Medieval Sermons and Society: Cloister, City, University

Kienzle, Beverly Mayne

Brepols Publishers

Catalog for the exhibit: Life and Death Under the Pharaohs: Egyptian Art from the National Museum of Antiquities in Leiden, The Netherlands. Lavishly illustrated catalog with photographs and text describing the 300 artifacts featured in the exhibition, as well as overview articles on the four sections of the exhibition; 1. The Egyptian World: Creation, Gods and the Land of Egypt. 2. The King and His Officials. 3. Daily Life. 4. Life After Death. This exhibition has traveled throughout Japan, New Zealand, Australia, and Germany, and after it's exhibition in Atlanta, Georgia, (It's only North American venue) the material will return to permanent exhibition in the newly renovated galleries at the National Museum of Antiquities in Leiden, The Netherlands.

'Life and Death under the Pharaohs, Egyptian Art from the National Museum of Antiquities in Leiden, The Netherlands' (Single Titles in Egyptology)

Arts & Photography

History & Criticism

One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.

Mythological Subjects, A-G (Corpus Rubenianum Ludwig Burchard)

Carl Van de Velde

Fiona Healy

Karolien De Clippel

Elizabeth McGrath

Bert Schepers

This is the fourth in the series of catalogues that present detailed descriptions and complete cycles of illustrations of all existing manuscripts of the Commentary on the Apocalypse written by the eighth century Spanish monk, Beatus. The entire corpus, which spans the ninth to the thirteenth century, constitutes the greatest single tradition of Apocalyptic imagery in the Middle Ages. The manuscripts catalogued here are from the eleventh and twelfth centuries: the Silos Beatus in London; the Corsini Beatus in Rome; the Turin Beatus; the Osma Beatus; the Leon Fragment and the Berlin Beatus. All illustrations in these six manuscripts are reproduced, and each catalogue entry discusses the location of production, the work of the outstanding illuminators and scribes, as well as details of codicology. A short introduction places the manuscripts in their historical context and analyzes the style of miniatures. The volume includes an exhaustive Bibliography, relevant Tables, and Index.

The Illustrated Beatus: The Eleventh and Twelfth Centuries

Williams,John

This is the fifth in the series of catalogues that present detailed descriptions and complete cycles of illustrations of all existing manuscripts of the

The Illustrated Beatus: The Twelfth and Thirteenth Centuries (The Illustrated Beatus, 5)

Faith and Controversy: The Jews of Mediaeval Languedoc

Cyril P. Hershon

Contents:K. A. Smith and Carol H. Krinsky; Lucy Freeman Sandler: An Appreciation J. J. G. Alexander; 'Mansueta Asinella': An Unusual Image of a Book Presentation to Marguerite de France, Duchesse de Savoie (1523-74) J. Backhouse; Patronage and Commemoration in the Beaufort Hours W. Cahn; The Pictorial Epitaph of Lambert of Saint-Bertin M. H. Caviness; Marginally Correct R. K. Emmerson; Visualizing the Vernacular: Middle English Early Fourteenth Century Bilingual and Trilingual Manuscript Illustrations G. B. Guest; Structuring Old Testament History in the Psalter of Louis IX A. B. Hagens; Leaves of a Fourteenth-Century Franco-Flemish Antiphonary Owned by John Ruskin (1819-1900) E. Inglis; The Production and Program of Fouquet's Boccaccio C. M. Kauffmann; An Illustrated Life of Christ in Verse S. L'Engle; The Naked Bishop: Baring the Body to Express the Law M. M. Manion; Imaging the Marvelous and Fostering Marian Devotion: The Miracles de Notre Dame and French Royalty R. Mellinkoff; Two Erotic Women Warriors: Sexy, Violent, and Lethal M. A. Michael; Planning for Style: A Preliminary Reading of the De Lisle Psalter Virgin and Child N. Morgan; The Bohun Apocalypse M. M. Nishimura and David Nishimura; Rabbits, Warrens, and Warenne: The Patronage of the Gorleston Psalter N. F. Regalado; Fortune's Two Crowns: Images of Kingship in Paris, BnF MS fr. 146 Roman de Fauvel J. E. Rosenthal; An Unprecedented Image of Love and Devotion: The Crucifixion In Judith of Flanders' Gospel Book K. L. Scott; The Remains of a Missal: Chetham's Library MS 6713 E. Sears; Scribal Wit in a Manuscript from the Chatelet: Images in the Margins of Boileau's Livre des metiers (Paris, BnF MS fr. 24069) C. R. Sherman; Representations of Maternal and Familial Roles in French Translations of the Pseudo-Aristotelian Economics, Book I J. Stratford and C. Reynolds; The Foyle Breviary and Hours of John, Duke of Bedford, in the British Library W. M. Voelkle; More Medieval Alphabet Soup: Another Unique Catherine Initial From the Mosan Psalter-Hours R. S. Wieck; Trial by Fleur: The Earliest Work by the Master of Walters 219 Bibliography of the Writings of Lucy Freeman Sandler Indexes and other apparatus.

Tributes to Lucy Freeman Sandler: Studies in Illuminated Manuscripts

Smith, Kathryn A.

This study covers the whole of the Middle Ages from the Lindisfarne Gospels to the Reformation and concentrates on the relationship "Text - Image and Viewer". Within a broadly chronological framework, the treatment is thematic from the earliest carved stone crosses, through Anglo-Saxon Old Testament cycles and high medieval Psalters to the painted and carved imagery in the fifteenth-century parish church. Each section is firmly grounded in its historical context and the images are examined for their relationship with the biblical text and for the ways in which they served their patrons and viewers. Naturally enough, much of the imagery is based directly on the narrative books of the Bible but an almost equal part was inspired by commentaries interpreting the symbolism of the text and by apocryphal tales. It is from images, for example, that we know that the ox and ass were present at the Nativity, but they are not mentioned in the Gospels and their presence is derived from early biblical exegesis. As medieval writers freely admitted, the image often has a much more memorable impact than the text. To the viewer, therefore, an image could be, and often was, part of an extensive narrative cycle as well as being endowed with symbolic significance and charged with emotional power as an aid to devotion. For each period and each type of artefact, the viewer or patron is identified, often with surprising results, and his - or more often her - needs discussed. Illuminated manuscripts are the main survivors and their readership was, until the late Middle Ages, essentially clerical or aristocratic. But the same images on a monumental scale on wall paintings or in sculpture or stained glass were seen by all classes of worshippers even if some of the layers of meaning comprehensible to monks and higher clergy remained hidden to the wider lay audience.

Biblical Imagery in Medieval England, 700-1550 (Studies in Medieval and Early Renaissance Art History)

Kauffmann, Michael

The Thornham Parva Retable is Britain's largest and best preserved medieval altarpiece. It was found in a loft above a stable at Thornham Hall in Suffolk in 1927. Soon afterwards it was installed in the small thatched church of St Mary, Thornham Parva. Despite being extensively repainted some time before the end of the eighteenth century, its importance was immediately recognised. In 1987 a detailed study of the Retable in-situ and the Cluny Frontal, now in the Musee National du Moyen Age, Paris, established that both were parts of the altar which was probably made for the Dominican Priory at Thetford. It was saved from destruction after the dissolution of the monasteries in the early 16th century by a local family who adapted it for use as a private altar. The authors hoped that in time further examination and analysis of the Retable would be possible, and suggested a date of 1335-40 on stylistic grounds. After a sustained period of fund raising, the Parochial Church Council entrusted the examination and conservation of the Retable to the Hamilton Kerr Institute, University of Cambridge. It was moved from the church in 1994.This book documents that project. The results of the technical examination are complemented by a series of articles placing the Retable in a technical and art historical context. It was decided to remove the later repaint as the only means to preserve the original paint lying beneath. Far more original paint was found, confirming the results of the initial examination and proposal. Dating of the wooden support suggested that the earliest date of production was probably 1336-40. The altarpiece can now be seen to be of the highest quality and has provided new insights into the sophisticated practice of oil painting in England before the fifteenth century.

The Thornham Parva Retable (Painting and Practice)

Massing, A

This book highlights the importance of secular and profane prints for the reconstruction and understanding of themes popular in the late Middle Ages and early Renaissance, and examines their function as patterns for the other arts, and as sources for moral teaching and entertainment. As successors to the marginal illuminations of medieval manuscripts these prints represent the 'low' arts, and as such have licence for subversion and comedy. They are lower both in medium and subject matter than paintings, concentrating on foolish and sinful behaviour, on world-upside-down situations and on base human passions, all to be discussed as a mirror of human folly and depravity. Indeed, some images cross the barriers of decency, resulting in scatological and grotesque representations. The medieval Church was much exercised by the sin of lust, and women since the Fall were seen as temptresses incarnate, represented on prints as subjugating men, deceiving them and, generally, making fools of them. Peasants, equally lecherous but stupid are depicted carousing at Peasant Festivals, rather than working. Other popular themes are of Wild People, who live in harmony with nature, and protect the procreation of human families, and outcasts, such as beggars, cripples and quacks. Prints also illustrate the historical concerns of the period, such as the Peasants' War in Germany, and the wars in Italy, represented by images of vain soldiers and death. Overall, the picture gained from secular and profane prints is one of humanity abandoning itself to the sins of the flesh and, therefore, folly; real life is in details only, to serve in the interest of a satirical, yet convincing, illustration of the world, often with a didactic aim.

Humour and Folly in Secular and Profane Prints of Northern Europe (1430-1540) (Studies in Medieval and Early Renaissance Art History 35)

Grössinger, Christa

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