objects and images had the capacity to stand in for the ruler in his physical absence, she argues, they also performed political functions that were bound to their ritualized use in the liturgy not only during the ruler's lifetime, but even after his death. Garrison investigates how treasury objects could relay officially sanctioned information in a manner that texts alone could not, offering the first full length exploration of this central phenomenon of the Ottonian era.

As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies.

The British Archaeological Association's 2007 conference celebrated the material culture of medieval Coventry, the fourth wealthiest English city of the later middle ages. The nineteen papers collected in this volume set out to remedy the relative neglect in modern scholarship of the city's art, architecture and archaeology, as well as to encompass recent research on monuments in the vicinity. The scene is set by two papers on archaeological excavations in the historic city centre, especially since the 1970s, and a paper investigating the relationships between Coventry's building boom and economic conditions in the city in the later middle ages. Three papers on the Cathedral Priory of St Mary bring together new insights into the Romanesque cathedral church, the monastic buildings and the post-Dissolution history of the precinct, derived mainly from the results of the Phoenix Initiative excavations (19992003). Three more papers provide new architectural histories of the spectacular former parish church of St Michael, the fine Guildhall of St Mary and the remarkable surviving west range of the Coventry Charterhouse. The high-quality monumental art of the later medieval city is represented by papers on wall-painting (featuring the recently conserved Doom in Holy Trinity church), on the little-known Crucifixion mural at the Charterhouse, and on a reassessment of the working practices of the famous master-glazier, John Thornton. Two papers on a guild seal and on the glazing at Stanford on Avon parish church consider the evidence for Coventry as a regional workshop centre for high quality metalwork and glass-painting. Beyond the city, three papers deal with the development of Combe Abbey from Cistercian monastery to country house, with the Beauchamp family's hermitage at Guy's Cliffe, and with a newly identified stonemasons' workshop in the 'barn' at Kenilworth Abbey. Two further papers concern the architectural patronage of the earls and dukes of Lancaster in the 14th century at Kenilworth Castle and in the Newarke at Leicester Castle.

Richard L. Feigen has amassed a collection of Italian paintings that is widely admired for its depth and quality, especially for the works it features by the principal masters of the early Italian Renaissance. This beautifully illustrated catalogue of the complete collection presents rare masterpieces by artists from Bernardo Daddi to Fra Angelico, Orazio Gentileschi's Danae, Annibale Carracci's Virgin and Child, and precious, small-scale coppers by major Mannerist and Baroque masters. Italian Paintings from the Richard L. Feigen Collection catalogues more than fifty major works from the 14th to the 17th century, and is the first publication of this remarkable and important collection. Published in association with the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery, New Haven (5/28/10-9/12/10)

"Perspectives on Medieval Art: Learning through Looking" examines medieval culture from a number of different viewpoints to reveal how the art of the Middle Ages can provide a unique insight into the wider issues of medieval politics and culture. The essays also address the teaching of medieval art and architecture as well as examining society's longing for ecclesiastical drama. Contributions from leading theologians and historians variously study life and art in the Middle Ages, why the medieval period matters today and how medieval art speaks to a 21st-century audience. Scholars from different disciplines, including Thomas Cahill and Kathryn Kueny, consider individual works of art simultaneously and examine how medieval art is taught in divinity schools, university and college classrooms and museums.

Offering original analysis of the convergence between 'sacred' and 'secular' in medieval works of art and architecture, this collection explores both the usefulness and limitations of these terms for describing medieval attitudes. The modern concepts of 'sacred' and 'secular' are shown to be effective as scholarly tools, but also to risk imposing false dichotomies. The authors consider medieval material culture from a broad perspective, addressing works of art and architecture from England to Japan, and from the seventh to the fifteenth century. Although the essays take a variety of methodological approaches they are unified in their emphasis on the continuing and necessary dialectic between sacred and secular. The contributors consciously frame their interpretations in terms and perspectives derived from the Middle Ages, thereby demonstrating how the present art-historical terminology and conceptual frameworks can obscure the complexity of medieval life and material culture. The resonance among essays opens possibilities for productive cross-cultural study of an issue that is relevant to a diversity of cultures and sub-periods. Introducing an innovative approach to the literature of the field, this volume complicates and enriches our understanding of social realities across a broad spectrum of medieval worlds.

The papers in this collection explore the medieval art, architecture, and archaeology of the city of Mainz and of the middle Rhine valley. They were delivered in 2003, at the first annual conference the Association held in Germany. The contributors embrace a wide range of subjects. Some consider the architecture and archaeology of the early medieval and Romanesque period, including the Carolingian monastery of Lorsch and the cathedrals of Mainz, Speyer, and Worms. Other authors look at high and late Gothic architecture in the region, such as the collegiate church at Oppenheim and the Wernerkapelle at Bacherach. There are, moreover, papers on castle architecture, sculpture, panel painting, liturgical furnishings, and medieval inscriptions. At the centre of discussion stand questions of cult, patronage, iconography, and style. New light is shed particularly on the relationship between the art and architecture in the Rhine valley and France. This collection brings together British, German, and French scholars to discuss the art and architecture of this major centre of artistic creation in medieval Europe and will hopefully be of lasting value to scholarship.

This book presents essays that exemplify key themes including the interdependence of conservation, research and access; the need for a 21st-century inventory of the medieval sculpture; the breadth and value of the wide range of the research tools; and conservation issue.

A collection of papers presented to the 1992 international British Archaeological Association conference in Chester. Presented in chronological order, the fourteen essays comprise Martin Henig's analysis of carved stonework from Roman Deva; Alan Thacker's study of the formation of the town and its parishes during the early medieval period; Simon Ward, Virginia Jansen, John Maddison and Christa Grossinger examine the architecture, fittings and restoration of the Cathedral and churches; Elizabeth Danbury, J Patrick Greene and Nigel Ramsay assess the life and dissolution of religious foundations; Roland B Harris looks at the origins of the famous Chester Rows and Sharon Cather, David Park and Robyn Pender discuss the recently rediscovered Henry III wall paintings at Chester Castle. A broad and illustrated guide to many aspects of Chester's long history.