This volume in Oxford Medieval Text contains Eadmer's Lives of Saints Oda, Dunstan, and Oswald, as well as the Miracles of Dunstan and Oswald. These three English saints, together with AEthelwold of Winchester, were key figures in the Benedictine revival of the tenth century, which saw a flowering of Anglo-Saxon religious, artistic, and literary culture. Eadmer of Canterbury (c.1060-c.1130), the secretary, confidant, and biographer of Saint Anselm, Archbishop of Canterbury (1033-1109), was one of the most important historians and biographers in the period after the Norman Conquest. His works, written in Latin, look back constantly to the Anglo-Saxon past, while at the same time they accurately reflect the present-day realities of the wider European society into which England had been forcibly integrated. Manuscripts of his Lives of the Saints circulated widely in both in England and France, but apart from his Life of Anselm they have been little studied, and have remained largely untranslated. The works newly edited and translated in this edition provide many insights into the wider political history of the pre- and post-Conquest periods, as well as important evidence for the cults of the saints in Canterbury and Worcester.

Originally published in 1991, Medieval Texts and Images is a collection of essays which critically examines medieval manuscripts. The book contains a wide range of contributions, the first examines the relationship of the Legende Doree and its relationship to the aristocratic patrons who commissioned these manuscripts; the second scrutinises the tradition of French illumination as it was developed in Paris in the so-called Bedford Master's workshop in the 1420s. The text examines liturgical texts of the medieval period and written and liturgical contributions to Renaissance art. Other contributions include an investigation into the written scroll within the painted composition, comparing various compositional and thematic functions in the depiction of a Crucifixion and a study of Christian vernacular poetry. This collection provides a comprehensive overview of the use of text and image in medieval literature.

Originally published in 1991, Medieval Texts and Images is a collection of essays which critically examines medieval manuscripts. The book contains a wide range of contributions, the first examines the relationship of the Legende Doree and its relationship to the aristocratic patrons who commissioned these manuscripts; the second scrutinises the tradition of French illumination as it was developed in Paris in the so-called Bedford Master's workshop in the 1420s. The text examines liturgical texts of the medieval period and written and liturgical contributions to Renaissance art. Other contributions include an investigation into the written scroll within the painted composition, comparing various compositional and thematic functions in the depiction of a Crucifixion and a study of Christian vernacular poetry. This collection provides a comprehensive overview of the use of text and image in medieval literature.

This book is a collection of specially-commissioned art-historical essays on the theme of manuscript studies by some of the world's leading art historians and curators of manuscripts. It is expected to be even more successful and well-received than the comparable volume from University of Exeter Press, The Art of the Book: Its Place in Medieval Worship, edited by Margaret M. Manion and Bernard J. Muir. The contributors are writing on their particular area of manuscript study, with the Wharncliffe Hours and the Book of Kells among the important manuscripts discussed. Their essays are written in honor of Margaret M. Manion, Professor Emeritus, Department of Fine Arts, University of Melbourne. Margaret Manion has an international reputation for her work in the field of art history. Her many publications include a facsimile edition of The Wharncliffe Hours (Thames & Hudson) and Medieval and Renaissance Illuminated Manuscripts in Australian Collections (with Vera F. Vines, Thames & Hudson).

This collection of articles focuses on medieval books designed for use in Christian worship, both public and private.

Drawing on examples from French, Italian, and Dutch work of the fourteenth to the early sixteenth centuries, leading scholars explore various aspects of the relationship among text, decoration, and illustration in medieval devotional and liturgical books. they address the function of such books, their relationship to other devotional artifacts, and the influence of different types of patronage on their production.

Featuring over one hundred illustrations -- many of them previously unavailable to scholars -- this volume is a lively exploration of the intersection between medieval studies and art history, and a fascinating study of the social and cultural issues that influenced the evolution of the book.

A Prayer Book owned by the Rothschilds, an Italian bronze casket by Antico, a lavishly illustrated Carnival chronicle from sixteenth-century Germany, an altarpiece by Pieter Brueghel the Younger - much of the artwork in this book, held by Australian collections, is essentially unknown beyond the continent. The authors of these essays showcase these extraordinary objects to their full potential, revealing a wide range of contemporary art and historical research. This collection of essays will surprise even specialists.

Of the four major surviving manuscripts of Anglo-Saxon poetry, MS. Junius 11 is the only one which is illustrated. This tenth-century manuscript contains four poems based on the Old and New Testaments: Genesis A and B, Exodus, Daniel, and Christ and Satan. It was given by Francis Junius in 1677 to the Bodleian Library, University of Oxford. For the first time, the entire manuscript is available here in an innovative, highly accessible format. The CD contains images of each opening and each page of the manuscript, visible at high magnification, and a 'live' transcription and translation of the poems with hyperlinks, allowing powerful global searches across the entire text. A full translation of the entire text is also linked to the transcription and the relevant manuscript page. The CD also includes high resolution images of all the drawings and initials in the manuscript, and exterior photographs of its medieval binding. The powerful and realistic magnifier makes it possible to zoom in on the manuscript pages with varying degrees of magnification. The meaning and importance of the drawings are discussed in a detailed introduction and commentary, supplemented by a full bibliography. This exciting, ground-breaking CD will appeal to all scholars and students of Anglo-Saxon literature, art, history, and culture, as well as to bibliophiles and collectors.