Bodies mangled, limbs broken, skin flayed, blood spilled: from paintings to prints to small sculptures, the art of the late Middle Ages and early modern period gave rise to disturbing scenes of violence. Many of these torture scenes recall Christ's Passion and its aftermath, but the martyrdoms of saints, stories of justice visited on the wicked, and broadsheet reports of the atrocities of war provided fertile ground for scenes of the body's desecration. Contributors to this volume interpret pain, suffering, and the desecration of the human form not simply as the passing fancies of a cadre of proto-sadists, but also as serving larger social functions within European society. Taking advantage of the frameworks established by scholars such as Samuel Edgerton, Mitchell Merback, and Elaine Scarry (to name but a few), Death, Torture and the Broken Body in European Art, 1300-1650 provides an intriguing set of lenses through which to view such imagery and locate it within its wider social, political, and devotional contexts. Though the art works discussed are centuries old, the topics of the essays resonate today as twenty-first-century Western society is still absorbed in thorny debates about the ethics and consequences of the use of force, coercion (including torture), and execution, and about whether it is ever fully acceptable to write social norms on the bodies of those who will not conform.

Early modern audiences, readerships, and viewerships were not homogenous. Differences in status, education, language, wealth, and experience (to name only a few variables) could influence how a group of people, or a particular person, received and made sense of sermons, public proclamations, dramatic and musical performances, images, objects, and spaces. The ways in which each of these were framed and executed could have a serious impact on their relevance and effectiveness. The chapters in this volume explore the ways in which authors, poets, artists, preachers, theologians, playwrights, and performers took account of and encoded pluriform potential audiences, readers, and viewers in their works, and how these varied parties encountered and responded to these works. The contributors here investigate these complex interactions through a variety of critical and methodological lenses.

Bodies mangled, limbs broken, skin flayed, blood spilled: from paintings to prints to small sculptures, the art of the late Middle Ages and early modern period gave rise to disturbing scenes of violence. Many of these torture scenes recall Christ's Passion and its aftermath, but the martyrdoms of saints, stories of justice visited on the wicked, and broadsheet reports of the atrocities of war provided fertile ground for scenes of the body's desecration. Contributors to this volume interpret pain, suffering, and the desecration of the human form not simply as the passing fancies of a cadre of proto-sadists, but also as serving larger social functions within European society. Taking advantage of the frameworks established by scholars such as Samuel Edgerton, Mitchell Merback, and Elaine Scarry (to name but a few), Death, Torture and the Broken Body in European Art, 1300-1650 provides an intriguing set of lenses through which to view such imagery and locate it within its wider social, political, and devotional contexts. Though the art works discussed are centuries old, the topics of the essays resonate today as twenty-first-century Western society is still absorbed in thorny debates about the ethics and consequences of the use of force, coercion (including torture), and execution, and about whether it is ever fully acceptable to write social norms on the bodies of those who will not conform.

Investigating the complex interactions between devotional imagery and Church doctrine in the Low Countries during the fifteenth century, this book demonstrates how the pictorial arts intersected with popular religious practice. The author reconstructs the conceptual frameworks underlying the use and production of religious art in this period and provides a more nuanced understanding of the use of images in the process of soul formation. This study delves into the complexity of the early modern system of personal justification and argues that religious images and objects were part of a larger 'Technology of Salvation.' In order to make these connections clearer, the author analyzes selected works by Geertgen tot Sint Jans (Little Gerard at St. John's) and shows how they functioned within their larger social and historical milieu.