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Focusing on production and patronage, this new volume features over
150 images of magnificently illustrated books and precious
bindings, drawn largely from North American collections. The book's
three sections are arranged chronologically, yet in each case with
a different thematic focus. Opening with a look at the precedents
set by the Carolingian forerunners of the Empire, the first section
considers deluxe imperial manuscripts associated with the Ottonian
emperors. The second section examines the role of imperial
monasteries in the production of manuscripts, considering in
particular the patronage of aristocratic elites. The final section
offers a tour of imperial cities in the fourteenth and fifteenth
centuries, from Vienna and Prague to Augsburg and Nuremberg. This
final stop considers the impact of Albrecht Durer and humanism on
the arts of the book. The volume features a glossary, indexes, and
maps showing the shifting borders of the Empire over 700 years.
During the European Middle Ages, diagrams provided a critical tool
of analysis in cosmological and theological debates. In addition to
drawing relationships among diverse areas of human knowledge and
experience, diagrams themselves generated such knowledge in the
first place. In Diagramming Devotion, Jeffrey F. Hamburger examines
two monumental works that are diagrammatic to their core: a famous
set of picture poems of unrivaled complexity by the Carolingian
monk Hrabanus Maurus, devoted to the praise of the cross, and a
virtually unknown commentary on Hrabanus's work composed almost
five hundred years later by the Dominican friar Berthold of
Nuremberg. Berthold's profusely illustrated elaboration of Hrabnus
translated his predecessor's poems into a series of almost one
hundred diagrams. By examining Berthold of Nuremberg's
transformation of a Carolingian classic, Hamburger brings modern
and medieval visual culture into dialog, traces important changes
in medieval visual culture, and introduces new ways of thinking
about diagrams as an enduring visual and conceptual model.
"The Mind's Eye" focuses on the relationships among art,
theology, exegesis, and literature--issues long central to the
study of medieval art, yet ripe for reconsideration. Essays by
leading scholars from many fields examine the illustration of
theological commentaries, the use of images to expound or
disseminate doctrine, the role of images within theological
discourse, the development of doctrine in response to images, and
the place of vision and the visual in theological thought.
At issue are the ways in which theologians responded to the
images that we call art and in which images entered into dialogue
with theological discourse. In what ways could medieval art be
construed as argumentative in structure as well as in function? Are
any of the modes of representation in medieval art analogous to
those found in texts? In what ways did images function as vehicles,
not merely vessels, of meaning and signification? To what extent
can exegesis and other genres of theological discourse shed light
on the form, as well as the content and function, of medieval
images? These are only some of the challenging questions posed by
this unprecedented and interdisciplinary collection, which provides
a historical framework within which to reconsider the relationship
between seeing and thinking, perception and the imagination in the
Middle Ages.
Beyond Words accompanies a collaborative exhibition at the McMullen
Museum of Art, Boston College; Harvard University's Houghton
Library; and the Isabella Stewart Gardner Museum. Featuring
illuminated manuscripts from nineteen Boston-area institutions,
this catalog provides a sweeping overview of the history of the
book in the Middle Ages and Renaissance, as well as a guide to its
production, illumination, functions, and readership. Entries by
eighty-five international experts document, discuss, and reproduce
more than two hundred and sixty manuscripts and early printed
books, many of them little known before now. Beyond Words also
explores the history of collecting such books in Boston, an
uncharted chapter in the history of American taste. Of broad appeal
to scholars and amateur enthusiasts alike, this catalog documents
one of the most ambitious exhibitions of medieval and Renaissance
manuscripts ever to take place in North America.
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