History of architecture Books

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Book SynopsisThe twenty-nine Buddhist caves near Ajanta form a devotional complex which ranks as one of the world's most startling achievements, created at the very apogee of India's Golden Age. Ajanta: History and Development, appears as part of the series Handbook of Oriental Studies, present the reader with a systematic treatment of all aspects of the site, the result of forty years of painstaking research in situ by Walter M. Spink. Volume one deals with the historical context in which this dramatic burst of pious activity took place under the reign of Vakataka emperor Harisena, (c. 460 – 477 A.D.), and with the sudden halt of activity almost immediately following the death of the emperor. In surprising detail the relative and absolute chronology of the site can be established from a careful reading of the physical evidence, with consequences for our dating of India’s Golden Age. Ajanta, it appears, is a veritable illustrated history of Harisena’s times, crowded with information on its history, development and how it was used. Originally published in hardcover

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Book SynopsisAjanta:Year by Year is planned as a biography of this remarkable site, starting with the earliest caves, dating from some two thousand years, to its startling renaissance in the brief period between approximately 462 and 480. Concentrating on the excavations of the later period, during the reign of the Vakataka emperor Harisena, it attempts to show how, after a surprising gap of some three hundred years, Ajanta’s proud and pious courtly patrons and its increasingly committed workmen created not only the greatest but the latest monument of India’s Golden Age. Nearly three hundred illustrations, in color and black and white, reveal the exuberant flowering of Ajanta and related Vakataka monuments, as well as the manner of their sudden demise.Trade Review"(..) allows a larger audience to experience Ajanta not as a monolithic manmade wonder but as a site that reveals the complexities of Buddhist artistic and devotional practice in the late fifth century CE." Lisa N. Owen, University of Texas, JAS

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Book SynopsisVolume Two begins with writings by some of the most important critics of Walter Spink's conclusions, interspersed with his own responses, using a thorough analysis of the great Cave 26 to support his assertions. The author then turns to matters of patronage, and to the surprising fact that, unlike most other Buddhist sites, Ajanta was purely "elitist", developed by less than a dozen major patrons. Its brief heyday traumatically ended, however, with the death of the great emperor Harisena in about 477, creating political chaos. Ajanta's anxious patrons now joined in a headlong rush to get their shrines dedicated, in order to obtain the expected merit, before they fled the region, abandoning their caves to the monks and local devotees remaining at the now-doomed site. These "intrusive" new patrons now filled the caves with their own helter-skelter votive offerings, paying no heed to the well-laid plans of the years before. A similar pattern of patronage is to be found in the redecoration of the earlier Hinayana caves, where the careful planning of the work being done during Harisena's reign is suddenly interrupted by a host of individual votive donations. The volume ends with a new and useful editing of Ajanta inscriptions by Richard S. Cohen.

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Book SynopsisDeath and grief have often elicited the response of creativity, from elegies and requiems to memorial architecture. Such artistic expressions of grief form the focus of Grief, Identity, and the Arts, which brings together scholars from the disciplines of musicology, literature, sociology, film studies, social work, and museum studies. While presenting one or more case studies from a range of artistic disciplines, historical periods, or geographical areas, each chapter addresses the interdependence of grief and identity in the arts. The volume as a whole shows how artistic expressions of grief are both influenced by and contribute to constructions of religious, national, familial, social, and artistic identities. Contributors to this volume: Tammy Clewell, Lizet Duyvendak, David Gist, Maryam Haiawi, Owen Hansen, Maggie Jackson, Christoph Jedan, Bram Lambrecht, Carlo Leo, Wolfgang Marx, Tijl Nuyts, Despoina Papastathi, Julia Płaczkiewicz, Bavjola Shatro, Caroline Supply, Nicolette van den Bogerd, Eric Venbrux, Janneke Weijermars, Miriam Wendling, and Mariske Westendorp.Table of ContentsAcknowledgements List of Figures Notes on the Editors and Contributors 1 Grief, Identity, and the Arts in the West: An Introduction  Bram Lambrecht and Miriam Wendling PART 1: Collective Religious Identities Introduction to Part 1 2 The Arts of Inclusion and Exclusion: Funerary Art Taken from the Example of the Municipal Cemetery Tongerseweg Maastricht  Christoph Jedan, Mariske Westendorp and Eric Venbrux 3 Mary’s Grief in 18th-Century Passion Oratorios: Some Notes on Its Confessional and Interconfessional Aspects  Maryam Haiawi 4 The Composer as Intellectual: Biblical Interpretation and Jewish Martyrdom in Alexandre Tansman’s Isaïe le prophète  Nicolette van den Bogerd PART 2: Personal Religious Identities Introduction to Part 2 5 Reaching Towards Heaven: An Examination of Robert Schumann’s Views About Religion in his Requiem in D-Flat Major, Op. 148  Owen Hansen 6 “The Rustling in the Trees Is / Not the Rustling in the Trees / It Is Your Voice”  Mystical Relationality and the Liquid Poetics of Postsecular Mourning in Joost Baars’s Binnenplaats [Enclosure] (2017)  Tijl Nuyts PART 3: National Identities Introduction to Part 3 7 Here is Their Spirit: Contemporary Expressions of Grief at the Australian War Memorial  David Gist 8 Mary Vitali “fidanzata dei morti”: An Investigation into the Genre of Grief Memoirs in Gabriele d’Annunzio’s Fiume  Carlo Leo 9 Politics, Memory, and Grief in Contemporary Albanian Autobiographic Writing  Live to Tell; A True Story of Religious Persecution in Communist Albania by Fr Zef Pllumi  Bavjola Shatro PART 4: Family Identities/The Inner Circle Introduction to Part 4 10 Conjugal Mourning in French Neo-Latin Poetry: A Reading of Louis Des Masures’s Carmen 29  Caroline Supply 11 The Empty Chair in Children’s Picture Books: More Than Just a “Classic Image”  Maggie Jackson 12 The Horror of Grief: Monstrous Effects of Unaddressed Grief in Jennifer Kent’s The Babadook  Julia Paczkiewicz 13 Dutch Mourning Poetry in the 19th Century: The Case of Prudens van Duyse’s Natalia (1842)  Janneke Weijermars PART 5: Social/Societal Identities Introduction to Part 5 14 Mourning Someone You Never Knew: A Gesture of Civilization  Lizet Duyvendak 15 Contested Legacies of Modernist Memorialization: The May 4 Memorial  Tammy Clewell PART 6: Identities of a Genre/Artistic Identity Introduction to Part 6 16 The Elegiac Poetry of Kiki Dimoula and the Visual Arts  Despoina Papastathi 17 Musical Representations of Grief and Death  Wolfgang Marx Index

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Book SynopsisIn honor of eminent archaeologist and historian of ancient Jewish art, Rachel Hachlili, friends and colleagues offer contributions in this festschrift which span the world of ancient Judaism both in Palestine and the Diaspora. Hachlili's distinctive research interests: synagogues, burial sites, and Jewish iconography receive particular attention in the volume. Archaeologists and historians present new material evidence from Galilee, Jerusalem, and Transjordan, contributing to the honoree’s fields of scholarly study. Fresh analyses of ancient Jewish art, essays on architecture, historical geography, and research history complete the volume and make it an enticing kaleidoscope of the vibrant field of scholarship that owes so much to Rachel.Table of ContentsTable of Contents Preface: Ann E. Killebrew, Gabriele Faßbeck and Steven Fine, Ancient Jewish Art and Archaeology: The Contribution of Rachel Hachlili 1. Mordechai Aviam, Two Groups of Non-Figurative Jewish Sarcophagi from Galilee 2. Gideon Avni and Boaz Zissu, The “Tomb of the Prophets” on the Mount of Olives: A Re-Examination 3. John W. Betlyon and Ann E. Killebrew, A Fourth-Century CE Coin Hoard from the Qaṣrin Village 4. Estēe Dvorjetski, Public Health in Ancient Palestine: Historical and Archaeological Aspects of Lavatories 5. Gabriele Faßbeck, “The Longer, the More Happiness I Derive from This Undertaking”: James Simon and Early German Research into Galilee’s Ancient Synagogues 6. Steven Fine, The Open Torah Ark: A Regional Iconographic Type in Late Antique Rome and Sardis 7. Zvi Gal, Tamra: A Late Byzantine–Early Islamic Village in the Eastern Lower Galilee 8. Rivka Gersht and Peter Gendelman, The Amphora and the Krater in Ancient Jewish Art in the Land of Israel 9. Malka Hershkovitz, Local Jewish Oil Lamps of the Second to First Centuries BCE 10. Amos Kloner and Sherry Whetstone, A Burial Complex and Ossuaries of the Second Temple Period on Mount Scopus, Jerusalem 11. Nikos Kokkinos, An Approach to Herodian Peraea 12. Eric C. Lapp, A Jewish Oil Lamp Unearthed at the Red Sea Port of Roman Aila (Aqaba, Jordan) 13. Lee I. Levine, Israelite Art in Context 14. Gabriel Mazor, Imperial Cult in the Decapolis: Nysa-Scythopolis as a Test Case 15. Carol L. Meyers and Eric M. Meyers, Images and Identity: Menorah Representations at Sepphoris 16. David Milson, Some Observations on the “Bema” Platforms in the Ancient Synagogues of Beth Alpha, Chorazin, and Susiya 17. Ronny Reich, Some Notes of the Miqva’ot and Cisterns at Qumran 18. Arthur Segal, Rome, Jerusalem, and the Colosseum

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Book SynopsisVolume 6, in Walter Spink's detailed analysis of the creation and development of the Ajanta caves, during the reign of the emperor Harisena (c.460-c.477) has had a profound and often upsetting impact on the understanding of Indian history in the so-called Golden Age. The author contends that through the discipline of Art History one can in fact change the established view of cultural developments in the crucial "Classic Age" (5th Century CE). One of his major aims is to prove that it was the Vakatakas, under the emperor Harisena, and not the Guptas, that brought Indian culture to its apogee in the late 470s and to show that by analyzing and organizing Ajanta's "defining feature" in revealing developmental sequences, one can support, with specifics, the revolutionary (but now increasingly accepted) "short chronology" for which the author is well known. These "defining features" range from the changing types of Buddha images and living arrangements for the monks, to the precise analysis of the evolution of pillars, doorways, and excavation techniques. The volume also includes, at the start, a discussion of the transforming effect of competition, and finally war, as a key to Ajanta's highly driven development, its florescence, and finally its sad demise.Trade Review"there is no doubt that his work represents a huge contribution to the understanding of the site. (...) certainly the most detailed study of the making of the caves ever conducted." William Dalrymple, New York Review of Books (October 2014)

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Book SynopsisThe twenty-nine Buddhist caves near Ajanta form a devotional complex which ranks as one of the world's most startling achievements, created at the very apogee of India's Golden Age. Ajanta: History and Development, appears as part of the series Handbook of Oriental Studies, present the reader with a systematic treatment of all aspects of the site, the result of forty years of painstaking research in situ by Walter M. Spink. Volume one deals with the historical context in which this dramatic burst of pious activity took place under the reign of Vakataka emperor Harisena, (c. 460 – 477 A.D.), and with the sudden halt of activity almost immediately following the death of the emperor. In surprising detail the relative and absolute chronology of the site can be established from a careful reading of the physical evidence, with consequences for our dating of India’s Golden Age. Ajanta, it appears, is a veritable illustrated history of Harisena’s times, crowded with information on its history, development and how it was used. Originally published in hardcover

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Book SynopsisJerusalem, in her central role for Judaism, Christianity and Islam, became the setting for – or even the protagonist of – oral, written and pictorial narratives. These range from the Bible and Apocrypha, historical and hagiographical texts and legends to accounts of physical, imaginary or spiritual pilgrimage, and related images. Places in and around the city have been associated with narratives and vice versa. This collection of essays discusses the complex entanglements between Jerusalem, as a continuously redefined space, and her narratives, viewed from broad methodological and interdisciplinary perspectives. Studying the manifold ways in which narrative, space and place interact, is fundamental to the understanding of ‘loca sancta traditions’ and the processes of their location and translocation. Contributors are Shulamit Laderman, Gustav Kühnel, Serge Ruzer, George Gagoshidze, Alexei Lidov, Bianca Kühnel, Ariane Westphälinger, Robert Ousterhout, Eva Frojmovic, Katrin Kogman-Appel, Claudia Olk, Ingrid Baumgärtner, Pnina Arad, Annette Hoffmann, Gunnar Mikosch, Barbara Baert, Yamit Rachman-Schrire, Robert Schick, Tim Urban, Mila Horký, Silvan Wagner, Rachel Milstein, Anastasia Keshman and Kai Nonnenmacher.Table of ContentsPreface ...ix List of Illustrations ...xxi Photograph Credits ...xxxiii List of Contributors ...xxxvii PART ONE: DISPLACEMENT, DISSEMINATION, REENACTMENT Jewish and Christian Symbolic Imaging of Jerusalem in the Fourth Century Shulamit Laderman ...3 Architectural mise-en-scene and Pictorial Turns in Jerusalem Gustav Kuhnel† ...21 Jerusalem as Place of Remote Exile: An Inverted Sacred Geography in the Syriac Cave of Treasures Serge Ruzer ...33 Mtskheta–Georgian Jerusalem, Svetitskhoveli George Gagoshidze ...47 A Byzantine Jerusalem.The Imperial Pharos Chapel as the Holy Sepulchre Alexei Lidov ...63 Jerusalem between Narrative and Iconic Bianca Kuhnel ...105 PART TWO: SITE, MEMORY, AUTHENTICATION Real-geographische Gegenwart und biblische Vergangenheit. Die Beschreibung Jerusalems in fruh- und hochmittelalterlichen Pilgerberichten Ariane Westphalinger ...127 The Memory of Jerusalem: Text, Architecture, and the Craft of Thought Robert Ousterhout ...139 Translating Jerusalem: Jewish Authenticators of the Cross Eva Frojmovic ...155 The Temple of Jerusalem and the Hebrew Millennium in a Thirteenth-Century Jewish Prayer Book Katrin Kogman-Appel ...187 PART THREE: MAPPINGS IN TEXTS AND IMAGES The Poetics of Jerusalem in Mandeville’s Travels Claudia Olk ...211 Erzahlungen kartieren.Jerusalem in mittelalterlichen Kartenraumen Ingrid Baumgartner ...231 Mapping Divinity: Holy Landscape in Maps of the Holy Land Pnina Arad ...263 PART FOUR: VOIDS—BETWEEN ABSENCE AND PRESENCE Die Mauern von Jerusalem.Ein Leerraum als Erzahlraum Annette Hofffmann ...279 Von der Anwesenheit einer Abwesenden.Jerusalem in der judischen Bildkultur des Mittelalters Gunnar Mikosch ...301 Noli me tangere.Narrative and Iconic Space Barbara Baert...323 PART FIVE: STONES AND BUILDINGS IN JERUSALEM Evagatorium in Terrae Sanctae […]: Stones Telling the Story of Jerusalem Yamit Rachman-Schrire ...353 Christian Identifijications of Muslim Buildings in Medieval Jerusalem Robert Schick ...367 PART SIX: PICTORIAL AND POETIC SPACES Via Crucis.Verortet Tim Urban ...393 Jerusalem im Bild—Bilder von Jerusalem? Die Pilgerfahrt von Kurfurst Friedrich III.ins Heilige Land 1493 und ihre Darstellungen Mila Horky ...415 Irdisches und himmlisches Jerusalem als Auslagerungsort einer Minnereligion im Herzmaere Konrads von Wurzburg Silvan Wagner ...443 Jerusalem in Islamic Painting: an Object in a Narrative Space Rachel Milstein ...463 Night Flight to Jerusalem—a Narrative for a Far-Away Holy Place Anastasia Keshman ...477 Gefahrdete Einheit.Zur Raumkonzeption in Torquato Tassos Gerusalemme liberata Kai Nonnenmacher ...495 Index ...517

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Book SynopsisToday the bulk of tangible wealth around the globe resides in buildings and physical infrastructure rather than moveable goods. This situation was not always the case. Investing in the Early Modern Built Environment represents the first attempt to delve into the period’s enhanced architectural investment—its successes, its failures, and the conflicts it provoked. Not just cultural but clear economic and environmental reasons existed for a rejection of the new architectural agenda. Whatever its efficacy or flaws, it ultimately served as a model worldwide for cityscapes and housing well into the twentieth century. Contributors include Jordan Sand, Robin Pearson, John Broad, Kiyoko Yamaguchi, Steven W. Hackel, Susan E. Hough, Johnathan Farris, Matthew Mulcahy, Charles Walker, Emma Hart, Chad Anderson, Ross H. Cordy, Grace Karskens, and Carole Shammas.Trade ReviewIt is gratifying to see how the promises of scholarship are sometimes fulfilled. [...] Carol Shammas' new edited volume fulfils such a promise [...]. This is a dense collection, rich in content and theoretical interest. While it is framed primarely for a dedicated readership in architectural history, it has a far wider significance. The eassays work effectively in providing intersecting views of a transformation of the built landscape that, while incomplete and fractured in its impact, constitutet an important part of what we understand of the transition of modernity. Anne Murphy, Itinerario, Vol. 38, No. 1 (2014), pp. 165-168.Table of ContentsGeneral Editor’s Preface List of Illustrations List of Tables List of Contributors Introduction 1. The Early Modern Built Environment Globally: The State of the Field, Carole Shammas PART I: INVESTING IN A “PERMANENT” BUILT ENVIRONMENT: JAPAN VS. ENGLAND 2. Property in Two Fire Regimes: From Edo to Tokyo, Jordan Sand 3. The Impact of Fire and Fire Insurance on Eighteenth-Century English Town Buildings and Populations, Robin Pearson 4. Permanence and Impermanence in Housing Provision for the Eighteenth-Century Rural Poor in England, John Broad PART II: INVESTMENT ABROAD BY THE EMISSARIES OF EUROPEAN EMPIRES 5. The Architecture of the Spanish Philippines and the Limits of Empire, Kiyoko Yamaguchi 6. Shaky Welcome: Seismic Risk and Mission Building on the Pacific Coast 1700-1830, Steven W. Hackel and Susan E. Hough 7. Dwelling Factors: Western Merchants in Canton, Johnathan Farris PART III: SETTLER SOCIETY INVESTMENT 8. That fatall spott”: The Rise and Fall – and Rise and Fall Again – of Port Royal, Jamaica, Matthew Mulcahy 9. Rebuilding the City of Kings: Architecture and Civility in Late- Colonial Lima, Charles Walker 10. The Ambition for an All Brick City: Elites, Builders and the Growth of Eighteenth-Century Charleston, South Carolina, Emma Hart PART IV: SETTLERS, INDIGENOUS SOCIETIES AND CONTROL OF THE BUILT ENVIRONMENT 11. The Built Landscape and the Conquest of Iroquoia 1750-1820, Chad Anderson 12. The Built Environment of Polynesian and Micronesian Stratified Societies in the Early Contact Period, Ross Cordy 13. Naked Possession: Building and the Politics of Legitimate Occupancy in Early New South Wales, Australia, Grace Karskens Concluding Remarks Select Bibliography Index

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Book SynopsisThe growth of princely states in early Renaissance Italy brought a thorough renewal to the old seats of power. One of the most conspicuous outcomes of this process was the building or rebuilding of new court palaces, erected as prestigious residences in accord with the new ‘classical’ principles of Renaissance architecture. The novelties, however, went far beyond architectural forms: they involved the reorganisation of courtly interiors and their functions, new uses for the buildings, and the relationship between the palaces and their surroundings. The whole urban setting was affected by these processes, and therefore the social, residential and political customs of its inhabitants. This is the focus of A Renaissance Architecture of Power, which aims to analyse from a comparative perspective the evolution of Italian court palaces in the Renaissance in their entirety. Contributors are Silvia Beltramo, Flavia Cantatore, Bianca de Divitiis, Emanuela Ferretti, Marco Folin, Giulio Girondi, Andrea Longhi, Marco Rosario Nobile, Aurora Scotti, Elena Svalduz, and Stefano Zaggia.Table of ContentsContents Foreword vii List of Figures x PART 1 Comparative Issues 1 Princes, Towns, Palaces: A Renaissance “Architecture of Power” 3 Marco Folin 2 Medieval Vestiges in the Princely Architecture of the 15th Century 28 Silvia Beltramo 3 The Princely Palace in 15th-Century Italian Architectural Theory 53 Flavia Cantatore 4 Palaces and Palatine Chapels in 15th-Century Italian Dukedoms: Ideas and Experiences 82 Andrea Longhi PART 2 Case Studies 5 “Combining the Old and the New”: The Princely Residences of the Marquises of Saluzzo in the 15th Century 107 Silvia Beltramo 6 The Sforza Castle of Milan (1450–1499) 134 Aurora Scotti 7 Patrician Residences and the Palaces of the Marquis of Mantua (1459–1524) 163 Giulio Girondi 8 The Renewal of Ferrara’s Court Palace under Ercole i d’Este (1471–1505) 187 Marco Folin 9 Architecture of Power: Imola during the Signoria of Girolamo Riario (1473–1488) 216 Stefano Zaggia 10 “Small Mice, Large Palaces”: From Urbino to Carpi 235 Elena Svalduz 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey 263 Emanuela Ferretti 12 The Palace of Nicholas v: Continuity and Innovation in the Vatican Palaces 290 Flavia Cantatore 13 Alfonso i of Naples and the Art of Building: Castel Nuovo in a European Context 320 Bianca de Divitiis 14 The Residences of the Kings of Sicily, from Martin of Aragon to Ferdinand the Catholic 354 Marco Rosario Nobile Bibliography 379 Index of Manuscripts 440 Index of Names 442 Index of Places 461

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Book SynopsisThe articles in Muqarnas 27 address topics such as spolia in medieval Islamic architecture, Islamic coinage in the seventh century, the architecture of the Alhambra from an environmental perspective, and Ottoman–Mamluk gift exchange in the fifteenth century. The volume also features a new section, entitled “Notes and Sources”, with pieces highlighting primary sources such as Akbar’s Kathāsaritsāgara. Muqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts.Table of ContentsCONTENTS Jere L. Bacharach, Signs of Sovereignty: The Shahāda, Qurʾanic Verses, and the Coinage of ʿAbd al-Malik Rina Avner, The Dome of the Rock in Light of the Development of Concentric Martyria in Jerusalem: Architecture and Architectural Iconography Kathryn Blair Moore, Textual Transmission and Pictorial Transformations: The Post-Crusade Image of the Dome of the Rock in Italy Alicia Walker, Middle Byzantine Aesthetics of Power and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites Julia Gonnella, Columns and Hieroglyphs: Magic Spolia in Medieval Islamic Architecture of Northern Syria Elizabeth A. Lambourn, A Self-Conscious Art? Seeing Micro-Architecture in Sultanate South Asia Todd Willmert, Alhambra Palace Architecture: An Environmental Consideration of Its Inhabitation Elias I. Muhanna, The Sultan’s New Clothes: Ottoman–Mamluk Gift Exchange in the Fifteenth Century Persis Berlekamp, The Limits of Artistic Exchange in Fourteenth-Century Tabriz: The Paradox of Rashid al-Din’s Book on Chinese Medicine, Part I Zeynep Tarım ErtuĞ, The Depiction of Ceremonies in Ottoman Miniatures: Historical Record or a Matter of Protocol? Ebba Koch, The Mughal Emperor as Solomon, Majnun, and Orpheus, or the Album as a Think Tank for Allegory NOTES AND SOURCES Heike Franke, Akbar’s Kathāsaritsāgara: The Translator and Illustrations of an Imperial Manuscript Vincenza Garofalo, A Methodology for Studying Muqarnas: The Extant Examples in Palermo Fabrizio Agnello, The Painted Ceiling of the Nave of the Cappella Palatina in Palermo: An Essay on Its Geometric and Constructive Features

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Book SynopsisIn The Imagined and Real Jerusalem in Art and Architecture specialists in various fields of art history, from Early Christian times to the present, articulate a variety of cultural, religious and political implications of the visualization of Jerusalem. This collection of essays calls attention to two axes emerging from the study of Jerusalem in art: on the one hand, the volatile contemporary situation, and on the other hand, the abiding chain of meanings that history imparts to the city. From a contemporary perspective and within a broad historical context, the book discusses in depth a series of Western artworks, artefacts, and buildings providing new insights into memory processes and mechanisms of representation of Jerusalem.Table of ContentsContents Acknowledgements List of Illustrations List of Contributors Introduction – Recollection in Patches Part 1 - Competing Memories and Contrasting Meanings 1 Sites and Senses: Mapping Palestinian Territories in Mona Hatoum’s Sculpture Present Tense Anneke Schulenberg 2 The Green Line: Potency, Absurdity, and Disruption of Dichotomy in Francis Alÿs’s Intervention in Jerusalem Mette Gieskes 3 Jerusalem as Trauerarbeit: On Two Paintings by Anselm Kiefer and Gerhard Richter Wouter Weijers 4 Ezekiel for Solomon: The Temple of Jerusalem in Seventeenth-century Leiden and the Case of Cocceius Jeroen Goudeau 5 Jerusalem as Palimpsest: The Architectural Footprint of the Crusaders in the Contemporary City Mariëtte Verhoeven 6 Translations of the Sacred City between Jerusalem and Rome Sible de Blaauw Part 2 - Imitation and Translocation 7 The Reconquered Jerusalem Represented: Tradition and Renewal on Pilgrimage Ampullae from the Crusader Period Katja Boertjes 8 ‘As if they had physically visited the holy places’: Two Sixteenth-century Manuscripts Guide a Mental Journey through Jerusalem (Radboud University Library, Mss 205 and 233) Hanneke van Asperen 9 Jerusalem in Renaissance Italy: The Holy Sepulchre on the Sacro Monte of Varallo Bram de Klerck 10 Overdetermination of a Heavenly Jerusalem: Contemporary Windows by Gérard Garouste and Jean-Michel Alberola Daan Van Speybroeck 11 ‘You want to take us to Jerusalem …’: Medinat Weimar: A Second Jerusalem in Contemporary Visual Arts and Klezmer Songs Rudie van Leeuwen Index

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Book SynopsisThis volume proposes a renewed way of framing the debate around the history of medieval art and architecture to highlight the multiple roles played by women. Today’s standard division of artist from patron is not seen in medieval inscriptions—on paintings, metalwork, embroideries, or buildings—where the most common verb is 'made' (fecit). At times this denotes the individual whose hands produced the work, but it can equally refer to the person whose donation made the undertaking possible. Here twenty-four scholars examine secular and religious art from across medieval Europe to demonstrate that a range of studies is of interest not just for a particular time and place but because, from this range, overall conclusions can be drawn for the question of medieval art history as a whole. Contributors are Mickey Abel, Glaire D. Anderson, Jane L. Carroll, Nicola Coldstream, María Elena Díez Jorge, Jaroslav Folda, Alexandra Gajewski, Loveday Lewes Gee, Melissa R. Katz, Katrin Kogman-Appel, Pierre Alain Mariaux, Therese Martin, Eileen McKiernan González, Rachel Moss, Jenifer Ní Ghrádaigh, Felipe Pereda, Annie Renoux, Ana Maria S. A. Rodrigues, Jane Tibbetts Schulenburg, Stefanie Seeberg, Miriam Shadis, Ellen Shortell, Loretta Vandi, and Nancy L. Wicker.Trade Review"...A marker of the shared enterprise of the contributors to this volume was their formation of the common goal, that of producing a work that was not simply an accumulation of evidence for feminine agency in the making of medieval art, but a step towards an understanding of the way the study of women as “makers” can produce meaning, and be understood in the larger context of making art in the Middle Ages. At the heart of this project is, then, a shared understanding that, in Martin’s words: conceiving, founding, paying for and fabricating a work of art or architecture were all recognized in the Middle Ages as something that today we would equate with creativity… The result –24 articles in two weighty, lavishly documented and illustrated volumes– demonstrates a lively variety of approaches to the study of female agency in the arts… To bring together these scholars and their work was a formidable challenge, and Martin has brought us a valuable reference that enriches our understanding of the whole of Medieval Art." Jerrilynn Dodds, Anuario de Estudios Medievales 44/1 (2014) “...Incorporating a dazzling array of subjects and approaches, and ranging across Jewish, Christian, Viking, and Islamic Europe, as well as the Kingdom of Jerusalem, the twenty-four essays gathered here demonstrate the richness of medieval women’s artistic activities, establishing beyond any doubt the centrality of women to the history of art… The richness of these two volumes can hardly be addressed in a short review. The breadth of subjects, analytical rigor, and methodological reach are witness to the richness of scholarship on medieval women and art, and a testament to the editorial guidance of Therese Martin, whose introduction establishes clear questions and interpretative themes as parameters for the volume as a whole… Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture is an ambitious collection that will be welcomed by scholars of art, history, religion, and women’s studies, as well as by interested general readers, who will find in its two volumes much to ponder, delight, and surprise." Fiona Griffiths, Studies in Iconography, vol. 35 (2014). "Therese Martin rightly notes in her introductory essay that the history of medieval art to date is largely a history of men. Art and architecture has been seen as being made by and for men, with masculine status routinely assigned to all unascribed works. This vast and highly scholarly collection of essays and illustrations seeks to restore women’s important presence to the history of art...The erudition of the collection is admirable, and several of the essays are certainly worthy of being expanded into monographs. They offer an energetic engagement with gender issues alongside the deepest analysis of a large number of works and their “makers.” A vast bibliography, useful indices and nearly 300 fine color and black-and-white illustrations add to its value, which is unlikely to surpass in a generation. “Anonymous” will indeed no longer be presumed to be male." Lesley Pattinson, Sixteenth Century Journal, 44/4 (2013): 1089-1091 "That this collection and its individual contributions have stimulated a review of this length [15 pages] is a testament to their value, interest, and quality. But it is not enough either to praise the authors for their service to the discipline in contributing such fine, thoughtful essays, nor to laud Martin for conceiving this project and shepherding it through to publication. Through their sustained emphasis on and attention to women’s artistic agency, Martin and her contributors have challenged us to conceive medieval art and architecture through a fundamentally different lens, one that naturalizes women’s contributions to and participation in their ‘making’. In this, Reassessing the Roles of Women as ‘Makers’ of Medieval Art and Architecture is a milestone not only in the study of medieval women in art history, but also in medieval art history tout court. Now that Martin and her authors have thrown down the gauntlet, are medievalists ready to take it up?" Kathryn A. Smith, Journal of Art Historiography, number 9 (December 2013): 1-15; http://arthistoriography.files.wordpress.com/2013/12/smith-rev.pdf “Reassessing the Roles of Women as “Makers” of Medieval Art and Architecture, edited by Therese Martin, makes a substantial contribution to the literature on women’s involvement in medieval artistic production…The essays collectively challenge a range of assumptions about medieval women’s roles in processes of artistic production… In focusing on women as the “makers” of medieval art, the essays treat women as both artists and patrons and consider the relationship between those two roles.” Marian Bleeke, Medieval Feminist Forum, 49.1 (Summer 2013)" The contributions "...collectively mark a valuable addition to scholarship on women as artists and patrons of medieval art, above all, in their emphasis on neglected topics such as women as patrons of architectural projects and women as artists at the periphery of western Europe, i.e. in the Iberian peninsula, Ireland, Scandinavia, and the Holy Land. ... The colour plates and black and-white figures provide a treasure trove of unfamiliar material, of which surely one of the most extraordinary is the jagged, irregular fourteenth-century reliquary of the Holy Cross, perhaps a pastiche made of silver and coral and bearing the arms of Aragon and Portugal, which is connected to the patronage of Isabel, daughter of Pere III of Aragon and Constanza Hohenstaufen. This and many other remarkable objects discussed here deserve to enter the mainstream of art history..." Jeffrey F. Hamburger, Medium Aevum vol. 82, issue 1, p. 179 (Spring-Summer 2013). "...It is a useful handbook for those who have never dealt with the subject because it gives an overview of the role of women in art production in the middle ages. And for the experienced researcher it gives a collection of female roles he needs to be aware of when approaching any new object because information on gender of the artist/patron or the related prejudice can have significant impact on the interpretation of any work of art..." Silvija Juraic, Hortus Artium Medievalium, Vol. 19, May 2013 “…esta obra que se va a convertir rápidamente en la referencia obligada para, como queda claro desde el mismo título, revaluar el papel de las mujeres como artífices del arte y de la arquitectura medieval… Me quedo, sin embargo, con aparentemente la [conclusión] más obvia y sin embargo la más sofisticada, compleja y desmitificadora: gracias a investigaciones como las que aquí se recogen, ya no se puede seguir asumiendo que ‘Anónimo’ es un nombre de hombre." Ana Rodríguez, Arenal 19/1 (2012) "...These two volumes, beautifully illustrated, are divided into the following parts: 1. display and concealment; 2. ownership and community; 3. collaboration and authorship; 4. family and audience; 5. piety and authority; and memory and motherhood… Every author has researched his or her topic to a great extent; these are not short and quickly written conference papers. The editor deserves great recognition for her stewardship in getting these volumes to the point where they are, representing excellent, up-to-date scholarship on this cutting-edge topic… Altogether, these two volumes represent an important milestone in research on medieval artists and patrons." Albrecht Classen, Mediaevistik 25 (2012)Table of ContentsCONTENTS List of Color Plates ix Color Plates following xii List of Black and White Illustrations xiii Acknowledgments xxxi Contributors’ Biographies xxxiii Map xl 1. Exceptions and Assumptions: Women in Medieval Art History 1 Therese Martin Part One: DISPLAY AND CONCEALMENT 2. The Non-Gendered Appeal of Vierge Ouvrante Sculpture: Audience, Patronage, and Purpose in Medieval Iberia 37 Melissa R. Katz 3. Mere Embroiderers? Women and Art in Early Medieval Ireland 93 Jenifer Ní Ghrádaigh 4. Erasures and Recoveries of Women’s Contributions to Gothic Architecture: The Case of Saint-Quentin, Local N obility, and Eleanor of Vermandois 129 Ellen M. Shortell 5. The Roles of Women in Late Medieval Civic Pageantry in England 175 Nicola Coldstream Part Two: OWNERSHIP AND COMMUNITY 6. The Patronage Question under Review: Queen Blanche of Castile (1188–1252) and the Architecture of the Cistercian Abbeys at Royaumont, Maubuisson, and Le Lys 197 Alexandra Gajewski 7. Female Piety and the Building and Decorating of Churches, ca. 500–1150 245 Jane Tibbetts Schulenburg 8. ‘Planters of great civilitie’: Female Patrons of the Arts in Late Medieval Ireland 275 Rachel Moss 9. Reception, Gender, and Memory: Elisenda de Montcada and Her Dual-Effigy Tomb at Santa Maria de Pedralbes 309 Eileen McKiernan González Part Three: COLLABORATION AND AUTHORSHIP 10. Women as Makers of Church Decoration: Illustrated Textiles at the Monasteries of Altenberg/Lahn, Rupertsberg, and Heiningen (13th–14th c.) 355 Stefanie Seeberg 11. Women in the Making: Early Medieval Signatures and Artists’ Portraits (9th–12th c.) 393 Pierre Alain Mariaux 12. Melisende of Jerusalem: Queen and Patron of Art and Architecture in the Crusader Kingdom 429 Jaroslav Folda 13. Women and the Architecture of al-Andalus (711–1492): A Historiographical Analysis 479 María Elena Díez Jorge Part Four: FAMILY AND AUDIENCE 14. Portrayals of Women with Books: Female (Il)literacy in Medieval Jewish Culture 525 Katrin Kogman-Appel 15. Patterns of Patronage: Female Initiatives and Artistic Enterprises in England in the 13th and 14th Centuries 565 Loveday Lewes Gee 16. Concubines, Eunuchs, and Patronage in Early Islamic Cordoba 633 Glaire D. Anderson 17 The First Queens of Portugal and the Building of the Realm 671 Miriam Shadis Part Five: PIETY AND AUTHORITY 18. Subversive Obedience: Images of Spiritual Reform by and for Fifteenth-Century Nuns 705 Jane Carroll 19. Elite Women, Palaces, and Castles in Northern France (ca. 850–1100) 739 Annie Renoux 20. Redressing Images: Conflict in Context at Abbess Humbrina’s Scriptorium in Pontetetto (Lucca) 783 Loretta Vandi 21. Emma of Blois as Arbiter of Peace and the Politics of Patronage 823 Mickey Abel Part Six: MEMORY AND MOTHERHOOD 22. Nimble-fingered Maidens in Scandinavia: Women as Artists and Patrons 865 Nancy L. Wicker 23. The Treasures and Foundations of Isabel, Beatriz, Elisenda, and Leonor: The Art Patronage of Four Iberian Queens in the Fourteenth Century 903 Ana Maria S.A. Rodrigues 24. Liturgy as Women’s Language: Two Noble Patrons Prepare for the End in Fifteenth-Century Spain 937 Felipe Pereda Bibliography 989 Index of People 1069 Index of Places 1091 Index of Subjects 1100

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Book SynopsisIn this paradigm shifting study, developed through close textual readings and sensitive analysis of artworks, Clare Lapraik Guest re-evaluates the central role of ornament in pre-modern art and literature. Moving from art and thought in antiquity to the Italian Renaissance, she examines the understandings of ornament arising from the Platonic, Aristotelian and Sophistic traditions, and the tensions which emerged from these varied meanings. The book views the Renaissance as a decisive point in the story of ornament, when its subsequent identification with style and historicism are established. It asserts ornament as a fundamental, not an accessory element in art and presents its restoration to theoretical dignity as essential to historical scholarship and aesthetic reflection.Trade Review“substantial, deeply learned study […] excellent book […]. One is grateful for the indexes of names, places and subjects which will guide consultation and re-reading. And the illustrations are so apt and so beautiful, and bring together so many of the theoretical and physical elements, that they form a harmonious accompaniment that is also a constant source of astonishment.” - Eiléan Ní Chuilleanáin, Trinity College Dublin (Emeritus), in: Óenach: JFMRSI Reviews 8.1 (2016), pp. 12-19Table of ContentsAbbreviations List of illustrations Acknowledgements Introduction PART ONE ANCIENT PROLEGOMENA Chapter 1 Kosmos Chapter 2 Rhetoric and Illusion Chapter 3 Cosmic Décor PART TWO FRAGMENT AND DESIGN Chapter 4 Architecture and the City Chapter 5 Garland and Mosaic in literary Humanism Chapter 6 Topics and Style Chapter 7 Ornament and Disegno, Colour and Perspective Chapter 8 The City recovered, Triumph and Time Chapter 9 The Emblematic Continuum Chapter 10 Spolia and Ornamental Design Chapter 11 The Grottesche Part 1. Fragment to Field Chapter 12 The Grottesche Part 2. Signs, Topography and the Dream of Painting Conclusion Bibliography Index

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Book SynopsisIn Conquest and Construction Mark Dike DeLancey investigates the palace architecture of northern Cameroon, a region that was conquered in the early nineteenth century by primarily semi-nomadic, pastoralist, Muslim, Fulɓe forces and incorporated as the largest emirate of the Sokoto Caliphate. Palace architecture is considered first and foremost as political in nature, and therefore as responding not only to the needs and expectations of the conquerors, but also to those of the largely sedentary, agricultural, non-Muslim conquered peoples who constituted the majority population. In the process of reconciling the cultures of these various constituents, new architectural forms and local identities were constructed.Trade Review[...] 'this study furthermore emphasizes that architecture, African no less than any other, must be contextualized in order to better comprehend the history of forms and architectural decisions'. Syprien Christian Zogo, Laval University, in African Studies Quarterly, Volume 17, Issue 4, February 2018, pp. 121-122Table of ContentsAcknowledgements Transcription, Translation, and Transliteration Introduction Chapter One: Architectural Form Chapter Two: Political Symbolism Chapter Three: Spatial Orientation Chapter Four: Ritual Movement Chapter Five: Secrecy Conclusion Bibliography Index

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