A fresh interpretation of an enigmatic illumination and its contexts. The Ashburnham Pentateuch is an early medieval manuscript of uncertain provenance, which has puzzled and intrigued scholars since the nineteenth century. Its first image, which depicts the Genesis creation narrative, is itself a site of mystery; originally, it presented the Trinity as three men in various vignettes, but in the early ninth century, by which time the manuscript had come to the monastery at Tours, most of the figures were obscured by paint, leaving behind a single creator. In this sense, the manuscript serves as a kind of hinge between the late antique and early medieval periods. Why was the Ashburnham Pentateuch's anthropomorphic image of the Trinity acceptable in the sixth century, but not in the ninth? This study examines the theological, political, and iconographic contexts of the production and later modification of the Ashburnham Pentateuch's creation image. The discussion focuses on materiality, the oft-contested relationship between image and word, and iconoclastic acts as "embodied responses". Ultimately, this book argues that the Carolingian-era reception and modification of the creation image is consistent with contemporaneous iconography, a concern for maintaining the absolute unity of the Trinity, as well as Carolingian image theory following the Byzantine iconoclastic controversy. Tracing the changes in Trinitarian theology and theories of the image offers us a better understanding of the mutual influences between art, theology, and politics during Late Antiquity and the early Middle Ages.

Death and rebirth was of vital importance to early Christians in late antiquity. In late antiquity, death was all encompassing. Mortality rates were high, plague and disease in urban areas struck at will, and one lived on the knife's edge regarding one's health. Religion filled a crucial role in this environment, offering an option for those who sought cure and comfort. Following death, the inhumed were memorialized, providing solace to family members through sculpture, painting, and epigraphy. This book offers a sustained interdisciplinary treatment of death and rebirth, a theme that early Christians (and scholars) found important. By analysing the theme of death and rebirth through various lenses, the contributors deepen our understanding of the early Christian funerary and liturgical practices as well as their engagement with other groups in the Empire.

A statuette of Egyptian King Pepi formidably wielding a shepherd's crook stands in stark contrast to a fresco of an unassuming Orpheus-like youth gently hoisting a sheep around his shoulders. Both images, however, occupy an extensive tradition of shepherding motifs. In the transition from ancient Near Eastern depictions of the keeper of flocks as one holding great power to the more "pastoral" scenes of early Christian art, it might appear that connotations of rulership were divested from the image of the shepherd. The reality, however, presents a much more complex tapestry. The Good Shepherd: Image, Meaning, and Power traces the visual and textual depictions of the Good Shepherd motif from its early iterations as a potent symbol of kingship, through its reimagining in biblical figures, such as the shepherd-king David, and onward to the shepherds of Greco-Roman literature. Jennifer Awes Freeman reveals that the figure of the Good Shepherd never became humble or docile but always carried connotations of empire, divinity, and defensive violence even within varied sociopolitical contexts. The early Christian invocation of the Good Shepherd was not simply anti-imperial but relied on a complex set of associations that included king, priest, pastor, and sacrificial victim-even as it subverted those meanings in the figure of Jesus, both shepherd and sacrificial lamb. The concept of the Good Shepherd continued to prove useful for early medieval rulers, such as Charlemagne, but its imperial references waned in the later Middle Ages as it became more exclusively applied to church leaders. Drawing on a range of sources including literature, theological treatises, and political texts, as well as sculpture, mosaics, and manuscript illuminations, The Good Shepherd offers a significant contribution as the first comprehensive study of the long history of the Good Shepherd motif. It also engages the flexible and multivalent abilities of visual and textual symbols to convey multiple meanings in religious and political contexts.