History of art Books

Book SynopsisIlluminating Leonardo opens the new series Leonardo Studies with a tribute to Professor Carlo Pedretti, the most important Leonardo scholar of our time, with a wide-ranging overview of current Leonardo scholarship from the most renowned Leonardo scholars and young researchers. Though no single book could provide a comprehensive overview of the current state of Leonardo studies, after reading this collection of short essays cover-to-cover, the reader will come away knowing a great deal about the current state of the field in many areas of research. To begin the series, editors Constance Moffatt and Sara Taglialagamba present an impressive group of essays that offer fresh ideas as a departure point for future studies. Contributors include Andrea Bernardoni, Pascal Broist, Alfredo Buccaro, Francesco Paolo di Teodoro, Claire Farago, Francesca Fiorani, Fabio Frosini, Sabine Frommel, Leslie Geddes, Damiano Iacobone, Martin Kemp, Matthew Landrus, Domenico Laurenza, Pietro C. Marani, Max Marmor, Constance Moffatt, Romano Nanni, Annalisa Perissa-Torrini, Paola Salvi, Richard Schofield, Sara Taglialagamba, Carlo Vecce, Alessandro Vezzosi, Marino Viganò, and Joanna Woods-Marsden.Table of ContentsPrefaces List of Figures Introduction Constance Moffatt and Sara Taglialagamba Part 1 Books and Influence 1 One for the Books: A Bibliographical ‘Gleaning’ for CP Max Marmor 2 The Codex Corazza and Zaccolini’s Treatises in the Project of Cassiano dal Pozzo for the Spreading of Leonardo’s Works Alfredo Buccaro 3 A Copy of Sacrobosco’s Sphaera in Mirror Script Attributed to Matteo Zaccolini Domenico Laurenza Part 2 Dissemination of Knowledge 4 A Short Note on Artisanal Epistemology in Leonardo’s Treatise on Painting Claire Farago 5 Leonardo’s Cartonetti for Luca Pacioli’s Platonic Bodies Pietro Marani Part 3 Architecture 6 Giuliano da Sangallo and Leonardo da Vinci: Cross-Pollination or Parallels? Sabine Frommel 7 Evidence of Leonardo’s Systematic Design Process for Palaces and Canals in Romorantin Matthew Landrus 8 Vitruvius in the Trattato dell’Architettura by Luca Pacioli Francesco Di Teodoro 9 Notes on Leonardo and Vitruvius Richard Schofield Part 4 Painting and Drawing 10 Why Did Leonardo Not Finish the Adoration of the Magi? Francesca Fiorani 11 “Here’s Looking at You” The Cartoon for the So-called ‘Nude Mona Lisa’ Martin Kemp 12 Leonardo da Vinci’s Mona Lisa: A Portrait without a Commissioner? Joanna Woods-Marsden 13 Leonardo’s Followers in Lombardy: Girolamo and Giovan Ambrogio Figino Annalisa Perissa Torrini Part 5 Machines 14 A Machine to Build Artilleries Andrea Bernardoni 15 Bombards and Noisy Bullets: Pietro Monte and Leonardo da Vinci’s Collaboration Pascal Brioist 16 Leonardo and the Artes Mechanicae Romano Nanni Part 6 Sculpture 17 “The Sculptor Says” Leonardo and Gian Cristoforo Romano Carlo Vecce 18 Leonardo and the Trivulzio Monument: Some Questions and Evidence (1507–1518) Marino Viganò Part 7 Science and Nature: The Body, the Body of the Earth 19 The Midpoint of the Human Body in Leonardo’s Drawings and in the Codex Huygens Paola Salvi 20 Drawing Bridges: Leonardo da Vinci on Mastering Nature Leslie Geddes 21 Leonardo da Vinci’s Hydraulic Systems and Fountains for His French Patrons Louis XII, Charles D’Amboise and Francis I: Models, Influences, and Reprises Featured in the Art of Garden Design Sara Taglialagamba 22 Pyramids, Rays and “Spiritual Powers”: Leonardo’s Research during the Last Decade of the Fifteenth Century Fabio Frosini 23 A Hydraulic System Drawing by Leonardo: Some Evaluations Damiano Iacobone 24 Leonardo’s Maps Constance Moffatt 25 Sightings, Mistakes and Discoveries al verso Alessandro Vezzosi Essential Bibliography Index

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Book SynopsisIn Faces of Charisma: Image, Text, Object in Byzantium and the Medieval West, a multi-disciplinary group of scholars advances the theory that charisma may be a quality of art as well as of person. Beginning with the argument that Weberian charisma of person is itself a matter of representation, this volume shows that to study charismatic art is to experiment with a theory of representation that allows for the possibility of nothing less than a breakdown between art and viewer and between art and lived experience. The volume examines charismatic works of literature, visual art, and architecture from England, Northern Europe, Italy, Ancient Greece, and Constantinople and from time periods ranging from antiquity to the beginning of the early modern period. Contributors are Joseph Salvatore Ackley, Paul Binski, Paroma Chatterjee, Andrey Egorov, Erik Gustafson, Duncan Hardy, Stephen Jaeger, Jacqueline E. Jung, Lynsey McCulloch, Martino Rossi Monti, Gavin Richardson, and Andrew Romig.

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Book SynopsisTerence between Late Antiquity and the Age of Printing investigates the Medieval and Early Renaissance reception of Terence in highly innovative ways, combining the diverse but interrelated strands of textual criticism, illustrative tradition, and performance. The plays of Terence seem to have remained unperformed until the Renaissance, but they were a central text for educators in Western Europe. Manuscripts of the plays contained scholarship and illustrations which were initially inspired by Late Antique models, and which were constantly transformed in response to contemporary thought. The contributions in this work deal with these topics, as well as the earliest printed editions of Terence, theatrical revivals in Northern Italy, and the readership of Terence throughout the Early Middle Ages.Table of ContentsContents Preliminary Matter Preface List of Figures List of Abbreviations List of Contributors Chapter 1: Introduction Text and Images Chapter 2: Bernard J. Muir, “Terence’s Comedies: Development, Transmission, and Transformation” Chapter 3: Beatrice Radden-Keefe, “Illustrating the Manuscripts of Terence” Chapter 4: James H. Kim On Chong-Gossard, “Thais Walks the German Streets: Text, Gloss, and Illustration in Neidhart’s 1486 German Edition of Terence’s Eunuchus” Scholarship Chapter 5: Salvatore Monda, “Terence Quotations in Latin Grammarians: Shared and Distinguishing Features” Chapter 6: Andrew J. Turner, “Problems with the Terence Commentary Traditions: The Oedipus Scholion in BnF, lat. 7899” Text and Performance Chapter 7: Chrysanthi Demetriou, “Donatus’ Commentary: The Reception of Terence’s Performance” Chapter 8: Gianni Guastella, “Ornatu prologi: Terence’s Prologues on the Stage/on the Page” Chapter 9: Giulia Torello-Hill, “The Revival of Classical Roman Comedy in Renaissance Ferrara: From the Scriptorium to the Stage” Readerships Chapter 10: Claudia Villa, “Terence’s Audience and Readership in the Ninth to Eleventh Centuries” Bibliography

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Book SynopsisBenvenuto Cellini’s Perseus and Medusa, one of Renaissance Italy’s most complex sculptures, is the subject of this study, which proposes that the statue’s androgynous appearance is paradoxical. Symbolizing the male ruler overcoming a female adversary, the Perseus legitimizes patriarchal power; but the physical similarity between Cellini’s characters suggests the hero rose through female agency. Dr. Corretti argues that although not a surrogate for powerful Medici women, Cellini’s Medusa may have reminded viewers that Cosimo I de’ Medici’s power stemmed in part from maternal influence. Drawing upon a vast body of art and literature, Dr. Corretti concludes that Cellini and his contemporaries knew the Gorgon as a version of the Earth Mother, whose image is found in art for Medici women.Table of ContentsContents Prologue vii List of Figures xvi xviii 1 The Story of Perseus and Medusa, an Interpretation of Its Meaning, and the Topos of Decapitation 1 2 Cellini’s Perseus and Medusa : The Paradigm of Control 17 3 Renaissance Political Theory and Paradoxes of Power 57 4 The Goddess as Other and Same 92 5 The Sexual Symbolism of the Perseus and Medusa 104 6 The Public Face of Justice 109 7 Classical and Grotesque Polities 127 8 Eleonora di Toledo and the Image of the Mother Goddess 137 Conclusion 154 Bibliography 157 Index 173

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Book SynopsisByzantium/Modernism features contributions by fourteen international scholars and brings together a diverse range of interdisciplinary essays on art, architecture, theatre, film, literature, and philosophy, which examine how and why Byzantine art and image theory can contribute to our understanding of modern and contemporary visual culture. Particular attention is given to intercultural dialogues between the former dominions of the Byzantine Empire, with a special focus on Greece, Turkey, and Russia, and the artistic production of Western Europe and America. Together, these essays invite the reader to think critically and theoretically about the dialogic interchange between Byzantium and modernism and to consider this cross-temporal encounter as an ongoing and historically deep narrative, rather than an ephemeral or localized trend. Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.Trade Review"[This book] offer[s] a multi-disciplinary view of subjects as varied as historiography, art history, architecture, stage design, psychoanalytic thought and theology." Joseph Masheck and Edmund Ryder, Art and Christianity, No. 88, Winter 2016 '' A remarkable and remarkably wide-ranging collection, then, and one that will provide at least some food for thought for anyone with an interest in the continuing contemporary cultural dialogue with Byzantium. In addition, it provides an essential springboard for further reflection on the themes it addresses, and its methdological breadth is encouraging, if at times disconcerting; but to be disconcerted is often valuable for stimulating thought, and that is one objective that this book accomplishes triumphantly''. Ivan Moody, in Journal of International Society for Orthodox Music vol.2 (2016).Table of ContentsContents Acknowledgments IX Preface XI List of Illustrations XV List of Contributors XIX Explanation of the Cover XXIII Part 1 Byzantium and Modernism Introduction: Byzantium and Modernism 1 Maria Taroutina Section 1 The Avant-Gardes and Their Counter Movements 1 Modernism’s Byzantium Byzantium’s Modernism 15 Robert S. Nelson 2 Kazimir Malevich and the Liturgical Tradition of Eastern Christianity 37 Myroslava M. Mudrak Section 2 Modernism’s Precursors 3 Arts and Crafts and the ‘Byzantine’: The Greek Connection 75 Dimitra Kotoula 4 Archaeology of Decadence: Uncovering Byzantium in Victorien Sardou’s Theodora 102 Elena N. Boeck Section 3 Byzantine Tactics, Modernist Strategies in Architectural Discourse 5 Abstraction’s Economy: Hagia Sophia in the Imaginary of Modern Architecture 135 Tulay Atak 6 Byzantine Architecture: A Moving Target? 163 Robert Ousterhout Part 2 The Slash as Method Introduction: The Slash as Method 179 Roland Betancourt Section 4 Reading across Time: Modern Subjects, Byzantine Objects 7 Byzantium and the Modernist Subject: The Case of Autobiographical Literature 195 Stratis Papaioannou 8 One Fish Two Fish Red Fish Blue Fish: Byzantine Visual Structures in the Light of Twentieth-Century Practice and Theory 212 Anthony Cutler Section 5 Byzantine New Media: The Photographic and Filmic Icon 9 Iconicity of the Photographic Image: Theodore of Stoudios and Andre Bazin 237 Devin Singh 10 Tarkovsky: Embodying the Screen 254 Marie-José Mondzain Section 6 Presence, Representation, and the Gaze: The Byzantine at the Ends of Modernity 11 ‘Action-Paradise’ and ‘Readymade Reliquaries’: Eccentric Histories in/ of Recent Russian Art 271 Jane A. Sharp 12 Lacan and Byzantine Art: In the Beginning was the Image 311 Rico Franses 13 Beyond Representation/The Gift of Sight 330 Charles Barber CODA 14 We Have Never been Byzantine: On Analogy 349 Glenn Peers Select Bibliography 361 Index 367

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Book SynopsisThis volume brings together some of the most exciting new scholarship on these themes, and thus pays tribute to the ground-breaking work of Charles Zika. Seventeen interdisciplinary essays offer new insights into the materiality and belief systems of early modern religious cultures as found in artworks, books, fragmentary texts and even in Protestant ‘relics’. Some contributions reassess communal and individual responses to cases of possession, others focus on witchcraft and manifestations of the disordered natural world. Canonical figures and events, from Martin Luther to the Salem witch trials, are looked at afresh. Collectively, these essays demonstrate how cultural and interdisciplinary trends in religious history illuminate the experiences of early modern Europeans. Contributors: Susan Broomhall, Heather Dalton, Dagmar Eichberger, Peter Howard, E. J. Kent, Brian P. Levack, Dolly MacKinnon, Louise Marshall, Donna Merwick, Leigh T.I. Penman, Shelley Perlove, Lyndal Roper, Peter Sherlock, Larry Silver, Patricia Simons, Jennifer Spinks, Hans de Waardt and Alexandra Walsham.Trade Review“a fitting tribute to the career of a pathbreaking scholar.” Michael D. Bailey, Iowa State University. In: Renaissance Quarterly, Vol. 69, No. 3 (Fall 2016), pp. 1048-1049.Table of ContentsIntroduction Scholarship, Friendship and Border-Crossing Jennifer Spinks and Dagmar Eichberger Part I: Supernatural Agency and Communities of Belief The Collaboration From Hell: A plague strike force at S. Pietro in Vincoli, Rome Louise Marshall The Demonic Possession of Richard Dugdale Brian P. Levack Salem Girls (1692): Problems of gender and agency E. J. Kent “Ringing of the bells by four white spirits”: Two seventeenth-century English earwitness accounts of the supernatural in print culture Dolly MacKinnon Part II: Religion and Cultural Authority “It is a great disgrace for our city”: Archbishop Antoninus and heresy in Renaissance Florence Peter Howard Endor and Amsterdam: The image of witchcraft as a weapon in the political arena Hans de Waardt Deep Down in Spirituality: Efforts of seventeenth-century New Netherlanders to access God Donna Merwick Paraluther: Explaining an unexpected portrait of Paracelsus in Andreas Hartmann’s Curriculum vitae Lutheri (1601) Leigh T. I. Penman Part III: The (Un)natural World “Making feast of the prisoner”: Roger Barlow, Hans Staden and ideas of New World cannibalism Heather Dalton Signs that Speak: Reporting the 1556 comet across French and German borders Jennifer Spinks Disorder in the Natural World: The perspectives of the sixteenth-century provincial convent Susan Broomhall De Profundis: Linear Leviathans in the Lowlands Larry Silver The Ferocious Dragon and the Docile Elephant: The unleashing of sin in Rembrandt’s Garden of Eden Shelley Perlove Part IV: Artefacts and Material Culture Salience and the Snail: Liminality and incarnation in Francesco del Cossa’s Annunciation (c. 1470) Patricia Simons Luther Relics Lyndal Roper The Art of Making Memory: Epitaphs, tables and adages at Westminster Abbey Peter Sherlock The Pope’s Merchandise and the Jesuits’ Trumpery: Catholic relics and Protestant polemic in post-Reformation England Alexandra Walsham 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 SynopsisThe Apostles in Early Christian Art and Poetry presents the first in-depth analysis of the origins of the representation of the apostles (the twelve disciples and Paul) in verse and image in the late antique Greco-Roman world (250-400). Especially in the West, the apostles are omnipresent, in particular on sarcophagi and in Biblical and martyr poetry. They primarily function as witnesses of Christ’s stay on earth, but Peter and Paul are also popular saints of their own. Occasionally, the other apostles come to the fore as individual figures. Direct influence from art on poetry or vice versa appears to be difficult to trace, but principal developments of late antique society are reflected in the representation of the apostles in both media.Trade Review'This work has much to commend it. It is both ambitious and, as regards a study of early Christian poetry, admirably thorough. It is accompanied by an extensive bibliography, appendices, and 50 illustrations, most in color.' Robin M. Jensen, University of Notre Dame, Bryn Mawr Classical Review 2017.02.55 'This wonderful, learned book [...] provides a feast for anyone who takes an interest in early Christian literary and material culture, or in the development of apostolic tradition before 400.' Jane Heath, Durham University, Expository Times 128, 2017.08.407Table of ContentsContents Introduction 1 Early Christian Poets and the Apostles 1.1 Commodianus 1.2 Juvencus 1.3 Proba 1.4 The Hymnum dicat turba fratrum or Hymnus de Christo 1.5 Damasus 1.6 Ambrose 1.7 Claudian 1.8 Amphilochius of Iconium 1.9 Gregory of Nazianzus 1.10 Prudentius 1.11 Paulinus of Nola 1.12 The Oratio consulis Ausonii versibus rhopalicis 1.13 Synthesis: The Apostles in Early Christian Poetry 270 2 Art, Poetry and the Apostles 2.1 The Apostles and the Canon 2.2 The Apostles and Non-Canonical Traditions 2.3 Concluding Remarks General Conclusion Appendix 1: Overview of Canonical References to the Apostles in Art and Poetry Appendix 2: Overview of Non-Canonical References to the Apostles in Art and Poetry Appendix 3: Figures

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Book SynopsisThe tenth and eleventh centuries are pivotal for the history of the West. The writings of Ademar of Chabannes, many of which are still unpublished, offer numerous insights into why these changes were occurring. Because his promotion of the cult of St. Martial of Limoges contains much that is exaggerated or even untrue, his writings have been viewed with suspicion. What this book seeks to do is make clear that such distrust is justified, but that there is much material in those manuscripts throwing light on the origins of the crusades, the rise of heresy, the great feudal warfare and the reality of apocalyptic fear.Trade Review“thoughtful and deeply learned” G.A. Loud, University of Leeds. In: Journal of Ecclesiastical History, Vol. 68. No. 4 (October 2017), pp. 840-841.Table of ContentsList of Images Abbreviations Preface Chapter One - Background: The Attraction of Jerusalem for Pilgrims in the Tenth and Eleventh Centuries Chapter Two - Ademar of Chabannes: His Life and Writings Chapter Three - Ademar on the Celebration of the Cross by Constantine, Heraclius, and Charlemagne Chapter Four - Jerusalem Pilgrims from the West Frankish Kingdom in the Tenth and Early Eleventh Centuries in Ademar’s Writings Chapter Five - Ademar’s Alpha Perspective on Jerusalem and the Cross Chapter Six - Ademar’s Omega Perspective on Jerusalem and the Cross Chapter Seven - Ademar’s Own Pilgrimage to Jerusalem in 1033 and His Death Chapter Eight - Conclusion Index

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Book SynopsisFocusing on the role of arts in the construction of national identity, Suzanne Pourchier-Plasseraud has chosen to study the case of a country lacking an ancient state history of its own, Latvia. This book analyses the part played by the visual arts in transmuting the cultural concept of a nation, advocated by a small intelligentsia, into a widespread claim for independence. By the end of the 19th century, fretting under Russian political domination and German economic and cultural supremacy, the Latvians turned back to their own language, culture and folklore, with a special interest for their dainas, their timeless common heritage rooted into a mythical golden age. Latvian artists thus found themselves entrusted with the mission of creating a national iconographic representation and a specifically Latvian art, freed from Russian and German influences. The author shows how the links between the cultural and political spheres evolved between 1905 and 1940, including during the period of authoritarian government preceding WWII. An enlightening contribution to understanding how art and history can be turned into social and political instruments, this book reaches far beyond the Latvian case to a European and even global scope.Table of ContentsTable of Contents Acknowledgements Foreword, Prof. Dr. Vaira Vīķe-Freiberga Preface, Krzysztof Pomian Introduction Prologue: On the Eve of the 20th Century, A Cultural Awakening that Faced Twin Obstructions Part One: 1905-1915. A Socio-Cultural ‘Risorgimento’ Chapter 1. The Emergence of Demands for Autonomy in the Russian Empire Chapter 2. The Formation of an Imaginary Landscape for the Latvian Nation. 1905-1920 Chapter 3. The Arts in the Service of the Latvian Idea Part Two: 1915-1920. The Chaos of the First World War Chapter 4. The Collapse of the Russian Empire and the Emergence of Latvian Political Demands Chapter 5. Depiction of a Heroic People, a New Source Fro the Imaginary Landscape Created in Latvian Art Chapter 6. Artists in the Service of National Symbolism Part Three: The Construction of a State. 1920-1934 Chapter 7. A Vulnerable Parliamentary State Chapter 8. An Assertive Cultural Policy Chapter 9. The ‘Latvianization’ of the Visual Arts Part Four: From Nation to Nationalism Chapter 10. The Authoritarian Regime. 1934-1940 Chapter 11. Latvianisation of the arts Chapter 12. Architecture and urban development harnessed by the state Conclusion Maps Chronology Illustrations Table Bibliography and Sources Index

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Book SynopsisThe doctrine of the Incarnation was wellspring and catalyst for theories of images verbal, material, and spiritual. Section I, “Representing the Mystery of the Incarnation”, takes up questions about the representability of the mystery. Section II, “Imago Dei and the Incarnate Word”, investigates how Christ’s status as the image of God was seen to license images material and spiritual. Section III, “Literary Figurations of the Incarnation”, considers the verbal production of images contemplating the divine and human nature of Christ. Section IV, “Tranformative Analogies of Matter and Spirit”, delves into ways that material properties and processes, in their effects on the beholder, were analogized to Christ’s hypostasis. Section V, “Visualizing the Flesh of Christ”, considers the relation between the Incarnation and the Passion.Table of ContentsCONTENTS Acknowledgements Notes on the Editors Notes on the Contributors List of Illustrations Introduction Walter S. Melion and Lee Palmer Wandel PART ONE REPRESENTING THE MYSTERY OF THE INCARNATION Medietas / Mediator and the Geometry of Incarnation Herbert L. Kessler Mute Mysteries of the Divine Logos: On the Pictorial Poetics of Incarnation Klaus Krüger A Meaty Incarnation: Making Sense of Divine Flesh for Aztec Christians Jaime Lara The Ineffability of Incarnation in Le Brun’s Silence or Sleep of the Child Matthieu Somon PART TWO IMAGO DEI AND THE INCARNATE WORD Thomas Aquinas, Sacramental Scenes, and the ‘Aesthetics’ of Incarnation Mark D. Jordan The Poetics of the Image in Late Medieval Mysticism Niklaus Largier Incarnation, Image, and Sign: John Calvin’s Institutes of the Christian Religion & Late Medieval Visual Culture Lee Palmer Wandel Eye to Eye, Text to Image? Jan Provoost’s Sacred Allegory, Jan Van Ruusbroec’s Spieghel der eeuwigher salicheit, and Mystical Contemplation in the Late Medieval Low Countries Geert Warnar ‘A Just Proportion of Body and Soul’: Emblems and Incarnational Grafting Christopher Wild PART THREE LITERARY FIGURATIONS OF THE INCARNATION From Negative Painting to Loving Imprint in Pierre De Bérulle’s Discours (1623) Agnès Guiderdoni Discerning Vision: Cognitive Strategies in Cornelis Everaert’s Mary Compared to the Light (c. 1511) Bart Ramakers The Fountain of Life in Molinet's Roman de la rose moralisé (1500) Michael Randall PART FOUR TRANSFORMATIVE ANALOGIES OF MATTER AND SPIRIT Figuring the Threshold of Incarnation: Caravaggio’s Incarnate Image of the Madonna of Loreto Ralph Dekoninck Super-Entanglement: Unfolding Evidence in Hieronymus Bosch’s Mass of St. Gregory Reindert Falkenburg The Mystery of the Incarnation and the Art of Painting Dalia Judovitz Convent and Cubiculum Cordis: the Incarnational Thematic of Materiality in the Cistercian Prayerbook of Martin Boschman (1610) Walter S. Melion PART FIVE VISUALIZING THE FLESH OF CHRIST Dieu le Père en Vierge Marie. La Trinité – Pietà de Rubens Colette Nativel Images of the Incarnation in the Jesuit Japan Mission’s Kirishitanban Story of Virgin Martyr St. Catherine of Alexandria Haruko Nawata Ward Index

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Book SynopsisEarly modern anger is informed by fundamental paradoxes: qualified as a sin since the Middle Ages, it was still attributed a valuable function in the service of restoring social order; at the same time, the fight against one’s own anger was perceived as exceedingly difficult. And while it was seen as essential for the defence of an individual’s social position, it was at the same time considered a self-destructive force. The contributions in this volume converge in the aim of mapping out the discursive networks in which anger featured and how they all generated their own version, assessment, and semantics of anger. These discourses include philosophy and theology, poetry, medicine, law, political theory, and art. Contributors: David M. Barbee, Maria Berbara, Tamás Demeter, Jan-Frans van Dijkhuizen, Betül Dilmac, Karl Enenkel, Tilman Haug, Michael Krewet, Johannes F. Lehmann, John Nassichuk, Jan Papy, Christian Peters, Bernd Roling, Paolo Santangelo, Barbara Sasse Tateo, Anita Traninger, Jakob Willis, and Zeynep Yelçe.Trade Review“A major contribution to the reception of Stoicism […]. The variegated approach taken in this volume is indispensable for the field. As Seneca wrote about anger, there are ‘a thousand other kinds of this multiform evil’, but by contributing a number of high-quality essays that approach anger from different angles, the authors have done us a service not only for thinking about the thousands of kinds of anger in the early modern period, but for thinking about emotions in history comparatively and across disciplines as well.” Kirk Essary, The University of Western Australia. In: Emotions: History, Culture, Society, Vol.1, No.1 (2017), pp. 208-210.Table of ContentsAcknowledgements Notes on the Editors Notes on the Contributors List of Illustrations Introduction: Discourses of Anger in the Early Modern Period Karl A.E. Enenkel and Anita Traninger Feeling Rage: The Transformation of the Concept of Anger in Eighteenth Century Germany Johannes F. Lehmann 1. ANGER MANAGEMENT IN EARLY MODERN PHILOSOPHICAL DISCOURSES Neo-Stoicism as an Antidote for Public Violence before Lipsius’s De constantia: Johann Weyer’s (Wier’s) Therapy of Anger, De ira morbo (1577) Karl A.E. Enenkel Anger Management and the Rhetoric of Authenticity in Montaigne’s De la colère Anita Traninger Neostoic Anger: Lipsius’s Reading and Use of Seneca’s Tragedies and De ira Jan Papy Descartes’ Notion of Anger: Aspects of a Possible History of its Premises Michael Krewet Holy Desperation and Sanctified Wrath: Anger in Puritan Thought David M. Barbee 2. LEARNED DEBATES ABOUT ANGER Anger and its Limits in the Ethical Philosophy of Giovanni Pontano John Nassichuk Northern Anger: Early Modern Debates on Berserkers Bernd Roling Anger and the Unity of Philosophy: Interlocking Discourses of Natural and Moral Philosophy in the Scottish Enlightenment Tamás Demeter 3. ANGER IN LITERARY DISCOURSES: EPIC AND DRAMA Iustas in iras? Perspectives on Anger as a Driving Force in Neo-Latin Epic Christian Peters Epic Anger in La Gerusalemme Liberata: Rinaldo’s Irascibility and Tasso’s Allegoria della Gerusalemme Betül Dilmac ‘In Zoren zu wütiger Rach’: Angry Women and Men in the German Drama of the Reformation Period Barbara Sasse Tateo Pierre Corneilles’s Cinna ou la Clémence d’Auguste (1642) in Light of Contemporary Discourses on Anger (Descartes, Le Moyne, Senault) Jakob Willis 4. VISUAL REPRESENTATIONS OF ANGER Visual Representations of Medea’s Anger in the Early Modern Period: Rembrandt and Rubens Maria Berbara 5. ANGER IN POLITICAL DISCOURSES Negotiating with ‘Spirits of Brimstone and Salpetre’: Seventeenth Century French Political Officials and Their Practices and Representations of Anger Tilman Haug Narratives of Reconciliation in Early Modern England: Between Oblivion, Clemency and Forgiveness Jan-Frans van Dijkhuizen TRANSCULTURAL NOTIONS OF ANGER Royal Wrath: Curbing the Anger of the Sultan N. Zeynep Yelçe Anger and Rage in Traditional Chinese Culture Paolo Santangelo Index nominum

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Book SynopsisIn Visual Cultures of Death in Central Europe, Aleksandra Koutny-Jones explores the emergence of a remarkable cultural preoccupation with death in Poland-Lithuania (1569-1795). Examining why such interests resonated so strongly in the Baroque art of this Commonwealth, she argues that the printing revolution, the impact of the Counter-Reformation, and multiple afflictions suffered by Poland-Lithuania all contributed to a deep cultural concern with mortality. Introducing readers to a range of art, architecture and material culture, this study considers various visual evocations of death including 'Dance of Death' imagery, funerary decorations, coffin portraiture, tomb chapels and religious landscapes. These, Koutny-Jones argues, engaged with wider European cultures of contemplation and commemoration, while also being critically adapted to the specific context of Poland-Lithuania.Trade Review"..her book is the first comprehensive overview of many of the varied aspects of what [the author] calls 'visual cultures of death'. [...] Koutny-Jones [...] points to unique or unfamiliar iconographical features of monuments or images that previously have been unduly ignored or neglected. [...] Her well informed study takes up the argument for considering alternatives to earlier models of cultural innovation and diffusion." Professor Thomas DaCosta Kaufmann, Princeton University, in Print Quarterly, XXXIV, 2017, 1 "As the author states, the goal of this monograph is to ‘synthesise a diverse body of artistic material previously omitted from international scholarship’ (p. 13). It delivers handsomely on that promise. Making this material available to the English-speaking reader for the first time in such a comprehensive format, K.-J.’s study will appeal to historians of Polish-Lithuanian art and visual culture, scholars of East Central Europe and specialists in death studies. Clear and informative, the book has the potential to become a standard English-language reference on the subject." Tomasz Grusiecki, in: Zeitschrift für Ostmitteleuropa-Forschung, 66 (2017).Table of ContentsContents Acknowledgements ix A Note on Proper Names xii List of Maps and Figures xiii Glossary xvi Introduction: The Central European Age of Contemplation and Commemoration 1 1 Frameworks for Visual Cultures of Death in Poland-Lithuania 16 Artistic Patronage in Poland-Lithuania 18 The Commonwealth and the Counter-Reformation 23 The Central European Printing Revolution 33 Plague and Warfare 40 Conclusion 52 2 Death Personified: The Skeleton and the Printed Image 54 Anatomical Treatises and the Melancholy Death 56 The Triumph of Death 65 Allegories of Death: The Wheel of Death 75 Conclusion 87 3 The Dance of Death in Central Europe: Indigenous Variations on a Familiar Theme 91 Dancing with Death in Medieval Western Europe and beyond 93 Performing the Dance of Death in Medieval Poland: Master Polikarpus’s Dialogue with Death 99 Death and the Friars: The Role of the Observant Franciscans 102 Conclusion 117 4 Triumphant Funerals: Ceremonial, Coffin Portraits and Catafalques 121 Processional Pomp: Heraldic Displays and the Theatre of Death 123 Church Decorations and the Castrum Doloris 131 Coffin Portraits: Images of the Spiritual body 146 Commemoration in Context: The Burials of the Opaliński Magnate Family 154 Conclusion 164 5 Architectures and Landscapes of Death: Funerary Chapels and Jerusalem Sites 167 The Introduction of the Domed Chapel to Poland and Lithuania: Genesis and Symbolism 169 Central European Landscapes of Death: Jerusalem Sites 175 Decorating the Seventeenth-century Funerary Chapel: Sculpting the Passion and Personalising the Dance of Death 185 Conclusion 203 Conclusion 206 Appendix: The Kraków Taniec śmierci (Dance of Death): Transcription and Translation of Textual Cartouches 213 Bibliography 217 Index 249

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Book SynopsisReading Catechisms, Teaching Religion makes two broad arguments. First, the sixteenth century witnessed a fundamental transformation in Christians’, Catholic and Evangelical, conceptualization of the nature of knowledge of Christianity and the media through which that knowledge was articulated and communicated. Christians had shared a sense that knowledge might come through visions, images, liturgy; catechisms taught that knowledge of ‘Christianity’ began with texts printed on a page. Second, codicil catechisms sought not simply to dissolve the material distinction between codex and person, but to teach catechumens to see specific words together as texts. The pages of catechisms were visual—they confound precisely that constructed modern bipolarity, word/image, or, conversely, that modern bipolarity obscures what sixteenth-century catechisms sought to do.Trade Review“Reading Catechisms, Teaching Religion is a rich, lucid book that should be of interest to scholars in several fields, not only Reformation history and religious studies.” Lara Apps, University of Alberta. In: Sixteenth Century Journal, Vol. 47, No. 3 (Fall 2016), pp. 707-708. “Wandel’s book successfully underlines the impetus in the catechisms of the Reformation era to render Christian knowledge graphically.” Hilmar M. Pabel, Simon Fraser University, Canada. In: Renaissance and Reformation, Vol. 39, No. 3 (Summer 2016), pp. 219-221. “This is an incredibly rich study of catechisms and the teaching of religion in the sixteenth century. […] Wandel’s splendid book opens many dimensions. It illuminates Christian identity and sixteenth-century shifts, as well as providing detailed comparative theological examinations of major catechisms. By explaining the catechisms in their wider contexts, Wandel illuminates their importance in themselves as well as their functions as texts that convey meaning for Christian believers.” Donald K. McKim, Germantown, Tennessee. In: The Journal of Ecclesiastical History, Vol. 68, No. 2 (April 2017), pp. 411-413.Table of ContentsPreface Acknowledgements List of Figures Introduction 1. The Codex in the Hand 2. Belief 3. Commandments 4. Prayer 5. Sacraments 6. Images Conclusion Bibliography Index

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Book SynopsisMedieval Buda in Context discusses the character and development of Buda and its surroundings between the thirteenth and the sixteenth centuries, particularly its role as a royal center and capital city of the medieval Kingdom of Hungary. The twenty-one articles written by Hungarian and international scholars draw on a variety of primary sources: texts, both legal and literary; archaeological discoveries; architectural history; art history; and other studies of material culture. The essays also place Buda in the political, social, cultural and economic context of other contemporary central and eastern European cities. By bringing together the results of research undertaken in recent decades for an English-language readership, this volume offers new insights into urban history and the culture of Europe as a whole. Contributors are János M. Bak, Zoltán Bencze, Judit Benda, István Draskóczy, Antonín Kalous, István Kenyeres, Gábor Klaniczay, András Kubinyi, József Laszlovszky, Károly Magyar, Balázs Nagy, Szilárd Papp, James Plumtree, Martyn Rady, Valery Rees, Orsolya Réthelyi, Beatrix F. Romhányi, Enikő Spekner, Péter Szabó, Katalin Szende, András Vadas, András Végh, and László Veszprémy.Table of ContentsAcknowledgements List of Figures List of Abbreviations Notes on Contributors Introduction Part 1: Buda: History, Sources, Historiography 1 The Budapest History Museum and the Rediscovery of Medieval Buda Zoltán Bencze 2 The Fate of the Medieval Archives of Buda and Pest István Kenyeres Part 2: Buda before Buda 3 Buda before Buda: Óbuda and Pest as Early Centers Enikő Spekner 4 ‘A castle once stood, now a heap of stones…’ the Site and Remains of Óbuda in Medieval Chronicles, National Epics, and Modern Fringe Theories József Laszlovszky and James Plumtree 5 A Royal Forest in the Medium Regni Péter Szabó Part 3: The Topography of Buda 6 Royal Residences in Buda in Hungarian and European Context Károly Magyar 7 Buda-Pest 1300 – Buda-Pest 1400. Two Topographical Snapshots András Végh 8 The Monastic Topography of Medieval Buda Beatrix F. Romhányi 9 Sacred Sites in Medieval Buda Gábor Klaniczay 10 Merchants, Markets, and Shops in Late Medieval Buda, Pest and Óbuda Judit Benda 11 Commercial Contacts of Buda along the Danube and beyond István Draskóczy Part 4: Buda as a Power Center 12 The Government of Medieval Buda Martyn Rady 13 Diets and Synods in Buda and Its Environs János M. Bak and András Vadas 14 Royal Summits in and around Medieval Buda Balázs Nagy 15 Buda, Medieval Capital of Hungary András Kubinyi Part 5: Court Culture of a ‘Capital’ 16 Made for the King: Sigismund of Luxemburg’s Statues in Buda and Their Place in Art History Szilárd Papp 17 The Court of the King and Queen in Buda in the Jagiellonian Age Orsolya Réthelyi 18 Buda as a Center of Renaissance and Humanism Valery Rees Part 6: Buda beyond Buda 19 Buda: From a Royal Palace to an Assaulted Border Castle, 1490–1541 László Veszprémy 20 The Last Medieval King Leaves Buda Antonín Kalous 21 Buda and the Urban Development of East Central Europe Katalin Szende Appendices Select Bibliography on the History of Medieval Buda Index of Geographic Names Index of Personal Names

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Book SynopsisFrom the late seventeenth through the mid-eighteenth centuries, large-scale Italian frescoes soared in popularity as nobles in the German principalities of the Holy Roman Empire constructed new palaces at an unprecedented rate. They competed with one another to produce lavish decorative schemes that expressed their claim to princely power and political authority. Whereas previous art historians have primarily focused on iconographic and stylistic issues and generally treated these programs as individual commissions of regional courts, this book places the works of art within their broad cultural and historical contexts during the Enlightenment. This monograph explains how rulers gradually shifted from emphasizing military heroism to stressing their cultivation of the arts and sciences, and addresses how expressing membership in a specifically European civilization emerged as an integral visual theme and a key ambition of the German nobility.Trade Review"...Fulco has given us a very important book, isolating a small group of Venetian painters from their usual monographic contexts and discussing them instead in the larger context of grand German commissions; the four extensive enterprises he studies furnish a brilliant picture of court society in the eighteenth century." William L. Barcham, “A New Study on ‘Venezia altrove,’ Venetian Painters Working in German Lands in the Eighteenth Century,” Arte Veneta 73 (2016): 197-203.Table of ContentsAcknowledgements List of Illustrations Abbreviations Introduction 1 The Aftermath of Military Conflict: A Rise in Princely Visual Culture (1648–1710) 2 War and International Politics: The Staircase Frescoes of Schloss Bensberg (1710–1714) 3 Dynasticism and Cultural Philanthropy: The Pictorial Program of Schloss Bensberg’s State Rooms (1710–1714) 4 The Blue Elector’s Aeneas: Jacopo Amigoni’s Images of War and Triumph at Schloss Schleissheim (1724–1726) 5 Ducal Power and Munificence: Carlo Innocenzo Carlone’s Frescoes in Schloss Ludwigsburg (1731–1733) 6 Prince-Episcopal Patronage and World Civilization: Giovanni Battista Tiepolo’s Apollo and the Four Continents in the Würzburg Residenz (1751–1753) Excursus: Italo-Germanic Artistic Exchange and Collaboration Epilogue Bibliography Index

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Book SynopsisIn Arthur Upham Pope and A New Survey of Persian Art, fourteen scholars explore the legacy of Arthur Upham Pope (1881–1969) by tracing the formation of Persian art scholarship and connoisseurship during the twentieth century. Widely considered as a self-made scholar, curator, and entrepreneur, Pope was credited for establishing the basis of what we now categorize broadly as Persian art. His unrivalled professional achievement, together with his personal charisma, influenced the way in which many scholars and collectors worldwide came to understand the art, architecture and material culture of the Persian world. This ultimately resulted in the establishment of the aesthetic criteria for assessing the importance of cultural remains from modern-day Iran. With contributions by Lindsay Allen, Sheila S. Blair, Jonathan M. Bloom, Talinn Grigor, Robert Hillenbrand, Yuka Kadoi, Sumru Belger Krody, Judith A. Lerner, Kimberly Masteller, Cornelia Montgomery, Bernard O’Kane, Keelan Overton, Laura Weinstein, and Donald Whitcomb.Trade Review"In addition to offering an overview of Pope's role in the study of Persian art, the book provides new insights into the historiography of Islamic art." – Sarah Piram, in: Abstracta Iranica 37-39 (2018) [http://journals.openedition.org/abstractairanica/42714]. "Kadoi’s edited volume, which gauges the impact of American Orientalist Arthur Upham Pope (1881–1969) on the fields of Iranian art, architecture and archaeology, joins an ever-expanding literature on the historiography of Islamic art and architecture.... the papers introduce a variety of valuable perspectives and much that is new. We form a good understanding of the characters populating – and the life of – an unfolding field" – David J. Roxburgh, in: Bulletin of the School of Oriental and African Studies (2018)Table of ContentsCONTENTS List of Illustrations Abbreviations Note to the Reader Preface and Acknowledgements INTRODUCTION Arthur Upham Pope and A New Survey of Persian Art Yuka Kadoi I. POPE, ACKERMAN, AND THEIR PEERS The Scramble for Persian Art: Pope and His Rivals Robert Hillenbrand Gendered Politics of Persian Art: Pope and His Partner Talinn Grigor II. ARTHUR UPHAM POPE: LIFE AND ACHIEVEMENTS Arthur Upham Pope: His Life and Times Jonathan M. Bloom Archaeology in Iran and the Experience of Arthur Upham Pope Donald Whitcomb Arthur Upham Pope and the Study of Persian Islamic Architecture Bernard O'Kane III. CURATORS, COLLECTORS, AND ART DEALERS: POPE AND PRE-ISLAMIC PERSIAN ART ‘The Greatest Enterprise’: Arthur Upham Pope, Persepolis and Achaemenid Antiquities Lindsay Allen Arthur Upham Pope and the Sasanians Judith A. Lerner IV. CURATORS, COLLECTORS, AND ART DEALERS: POPE AND ISLAMIC PERSIAN ART The Rise of Persian Art Connoisseurship: Arthur Upham Pope and Early Twentieth-Century Chicago Yuka Kadoi Arthur Upham Pope and Collecting Persian Art for Kansas City Kimberly Masteller Equivocal Position as Expert or Dealer! The Long and Contentious Relationship of George Hewitt Myers and Arthur Upham Pope Sumru Belger Krody My Dear Holmes: Arthur Upham Pope and the Museum of Fine Arts, Boston Laura Weinstein Filming, Photographing and Purveying in ‘the New Iran’: the Legacy of Stephen H. Nyman, ca. 1937–42 Keelan Overton V. ARTHUR UPHAM POPE: HIS LEGACY Surveying Persian Art in Light of A Survey of Persian Art Sheila S. Blair Arthur Upham Pope: A Personal Memoir Cornelia Montgomery List of Contributors Index

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Book SynopsisPersonification, or prosopopeia, the rhetorical figure by which something not human is given a human identity or ‘face’, is readily discernible in early modern texts and images, but the figure’s cognitive form and function, its rhetorical and pictorial effects, have rarely elicited sustained scholarly attention. The aim of this volume is to formulate an alternative account of personification, to demonstrate the ingenuity with which this multifaceted device was utilized by late medieval and early modern authors and artists in Italy, France, England, Scotland, and the Low Countries. Personification is susceptible to an approach that balances semiotic analysis, focusing on meaning effects, and phenomenological analysis, focusing on presence effects produced through bodily performance. This dual approach foregrounds the full scope of prosopopoeic discourse—not just the what, but also the how, not only the signified, but also the signifier.Table of ContentsNotes on the Editors Notes on the Contributors List of Illustrations Personification: An Introduction Walter S. Melion and Bart Ramakers PART 1 - Cognitive Perspectives on Personification 1. Allegorical Personification and Embodied Cognition Jean Bocharova PART 2 - Personification and the Critical Tradition 2. Dante and St. Francis: Shaping Lives, Reshaping Allegory Jeremy Tambling 3. Personification, Power, and the Body in Late Medieval and Early Modern English Poetry William Rhodes 4. The Personification of the Human Subject in Spenser’s The Faerie Queene Brenda Machosky PART 3 - Personification and the Modalities of Figuration 5. Framework, Personification, and Pisanello’s Poetics C. Jean Campbell 6. The Triumph of Truth in an Age of Confessional Conflict James Clifton 7. The Mystical Experience—Between Personification and Incarnation: The Idea Vitae Teresianae Iconibus Symbolicis Expressa (Antwerp, Jacob Mesens: 1680s) Ralph Dekoninck PART 4 - Personification on Stage: Forces of Living Presence 8. From the Parade to the Stage: Evolution and Significance of Personifications in Lyon’s Sotties (1566–1610) Katell Lavéant 9. Personification in Sir David Lyndsay’s A Satire of the Three Estates Greg Walker 10. Both One and the Other: The Educational Value of Personification in the Female Humanist Theatre of Peeter Heyns (1537–1598) Alisa van de Haar 11. Dirty from Behind, Pearly in Front: Lady World in Rhetoricians’ Drama Bart Ramakers 12. Mute Poem, Speaking Picture: The Personification of the Paragone in Shakespeare’s Timon of Athens Jennifer A. Royston 13. The Politics of Personification in the Jacobean Lord Mayors’ Shows Susan L. Anderson PART 5 - Jesuit Approaches to Personification 14. Figured Personification and Parabolic Embodiment in Jan David’s Occasio Arrepta, Neglecta Walter S. Melion 15. Double Meaning of Personification in Early Modern Thesis Prints of the Southern Low Countries: Between Noetic and Encomiastic Representation Gwendoline De Mûelenaere 16. Vermeer, the Art of Meditation, and the Allegory of Faith Aneta Georgievska-Shine PART 6 - Personifying Charity 17. Personifications of Caritas as Reflexive Figures Caecilie Weissert 18. Maarten van Heemskerck’s Caritas: Personifiying Virtue, Animating Stone With Paint, Imaging the Image Debate Arthur J. Difuria 19. Abraham Bloemaert and Caritas: A Lesson in Perception Caroline O. Fowler PART 7 - Personifying Life and Afterlife, Trial and Retribution 20. The Duchess and the Cadaver: Doubling and Microarchitecture in Late Medieval Art (with Alice Chaucer and John Lydgate) Elizabeth Fowler 21. ‘But You Are Blind, and Know Not What Is in You’: ‘A.L’, the Fraudulent Judge, and the Coerced Conscience June Waudby PART 8 - Personification and the Assertion of Allegorical Order 22. Precarious Personification: Fortuna in the Artist’s Cabinet Lisa Rosenthal 23. Producing the Legible Body: Personification, the Beholder, and Tiepolo’s Würzburg Frescos Max Weintraub PART 9 - The Four Continents: Sources and Sentiments 24. The Personification of Africa with an Elephant-Head Crest in Cesare Ripa’s Iconologia (1603) Joaneath Spicer 25. The Four Continents in Seventeenth-Century Embroidery and the Making of English Femininity Heather A. Hughes Index Nominum

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Book SynopsisA Companion to the Early Modern Cardinal is the first comprehensive overview of its subject in English or any language. Cardinals are best known as the pope’s electors, but in the centuries from 1400 to 1800 they were so much more: pastors, inquisitors, diplomats, bureaucrats, statesmen, saints; entrepreneurs and investors; patrons of the arts, of music, literature, and science. Thirty-five essays explain their social background, positions and roles in Rome and beyond, and what they meant for wider society. This volume shows the impact which those men who took up the purple had in their respective fields and how their tenure of office shaped the entangled histories of Rome and the Catholic Church from a European and global perspective.Trade Review“Any scholar who wishes to learn more about the early modern cardinalate and who seeks to contextualise its members within the early modern world should make use of this rich, accessible volume, whose editors should be commended.” Charles R. Keenan, University of Michigan. In: Journal of Ecclesiastical History, Vol. 72, No. 3 (July 2021), pp. 656–658. “This impressive tome spans the period from 1420, when the papacy returned to Rome from Avignon and the duties of cardinals began to grow exponentially, to 1800, when the role of the cardinal significantly diminished to what it is now—primarily papal elector. Other recent publications have discussed cardinals in the Middle Ages and in the 19th and 20th centuries, but this is the first comprehensive treatment of the intervening centuries. The 35 international scholarly contributors examine the social background, positions, roles, and influence of cardinals on society, politics, and their respective fields. — Summing Up: Highly recommended.” Philip E. Blosser, Sacred Heart Major Seminary. In: CHOICE Connect, Vol. 58, No. 2 (October 2020). “The individual chapters are written in an accessible manner and are suitable for the target audience of these companions—namely, both students and scholars. In a couple of cases the available source material has been described and explained, which is particularly useful for those aspiring to pursue the study of primary-source material themselves. However, since the source material is situated within a wider thematic framework, these chapters are interesting for more seasoned scholars as well. […] The present volume is a worthwhile contribution to the existing scholarship on early modern cardinals and an ideal starting point for those who want to familiarize themselves with, or broaden their understanding of, this topic.” Jaap Geraerts, Leibniz Institute of European History. In: Renaissance Quarterly, Vol. 75, No. 1 (Spring 2022), pp. 310–311.Table of Contents Acknowledgements  List of Figures and Tables  Notes on Editors and Contributors  Introduction  Mary Hollingsworth, Miles Pattenden and Arnold Witte Part 1: The Concept and Function  1 The Medieval Background to the Cardinal’s Office  Barbara Bombi  2 The College of Cardinals  Miles Pattenden  3 The Rituals of the Cardinalate: Creation and Abdication  Jennifer Mara DeSilva  4 Cardinals in Conclave  Mary Hollingsworth  5 The Cardinal Nephew  Birgit Emich Part 2: Cardinals and the Church  6 Cardinals, Bishops, and Councils  Bernward Schmidt  7 Cardinals and the Inquisition  Vincenzo Lavenia  8  Cardinal Protectors of Religious Institutions  Arnold Witte  9 Cardinals and the Apostolic Penitentiary  Kirsi Salonen  10 Cardinals and Theology  Jean-Pascal Gay Part 3: Cardinals and Secular Power  11 Cardinal Legates and Nuncios  Alexander Koller  12 Cardinal Protectors and National Interests  Bertrand Marceau  13 Cardinals as National Politicians  Joseph Bergin  14 Cardinals as Prince-Bishops  Bettina Braun Part 4: Property and Wealth  15 The Social Background and Education of Cardinals  Maria Antonietta Visceglia  16 The Cardinal’s Household  Mary Hollingsworth  17 Cardinals’ Property and Income  Lucinda Byatt  18 Cardinals’ Testaments: Piety and Charity  Fausto Nicolai Part 5: Cardinals and Rome  19 Cardinals and the Government of the Papal States  Irene Fosi  20 Cardinals and the Vacant See  John M. Hunt  21 Cardinals and Their Titular Churches  Arnold Witte  22 Cardinals’ Palaces: Architecture and Decoration  Patricia Waddy Part 6: Cardinals and Mission  23 Cardinals and the Non-Christian World  Miles Pattenden  24 Cardinals and the Greek and Eastern Churches  Camille Rouxpetel  25 Cardinals and the Creation of the Spanish Americas  Luis Martínez Ferrer  26 Cardinals and the Congregation of the Propaganda Fide  Giovanni Pizzorusso Part 7: Cardinals and Literature  27 The Early Modern Historiography of Early Modern Cardinals  Miles Pattenden and Arnold Witte  28 Treatises on the Ideal Cardinal  David S. Chambers  29 Life-Writing and the Saintly Cardinal  Pamela M. Jones  30 Cardinals and the Culture of Libraries and Learning  Maria Pia Donato Part 8: Cardinals and the Visual Arts  31 Cardinals as Patrons of the Visual Arts  Piers Baker-Bates, Mary Hollingsworth and Arnold Witte  32 The Cardinal’s Wardrobe  CarolM.Richardson  33 Portraits of Early Modern Cardinals  Clare Robertson  34 Cardinals’ Tombs  Philipp Zitzlsperger  35 Cardinals, Music, and Theatre  Franco Piperno  Bibliography  Index

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Book SynopsisScholars of the middlebrow have demonstrated that the preferences and choices of both women writers and women readers have suffered considerably from the dismissive attitude of earlier critics. George Eliot’s famous attack on ‘Silly Novels by Lady Novelists’ set the tone for the long tradition of gendered disputes over the literary merit of works of fiction – a controversy which eventually coalesced with a class-based hegemony of taste in the so-called Battle of the Brows. The new research presented in this volume demonstrates that this gendered inflection of the critical debate is not only one-sided but tends to obfuscate the significance the middlebrow literary spectrum had for the wider dissemination of new concepts of gender. By exploring the scope of middlebrow media culture between 1890 and 1945, from household magazines to popular novels, the essays in this volume give evidence of the relative proximity that existed between middlebrow writers and the avant-garde in their concern for gender issues. Contributors: Nicola Bishop, Elke D’hoker, Petra Dierkes-Thrun, Stephanie Eggermont, Christoph Ehland, Wendy Gan, Emma Grundy Haigh, Kate Macdonald, Louise McDonald, Tara MacDonald, Isobel Maddison, Ann Rea, Cornelia Wächter, Alice WoodTable of ContentsNotes on Contributors Introduction: “... all granite, fog and female fiction” Christoph Ehland and Cornelia Wächter Part I: Contact Zones The Short Fiction of New Woman Writers in Avant- Garde, Mainstream, and Popular Periodicals of the Fin de Siècle Stephanie Eggermont and Elke D’hoker Modernism and the Middlebrow in British Women’s Magazines, 1916-1930 Alice Wood Gender, Disability, Wartime: The Woman’s Body and the Disabled Ex-Serviceman in the First World War Kate Macdonald Complementary Cousins: Constructing the Maternal in the Writing of Elizabeth von Arnim and Katherine Mansfield Isobel Maddison Part II: Heroics of the Everyday Middlebrow “Everyman” or Modernist Figurehead? Experiencing Modernity through the Eyes of the Humble Clerk Nicola Bishop “The Heroine of a Modern Sea Epic”: The New Woman Adventuress in Grant Allen’s The Type-Writer Girl Tara MacDonald The Adventures of the Lady Typist: Redefining the Heroic in Early Twentieth-Century Women’s Spy Fiction Emma Grundy Haigh Part III: Gender, Sexuality, and the Management of Anxiety Clemence Dane’s Fantastical Fiction and Feminist Consciousness Louise McDonald The Painted Veil: Re-Inventing the Colonial Woman and the Hinterland Narrative Wendy Gan Victoria Cross’ Six Chapters of a Man’s Life: Queering Middlebrow Feminism Petra Dierkes-Thrun Middlebrow Negotiations of Lawrentian Sexuality in Una Silberrad’s Desire Cornelia Wächter “Ordinary” Sexuality, the “Dirty Little Secret” and the Indecent Highbrow Modernist: Sexuality in Married Love and Lady Chatterley’s Lover Ann Rea Index

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Book SynopsisMichelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo’s art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist’s formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace. Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. HallTable of ContentsForeword: Why More Michelangelo? William E. Wallace Acknowledgements Illustrations Contributors Abstracts Introduction: Michelangelo in the New Millennium Tamara Smithers Part 1: Artistic Mobility Chapter 1: Site-Specificity Joost Keizer Chapter 2: Michelangelo’s Strozzi Tondo?: Securing Status with Art Eric R. Hupe Part 2: Syncretic Seers Chapter 3: The Pitti Tondo: A “Sibylline” Madonna Emily Fenichel Chapter 4: Christ-Bearers and Seers of the Period Ante Legem: On the Male Nudes in Michelangelo’s Doni Tondo and Sistine Ceiling Frescoes Jonathan Kline Part 3: Papal Patronage: The Pauls Chapter 5: Virtuous Prelates, Burdensome Relics and a Sliver of Gold in the Last Judgment Erin Sutherland Minter Chapter 6: Michelangelo the “Lefty”: The Cappella Paolina, the Expulsion Drawings, and Marcello Venusti Margaret Kuntz Coda: Michelangelo’s Suicidal Stone Tamara Smithers Epilogue: Twenty-first Century Versus Twentieth Century Methodologies Marcia B. Hall Index

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Book SynopsisThis book is devoted to the Old Rus’ dress of the Upper Volga area, as gleaned from the archaeological evidence of the burial sites. The organic remains of dress and metal and glass ornaments and fasteners are considered. Issues such as the social status and age of the buried individuals, as well as the influence of various ethnic groups (including East Slavic groups, Finno-Ugric tribes and the Balts ) on the dress of the Old Rus’, are addressed through the study of variants of male and female headdresses, clothes and accessories. Furthermore, a detailed study of the evolution of the headdress and the structure of jewelry from the late 10th century to the 13th century is offered.

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Book SynopsisIn Literature and Artistic Practice in the Sixteenth Century Angela Cerasuolo, art historian and restorer, tracks the technical processes of painting through the cross-analysis of literary texts and works of art. Having traced the critical fortunes of the texts of the authors—Leonardo, Vasari, Armenini, Borghini, Lomazzo—she compares the information on drawing and painting, analysing the specific terminology, and identifying the materials and methods. Central themes of the theoretical debate—‘disegno’, ‘invenzione’, the contrast between ‘prestezza’ and ‘diligenza’, the ‘paragone’—are examined in the light of their relationship with the techniques. On the basis of scientific studies on the technical execution of paintings, works from the Capodimonte Museum, Naples are analysed as case studies.Trade Review“For the study of art theory, practice, and conservation science, and in delineating how to read the value and significance of technical texts in their historical context and in their in illumination of technique and style, text, and conception of art, Literature and Artistic Practice in Sixteenth-Century Italy represents a new achievement in the study of art history.” Shancheng Ma, Ningbo University. In: Renaissance Quarterly, Vol. 71, No. 1 (Spring 2018), pp. 236-237.Table of ContentsINTRODUCTION No Man’s Land – Technical treatises 1. “LIBRI DI BOTTEGA”: A COVERT TRANSMISSION 1.1. The background 1.2. Among transcriptions and abridged versions: Leonardo’s writings, the multiform life of a never-to-be-born treatise 1.3. The underground circulation of Cennino Cennini’s Libro dell’arte 1.4. "My intention was to only write the lives and works of our artists, and not to teach the arts": the Introduzzione alle arti and techniques of painting in Vasari's Lives 1.5. Il Riposo by Raffaello Borghini: analysis of a text as a mirror of technical knowledge in the workshops at the end of the sixteenth century 1.6. De’ veri precetti della pittura by Giovan Battista Armenini, a consciously "grammatical” approach 1.7. The Treatises of Giovan Paolo Lomazzo and the legacy of Leonardo in Lombardy 2. ISSUES AND FORMS 2.1 Disegno and invention: Schizzo, macchia, abbozzo, and the construction of the work of art 2.2. Prestezza and diligenza as a key for interpreting the relationship between technique and style 2.2.1. Armenini and Vasari: symptoms of discord 2.2.2. Chiaroscuro and grotesque: prestezza in two characteristic techniques of the Maniera 2.3. The Paragone: also a technical challenge 2.4. Colour and the counterfeiting of Nature 2.4.1. The beauty of colours 2.4.2. The atramentum of Apelles 3. THE PROCESSES 3.1. The technique of drawing 3.2. The preparation of cartoons. Transfer processes 3.3. Colours: pigments in treatises 3.3.1. Lists of colours in Borghini and Lomazzo 3.3.2. Armenini’s «avertimenti» on pigments 3.3.3. Mixing the colours: from the «mestiche» to the palette 3.4. The myth of «true fresco» 3.5. Tempera painting 3.5.1. Vasari and egg tempera: revival of an outdated technique. 3.5.2. Glue-size tempera: tüchlein, «guazzo», «chiaroscuro» 3.6. Oil painting 3.6.1. Preparazione and imprimitura 3.6.2. The execution of a painting: «bozze» and «finiture» 3.6.3. Oil painting on wall 3.6.4. Sebastiano del Piombo's «nuovo modo» - from wall to slate 3.6.5. Painting on stone from Sebastiano to Vasari and the artists of the Medici Court 3.6.6. Paintings on copper - the beginnings 3.7. Varnish and finishing 3.7.1. The varnishes 3.7.2. The glazes 3.7.3. Finishes and retouching 4. THROUGH THE PAINTINGS: A FEW SIGNIFICANT CASE-STUDIES 4.1. Madonna del Divino Amore 4.2. Madonna della gatta 4.3. «Per questa confusione di segni» Additions to the genesis of a painting: the small paintings and the Calvary by Polidoro da Caravaggio 4.4. The Sacra Famiglia by Parmigianino 4.5. The paintings by Sebastiano del Piombo in the Capodimonte Museum, Naples Index

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Book SynopsisAlmost Eternal: Painting on Stone and Material Innovation in Early Modern Europe gathers together an international group of ten scholars, who offer a novel account of the phenomenon of oil painting on stone surfaces in Northern and Southern Europe. This technique was devised in Rome by Sebastiano del Piombo in the early sixteenth century and was practiced until the late seventeenth century. This phenomenon has attracted little attention previously: the volume therefore makes a significant and timely contribution to the field in the light of recent studies of materiality and the rise of technical Art History. Contributors: Nadia Baadj, Piers Baker-Bates, Elena Calvillo, Ana Gonsalez Mozo, Anna Kim, Helen Langdon, Johanna Beate Lohff, Judith Mann, Christopher Nygren, Suzanne Wegmann, and Giulia Martina Weston.Table of ContentsContents Preface  Judith Mann Acknowledgments  Piers Baker-Bates  Elena Calvillo List of Illustrations Notes on Contributors Introduction  Piers Baker-Bates and Elena Calvillo Part 1: Sebastiano del Piombo’s Invention and its Initial Influence 1 Uno Nuovo Modo di Colorire in Pietra: Technical Experimentation in the Art of Sebastiano del Piombo  Piers Baker-Bates 2 Painted Stone: Idea and Practice in Italian Renaissance  Ana González Mozo 3 ‘Un paragone con oro su’: Material Innovation, Invention and Sebastiano del Piombo’s Papal Portraiture  Elena Calvillo Part 2: Ars et Natura: The Poetics and Collecting of Paintings on Stone 4 The Matter of Similitude: Stone Paintings and the Limits of Representation in Cavaliere d’Arpino’s Perseus and Andromedaand Jacques Stella’s Jacob’s Dream  Christopher J. Nygren 5 Antonio Tempesta’s Paintings on Stone and the Development of a Genre in 17th-Century Italy  Johanna Beate Lohff Plates 1-15 6 Glances into Stone: Hans von Aachen’s Paintings on Stone  Susanne Wegmann 7 Painting on Stone and Metal: Material Meaning and Innovation in Early Modern Northern European Art  Nadia Baadj Part 3: Other Materials, Metaphors, and Inventions 8 ‘Painting the Eternal’: Micromosaic Materiality and Transubstantiation in an Icon of Christ at Santa Croce in Gerusalemme, Rom  Anna Marazuela Kim 9 Invention, Ambition and Failure: Niccolò Tornioli (1606-51) and “Il Segreto di Colorire il Marmo”  Giulia Martina Weston 10 Salvator Rosa: A Variety of Surfaces  Helen Langdon Plates 16-32 Index

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Book SynopsisDevotional Interaction in Medieval England and its Afterlives examines the interaction between medieval English worshippers and the material objects of their devotion. The volume also addresses the afterlives of objects and buildings in their temporal journeys from the Middle Ages to the present day. Written by the participants of a National Endowment for the Humanities-funded seminar held in York, U.K., in 2014, the chapters incorporate site-specific research with the insights of scholars of visual art, literature, music, liturgy, ritual, and church history. Interdisciplinarity is a central feature of this volume, which celebrates interactivity as a working method between its authors as much as a subject of inquiry. Contributors are Lisa Colton, Elizabeth Dachowski, Angie Estes, Gregory Erickson, Jennifer M. Feltman, Elisa A. Foster Laura D. Gelfand, Louise Hampson, Kerilyn Harkaway-Krieger, Kathleen E. Kennedy, Heather S. Mitchell-Buck, Julia Perratore, Steven Rozenski, Carolyn Twomey, and Laura J. Whatley.Trade Review"The volume comprises a collection of fascinating studies that celebrate and model the practice of interdisciplinary and collaborative research as the best way to analyze medieval devotion. It will be of interest to scholars working in any field of medieval studies, especially those who concern themselves with inter- or multidisciplinary approaches to medieval religion and its visual and material culture". Beth Williamson, in Speculum 95/3, July 2020.Table of ContentsContents Acknowledgments List of Figures Notes on Contributors Introduction  Elisa A. Foster, Julia Perratore and Steven Rozenski Part 1: The Home 1 “lothe to thenk on ought bot on Hymself”: Interaction and Contemplation in The Cloud of Unknowing  Kerilyn Harkaway-Krieger 2 Crusading for (Heavenly) Jerusalem: A Noble Woman, Devotion, and the Trinity Apocalypse (Cambridge, Trinity College, MS R.16.2)  Laura J. Whatley 3 English Iconographic Rings and Medieval Populuxe Jewelery  Kathleen E. Kennedy Part 2: The Cathedral 4 The Last Judgement Porch at Lincoln Cathedral over the Longue Durée: Iconography, Interaction, and Religious Thought  Jennifer M. Feltman 5 Beverley Minster’s 14th-Century Architectural Sculptures in a Devotional Context  Julia Perratore 6 ‘I was blind and now I can see!’ Sight and Revelation in the St William Window in York Minster  Laura D. Gelfand 7 The Truth behind the Mask? Comparing Two Views of the interior of York Minster in the 16th Century  Louise Hampson 8 Song in Space and Space in Song: Physical and Conceptual Boundaries in English Devotional Music, 1250-1500  Lisa Colton Part 3: The City 9 ‘This is My Body’: Devotion to the Corpus Christi Shrine in Late Medieval York  Elisa A. Foster 10 How Alien were the Alien Priories of Yorkshire?  Elizabeth Dachowski Part 4: The Parish Church 11 A Light to Lighten the Gentiles: Stained Glass, The Prick of Conscience, and Theological Double Vision in All Saints (North Street), York  Steven Rozenski 12 Romanesque Baptismal Fonts in East Yorkshire Parishes: Decoration and Devotion  Carolyn Twomey Part 5: Afterlives: Medieval Devotion and Modern Thought 13 James Joyce’s Ulysses and the Medieval Eucharist: Fragmented Narratives of Doubt and Creation  Gregory Erickson 14 Restored, Revived, Remixed, Reified? Our Devotion to the Medieval Past  Heather Mitchell-Buck Postscript: Afterlife  Angie Estes Select Bibliography Index

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Book SynopsisIn Kids Those Days, Lahney Preston-Matto and Mary Valante have organized a collection of interdisciplinary research into childhood throughout the Middle Ages. Contributors to the volume investigate childhood from Greece to the “Celtic-Fringe,” looking at how children lived, suffered, thrived, or died young. Scholars from myriad disciplines, from art and archaeology to history and literature, offer essays on abandonment and abuse, fosterage and guardianship, criminal behavior and child-rearing, child bishops and sainthood, disabilities and miracles, and a wide variety of other subjects related to medieval children. The volume focuses especially on children in the realms of religion, law, and vulnerabilities. Contributors are Paul A. Broyles, Sarah Croix, Gavin Fort, Sophia Germanidou, Danielle Griego, Máire Johnson, Daniel T. Kline, Jenni Kuuliala, Lahney Preston-Matto, Melissa Raine, Eve Salisbury, Ruth Salter, Bridgette Slavin, and Mary A. Valante.Table of ContentsList of Illustrations Notes on Contributors Introduction: Out from a Shadow  Lahney Preston-Matto and Mary A. Valante part 1: Children in Medieval Religion 1 The Disrobing Child in the Entry into Jerusalem Scene: An Element of Realism or Symbolism in Byzantine Art?  Sophia Germanidou 2 Boy Becoming Man   Liturgical Inversion in the Boy Bishop Ceremony in Medieval England  Gavin Fort 3 Apocryphal Youth   The Childhood of the Irish Saint  Máire Johnson 4 Minors and the Miraculous   The Cure-Seeking Experiences of Children in Twelfth-Century English Hagiography  Ruth J. Salter 5 The Infirm Child between Parental Worry and Divine Powers  Jenni Kuuliala part 2: Children in Medieval Law and Justice 6 “I Would Like to Make It Up to You by Fostering Your Son”   Fosterage and Fixing Relations in Medieval Iceland  Lahney Preston-Matto 7 Childhood in the Common Law Courts of Medieval Ireland  Bridgette Slavin 8 Puerile Justice   The Voice of a Boy in Jack and His Stepdame  Melissa Elizabeth Raine 9 Foreign Guardianship and the Networked Child in Medieval English Romance  Paul Broyles part 3: Vulnerable Children 10 The Loss of Innocence   Childhood and Transition to Adulthood in the Mortuary Practices of the Early Viking Age  Sarah Croix 11 It Takes a Village   Community Responses to Child Death in High and Late Medieval England  Danielle Griego 12 Havelok’s Sisters   Vulnerability and the Child Body  Eve Salisbury 13 Patriarchy, Violence and Sacrifice in the Middle English Slaughter of the Innocents Plays  Daniel T. Kline 14 Abandoned, Overworked, Abused   The Dark Side of Childhoods in Early Medieval Ireland  Mary A. Valante Bibliography Suggested Additional Reading Index

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Book Synopsis'Painting contains a divine force which not only makes the absent present, as friendship is said to do, but moreover makes the dead seem almost alive.' Taking up Alberti's connection between divine power, mimesis and friendship, this study explores the artistry of the Utrecht portrait specialist Anthonis Mor. It considers Mor's work in relation to reformation debates, and to the challenges to dynastic authority that took place during his lifetime, tracing the breakdown and transformation of belief in 'friendship' or love as a means of binding abstract authority and the embodied world together. Although Mor succeeded Titian as principal portraitist to the Habsburgs, his ambition was not limited to portrayal in a narrow sense. His work enters into dialogue with the elevated conceptions of the artist being enunciated by his humanist friends, and with devotional and allegorical imagery. The book brings Mor's arresting vision to a wider public and reveals its centrality to a broader understanding of how authority was conceived and reshaped in the sixteenth-century.

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Book SynopsisThis volume investigates how Jesuits reflected visually and verbally on the status and functions of the imago, between the foundation of the order in 1540 and its suppression in 1773, in rhetorical and emblematic treatises, theoretical debates, and embedded in various instances where Jesuit authors and artists implicitely explored the status and functions of images.Table of Contents1 Introduction. The Jesuit Engagement with the Status and Functions of the Visual Image Walter S. Melion Part I. Jesuit Image Theory – Rheorical and Emblematic Treatises, and Theoretical Debates 2 THE EARLY JESUITS AND THE CATHOLIC DEBATE ABOUT SACRED IMAGES Wietse De Boer 3 THE JESUIT ARS AND SCIENTIA SYMBOLICA. FROM RICHEOME AND SANDAEUS TO MASEN AND MÉNESTRIER Ralph Dekoninck 4 THE THEORY OF FIGURATIVE LANGUAGE. IN MAXIMILIAN VAN DER SANDT’S WRITINGS Agnès Guiderdoni 5 WRITING ON THE BODY AND LOOKING THROUGH ITS WOUNDS: THE MNEMONIC METAPHOR OF THE STIGMATA IN EMANUELE TESAURO’S RHETORIC Andrea Torre 6 CLAUDE-FRANÇOIS MÉNESTRIER: THE FOUNDER OF “EARLY MODERN GROUNDED THEORY” David Graham 7 Enargeia Fireworks: Jesuit Image Theory in Franciscus Neumayr’s Rhetorical Manual (Idea Rhetoricae, 1748) and His Tragedies Karl A.E. Enenkel Part II: Embedded Jesuit Image Theory 8 LIBELLUS PIARUM PRECUM (1575): ITERATIONS OF THE FIVE HOLY WOUNDS IN AN EARLY JESUIT PRAYERBOOK Walter S. Melion 9 INTERIOR SIGHT IN PETER CANISIUS’ MEDITATIONS ON ADVENT Hilmar Pabel 10 LE PACTE PRÉCAIRE DE L’IMAGE ET DE L’ECRIT DANS LE LIVRE ILLUSTRE D’EPOQUE MODERNE : LE CAS DE LA PEINTURE SPIRITUELLE (1611) DE LOUIS RICHEOME Pierre Antoine Fabre 11 A VARIETY OF SPIRITUAL PLEASURES: ANTHONIS SALLAERT’S GLORIFICATION OF THE NAME OF JESUS James Clifton 12 MARVELS AND MARBLES IN THE ANTWERP JESUIT CHURCH: HENDRICK VAN BALEN’S STONE PAINTINGS OF THE LIFE OF THE VIRGIN (1621) Anna C. Knaap 13 THE SIMULACRA AVORUM IN JESUIT LATIN POEMS BY WALLIUS AND CARRARA: FROM VERGILIAN IMITATION TO SCHOLASTIC PHILOSOPHY AND ART THEORY Aline Smeesters 14 'TO MAKE YOURSELF PRESENT'. JESUIT SACRED SPACE AS ENARGETIC SPACE Steffen Zierholz 15 THE JESUIT STRATEGY OF ACCOMMODATION Jeffrey Muller Index

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Book SynopsisVolume 7 of Walter Spink's monumental and still controversial study of the famous Ajanta caves considers the many connections between the Bagh caves and its “sister site”, Ajanta, particularly emphasizing the leading role that Bagh plays in the crucial matter of Buddhist shrine development and the transition from the aniconic to iconic forms of worship. He also explains the relationships between certain caves and solstices, as well as changing technologies, especially in the development of the door fittings in the monks’ cells.

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Book SynopsisBased on Guilliam Forchondt’s surviving business documentation in Antwerp and applying an aggregate and data-driven approach, Connecting Art Markets focuses on the role of art dealers in mediating the supply and demand for art, behaving in particular ways as to influence the markets for artworks in which they were strategically invested. Van Ginhoven presents her findings on Guilliam Forchondt’s workshop production volumes and transatlantic art trade flows, and evaluates the relationship between the production of paintings in the Southern Netherlands, their local, regional and overseas distribution channels, and the markets for these works in Europe and the Americas during the seventeenth century.Trade Review"This study, the first publication in Brill’s new series Studies in the History of Collecting and Art Markets, is an excellent example of economic and digital art historical research in which statistics and visualizations are used very effectively to contribute novel insights to historical debates." Claartje Rasterhoff, Amsterdam University "... Sandra van Ginhoven’s Connecting Art Markets. Guilliam Forchondt’s Dealership in Antwerp (c.1632–78) and the Overseas Paintings Trade, carried out with the utmost scholarly care and creativity and vividly written, is a resounding accomplishment. It is, basically, art market studies at its best, and thus an excellent and inspiring kickoff of the new Studies in the History of Collecting & Art Markets series edited by Getty’s Christian Huemer." Koenraad Brosens, University of Leuven For the full review see https://www.artmarketstudies.org/brosens-koenraad-review-of-sandra-van-ginhovens-connecting-art-markets

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Book SynopsisIn her new book Art and the Brain: Plasticity, Embodiment and the Unclosed Circle, Amy Ione offers a profound assessment of our ever-evolving view of the biological brain as it pertains to embodied human experience. She deftly takes the reader from Deep History into our current worldview by surveying the range of nascent responses to perception, thoughts and feelings that have bred paradigmatic changes and led to contemporary research modalities. Interweaving carefully chosen illustrations with the emerging ideas of brain function that define various time periods reinforces a multidisciplinary framework connecting neurological research, theories of mind, art investigations, and intergenerational cultural practices. The book will serve as a foundation for future investigations of neuroscience, art, and the humanities.Table of ContentsTable of Contents Acknowledgements 1. Introduction 2. Framing Art and the Brain 3. Ancient Foundations 4. The Brain Exposed and Printed 5. The Soul of the Empirical Brain: Thomas Willis and René Descartes 6. The Empirical Brain in Context 7. The Wondrous Book of the Human Brain in 3-Dimensions 8. Art, Anatomy, and the Hunter Brothers 9. Art and Anatomy: Critics and Hired Hands 10. Electricity Sparks the Imagination 11. The Promethean Human 12. Human Autonomy and Light 13. Human Physiognomy, Psychology, and Brain Functions 14. Technological Innovations and the Nervous System 15. The Possible, Improbable, and Realization of the Magical 16. Perception and Frames of Reference Postscript: The Malleability of History Bibliography Index

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Book SynopsisMarianne Werefkin and the Women Artists in Her Circle traces the relationships between the modernist artists in Werefkin’s circle, including Erma Bossi, Elisabeth Epstein, Natalia Goncharova, Elizaveta Kruglikova, Else Lasker-Schüler, Marta Liepiņa-Skulme, Elena Luksch-Makowsky, and Maria Marc. The book demonstrates that their interactions were dominated not primarily by national ties, but rather by their artistic ideas, intellectual convictions, and gender roles; it offers an analysis of the various artistic scenes, the places of exchange, and the artists’ sources of inspiration. Specifically focusing on issues of cosmopolitan culture, transcultural dialogue, gender roles, and the building of new artistic networks, the collection of essays re-evaluates the contributions of these artists to the development of modern art. Contributors: Shulamith Behr, Marina Dmitrieva, Simone Ewald, Bernd Fäthke, Olga Furman, Petra Lanfermann, Tanja Malycheva, Galina Mardilovich, Antonia Napp, Carla Pellegrini Rocca, Dorothy Price, Hildegard Reinhardt, Kornelia Röder, Kimberly A. Smith, Laima Laučkaitė-Surgailienė, Baiba Vanaga, and Isabel WünscheTrade Review“Although well-known Russian artists Natalia Goncharova and Alexandra Exter, […] who were promoted equally to their male counterparts as among the most prominent artists of modernism, their introduction has hardly led to recognition of other women artists and their roles in cultural life. […] That is why the study of networks, interactions, and obstacles in women’s careers offered in this collection is an inspiring and productive framework for further research and more systematic approaches to a gender-balanced history of art.” - Maria Silina, Université du Québec à Montréal / Research Institute for Theory and History of Fine Arts, Russian Academy of Arts, Moscow, Russia, in: Humanities and Social Sciences online, H-Net reviews 2017

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Book SynopsisThe term ad vivum and its cognates al vivo, au vif, nach dem Leben and naer het leven have been applied since the thirteenth century to depictions designated as from, to or after (the) life. This book explores the issues raised by this vocabulary and related terminology with reference to visual materials produced and used in Europe before 1800, including portraiture, botanical, zoological, medical and topographical images, images of novel and newly discovered phenomena, and likenesses created through direct contact with the object being depicted. The designation ad vivum was not restricted to depictions made directly after the living model, and was often used to advertise the claim of an image to be a faithful likeness or a bearer of reliable information. Viewed as an assertion of accuracy or truth, ad vivum raises a number of fundamental questions in the area of early modern epistemology – questions about the value and prestige of visual and/or physical contiguity between image and original, about the kinds of information which were thought important and dependably transmissible in material form, and about the roles of the artist in that transmission. The recent interest of historians of early modern art in how value and meaning are produced and reproduced by visual materials which do not conform to the definition of art as unique invention, and of historians of science and of art in the visualisation of knowledge, has placed the questions surrounding ad vivum at the centre of their common concerns. Contributors: Thomas Balfe, José Beltrán, Carla Benzan, Eleanor Chan, Robert Felfe, Mechthild Fend, Sachiko Kusukawa, Pieter Martens, Richard Mulholland, Noa Turel, Joanna Woodall, and Daan Van Heesch.Trade Review“The editors and contributors must be commended for this provocative collection of focused scholarship that refreshes our understanding of a pivotal term for early modern art theory.” Tianna Helena Uchacz, Texas A&M University. In: Renaissance Quarterly, Vol. 74, No. 3 (Fall 2021), pp. 933–934.Table of ContentsAcknowledgements List of Illustrations Notes on the Editors Notes on the Contributors 1 Introduction: From Living Presence to Lively Likeness – the Lives of ad vivum  Thomas Balfe and Joanna Woodall 2 Naer het leven: between Image-Generating Techniques and Aesthetic Mediation  Robert Felfe 3 Ad vivum Images and Knowledge of Nature in Early Modern Europe  Sachiko Kusukawa 4 Paintworks au vif to Paintings from Life: Early Netherlandish Paintings in the Round and the Invention of Indexicality  Noa Turel 5 Cities under Siege Portrayed ad vivum in Early Netherlandish Prints (1520–1565)  Pieter Martens 6 ‘Jerusalem naert Leven’? Envisioning the Holy City in the Low Countries (1525–1575)  Daan van Heesch 7 Coming to Life at the Sacro Monte of Varallo: the Sacred Image al vivo in Post-Tridentine Italy  Carla Benzan 8 The Vital Breath: Mathematical Visualizations in England and the Netherlands around 1600  Eleanor Chan 9 Nature au naturel in Late-Seventeenth-Century France  José Beltrán 10 Drawing the Cadaver ad vivum: Gérard de Lairesse’s Illustrations for Govard Bidloo’s Anatomia Humani Corporis  Mechthild Fend 11 The Mechanism and Materials of Painting Colour ad vivum in the Eighteenth Century  Richard Mulholland Index Nominum

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Book SynopsisTramelli considers three main areas of Giovanni Paolo Lomazzo’s studies: color, perspective and anatomy, investigating the types of theoretical and practical knowledge on these subjects conveyed in the Trattato dell’Arte della Pittura and how the context of Milan at the end of the sixteenth century shaped the material gathered in Lomazzo’s books.Trade Review"Barbara Tramelli’s Giovanni Paolo Lomazzo’s Trattato dell’Arte della Pittura: Color, Perspective and Anatomy successfully – and perhaps exhaustively – shows how much Lomazzo’s thinking about art is indebted to the scientific and literary cultures of sixteenth-century Milan. - Joost Keizer (University of Groningen), History of Humanities (Spring 2018), 3:1: 223-224. "One of the most important values of Tramelli’s book is that it makes Lomazzo’s broad and prolific writings available to non-Italian scholars, particularly the Trattato, the most widely read of his books, which Schlosser has recognized as the “Bible of Mannerism”. [...] Tramelli succeeds in making Lomazzo’s writing lighter and more intelligible, while articulating the topics in shorter paragraphs and highlighting and discussing the contradictions in the text." Mauro Pavesi (Università Cattolica del Sacro Cuore), Renaissance Quarterly, Vol. LXXI , No. 1, pp. 237-239 "[the work] demonstrates intellectual honesty in providing an essential and consistent line of interpretation. It is a book that I have read with pleasure, as, in short, it is never discouraging the reader and making him feel inadequate: the difficulties of the reader are the same as those of the author, and she exposes her doubts with the utmost sincerity." - Giovanni Mazzaferro, Letteratura artistica: Cross-cultural Studies in Art History SourcesTable of ContentsAcknowledgements vii Editorial Principles ix List of Illustrations x Introduction: Aims, Sources and Methodology 1 Part 1 Lomazzo and Milan 1 The Artist and the Traveller 17 2 Spaces and Institutions 37 3 Art and Grotesque 63 Part 2 Color, Perspective and Anatomy The Treatise: A Short Introduction 77 4 Lomazzo’s Colors 85 5 Acutissima è La Prospettiva 128 6 The Study of the Body 174 General Conclusions 211 APPENDICES 1 Contract between Giovanni Paolo Lomazzo and Giulio Claro, Reggente in Milan, dated 1561 221 2 L’interogaçiglion ch’o s’han da fa dar gran Scanscieré pos ra gneregada a col ch’o vùr intrò in dra Vall de Bregn 223 3 Difinicione della tavola sopra detta 224 4 Straducc dra vall de Bregn 226 5 Inventory 24th January 1604, doc. B, notary Benedetto Coerezio, f. 20578 227 6 Inventory, 11th November 1611, Fondo Litta, carte 32 229 7 Libro III Del Colore (1584) 230 8 a. Paduan Manuscript (Merrifield, pp. 648–717), Ricette per fare ogni sorte di colori (Chap. I– De colori in generale, e di quali materie si componghino) 231 8 b. Lomazzo, IV chapter of III book of the Trattato, Quali siano le materie nelle quali si trovino i colori 231 Bibliography 233 Index of Names 250

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Book SynopsisIn Conflict, Commerce, and an Aesthetic of Appropriation in the Italian Maritime Cities, 1000-1150, Karen Rose Mathews analyzes the relationship between war, trade, and the use of spolia (appropriated objects from past and foreign cultures) as architectural decoration in the public monuments of the Italian maritime republics in the eleventh and twelfth centuries.Trade Review"As its title suggests, Karen Rose Mathews’s book argues that the use of spolia in the maritime cities was the result of two main factors: conflict and commerce. After an introduction, the book presents case studies of Salerno, Venice, Pisa, and Genoa, followed by a very short conclusion and an ample bibliography.[...] The comparing and contrasting of the selected cities is a fruitful one: rather than a general exposition of reuse in medieval Italy, the choice of salient examples within a limited period is methodologically sound. Mathews bolsters her claims with both material and written sources. She demonstrates how the appropriated objects are employed to different effect and in different manner. [...] this informative and well-documented book makes accessible a complex subject matter (which, except for Venice, has been discussed mainly by Italian authors) and highlights the multivalence of spolia with useful insights into their rich cultural associations". Bente Kilerich, in Speculum 95/3, July 2020.Table of ContentsAcknowledgments List of Illustrations Introduction: Visualizing Commerce and Conflict in the Maritime Cities of Medieval Italy   Conflict and Commerce in the Medieval Mediterranean   Visualizing the Relationship between Trade and Conflict Through an Aesthetic of Appropriation 1 Local Traditions and Norman Innovations in the Artistic Culture of Southern Italy   Introduction   Local Traders and Norman Warriors in Southern Italy   Forging an Amalfitan International Style: The Art Patronage of the Local Elite   Norman Architectural Patronage and the Spolia Aesthetic 2 Emulation of and Appropriation from Byzantium in Venetian Visual Culture   Introduction   Conflict, Trade, and the Venetian Presence in the Eastern Mediterranean   Appropriated Relics from Byzantium   Relics, Spoils, and Spolia in Venetian Art and Architecture 3 The Interplay of Islamic and Ancient Roman Spolia on Pisan Churches   Introduction   Commerce and Conflict in Eleventh and Twelfth-century Pisa   The Signification of Ancient and Contemporary Muslim Spoils onPisan Churches 4 Rivalry with Pisa and Spolia as Plunder of War in Medieval Genoa   Introduction   Crusade Campaigns and Commercial Compensation   Spolia as Plunder in the Art and Architecture of Genoa   The Aesthetic of Appropriation and Competition with Pisa Conclusion: Shifting Significations of the Spolia Aesthetic Select Bibliography   Primary Sources   Secondary Sources

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Book SynopsisIn Networked Nation: Mapping German Cities in Sebastian Münster’s 'Cosmographia', Jasper van Putten examines the groundbreaking woodcut city views in the German humanist Sebastian Münster’s Cosmographia. This description of the world, published in Basel from 1544 to 1628, glorified the Holy Roman Empire of the German Nation and engendered the city book genre. Van Putten argues that Münster’s network of city view makers and contributors—from German princes and artists to Swiss woodcutters, draftsmen, and printers—expressed their local and national cultural identities in the views. The Cosmographia, and the city books it inspired, offer insights into the development of German and Swiss identity from 1550 to Switzerland’s independence from the empire in 1648.Trade Review"This book is a significant, original, and beautifully executed contribution to the study of Renaissance culture in the German lands. In its meticulous reconstruction of Münster’s networks, the milieux and ambitions of the artists who worked on the city views, and the fate of city views across different texts and multiple editions, it brings together scholarship on humanism, publishing, dynastic rivalries, Swiss independence, and penmanship (among other things) into a legible set of relationships. This research then forms the basis for impressive and persuasive analyses of the city views themselves, amply demonstrating the case for their importance in identity formation and representation." Christine R. Johnson, Washington University, St. Louis "Jasper van Putten's fine book should reach a wide audience of historians, in particular anyone with an interest in cultural geography and the increasingly popular topic of the history of maps and knowledge. Van Putten’s clear and logical text is deeply researched throughout and provides strong analysis about the cultural significance of city views as portraits, often linked to a regional ruler and to civic identity, particularly for imperial cities." Larry Silver, University of PennsylvaniaTable of ContentsAcknowledgments List of Illustrations List of Tables Introduction: Networked Nation 1 Sebastian Münster and His City Views 2 City Portraits 3 The Origins, Politics, and Economics of the City View 4 Bishops vs. Bürger 5 Ottheinrich’s View of Heidelberg 6 Depicting Swiss Pride 7 The Evolution of the City Book Conclusion: New World, New Order Tables Appendices Bibliography Index

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Book SynopsisSeventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.Trade Review"This is an important addition to the literature on the art market in Paris, covering a new area of the subject and linking the taste for Dutch and Flemish paintings of the eighteenth century to that of the later-nineteenth." Adriana Turpin, The Society for the History of Collecting, July 2018Table of ContentsAcknowledgements Foreword  Marc Fumaroli List of Illustrations A Note on Currencies 1 From Eyesores to Blue Chip Art  Origins of the Parisian Marketplace for Netherlandish Painting  Art Publications and the Dissemination of Information  France as International Tastemaker for Golden Age Art After 1740  Royal Collections and Northern Masters, 1777–1792  The Twilight of the Auction Business, 1775–1825  The Fate of Golden Age Art Under Terror and Inflation  The Louvre and the “Artistic Conquests” in Belgium and the Netherlands  The Post-Revolutionary Market for Netherlandish Art  The Expanding Mass Market for Copies and the Rise of the Bourgeoisie  Golden Age Art and Popular Culture  Netherlandish versus Italian Art  The Parisian Apartment – a Bourgeois Space for Art 2 On the Art of Surviving the Revolution: Jean-Baptiste Pierre Lebrun  Art Dealer to the Ancien Régime’s Elite, 1776–1789  Painful Adjustments, 1789–1795  Co-Conspirator of Jacques-Louis David, 1792–1794  From The Ministry of Finance to the Louvre, 1794–1799  A Long Good-Bye from the Louvre, 1799–1803  A Difficult Comeback as Dealer-Expert, 1801–1804  Deceptions of the Napoleonic Age, 1807–1813 3 A Long Good Bye to the Palais Royal: The Northern Pictures in the Orléans Collection  The Art Collections in the Palais Royal until 1780  Inside the Art Deal of the Century  The Netherlandish Pictures of the Palais Royal Collection  A Look Inside the Galeries De Bois 4 Liberty’s Toll on Beauty’s Price  Myths and Realities of the Parisian Auction Market in the 1790s  Turnover of the Parisian Art Auction Market and its Economic Context, ca. 1775–1850  The Evolution of Prices for Netherlandish Art in Revolutionary Paris  Bidding Wars: The Picture Trade with Great Britain  The “Guilty Industry” and Netherlandish Art 5 Netherlandish Art in France: A History of Taste and Money across Three Centuries  Poussinists versus Rubenists  The Marquis D’argens and Academic Prejudices Against Northern Art  The Re-Evaluation of Netherlandish Aesthetics from David to Thoré  The Politicization of Nehterlandish Art in the Nineteenth Century  Class, Taste, and the First Art Price Rankings Appendix Bibliography Photograph Credits Index

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Book SynopsisSince ancient times Leviathan and other monsters from the biblical world symbolize the life-threatening powers in nature and history. They represent the dark aspects of human nature and political entities and reveal the supernatural dimensions of evil. Ancient texts and pictures regarding these monsters reflect an environment of polytheism and religious pluralism. Remarkably, however, the biblical writings and post-biblical traditions use these venerated symbols in portraying God as being sovereign over the entire universe, a theme that is also prominent in the reception of these texts in subsequent contexts. This volume explores this tension and elucidates the theological and cultural meaning of ‘Leviathan’ by studying its ancient Near Eastern background and its attestation in biblical texts, early and rabbinic Judaism, Christian theology, Early Modern art, and film.Table of ContentsContents Part 1: Ancient Near East 1 The Leviathan in the Ancient Near East Marjo Korpel and Johannes de Moor Part 2: Old Testament 2 God and the Dragons in the Book of Isaiah Jaap Dekker 3 As a Fish on Dry Land. Some Remarks on Tannîn in Ezekiel Ben van Werven 4 “Is Your Rage Against the Rivers, Your Wrath Against the Sea?” Storm-God Imagery in Habakkuk 3 Koert van Bekkum 5 The Monster as a Toy. Leviathan in Psalm 104:26 77 Gert Kwakkel 6 “Fantastic Beasts and Where to Find The(ir Wisdo)m”. Behemoth and Leviathan in the Book of Job 90 Nicholas Ansell Part 3: Early and Rabbinic Judaism 7 Leviathan on the Menu of the Messianic Meal. The Use of Various Images of Leviathan in Early Jewish Tradition Michael Mulder Part 4: New Testament and Early Christianity 8 Romans 16:17–20a: Imminent Danger and Victory Theo van Spanje 9 The Air Combat between Michael and the Dragon. Revelation 12:7–12 in Relation to Similar Texts from the New Testament Rob van Houwelingen 10 Leviathan and the Monsters in Revelation Henk van de Kamp Part 5 Theological Reflections 11 God and the Suffering of Animals Gijsbert van den Brink 12 “God Deals More Roughly with His Creature than We Would Like”. Leviathan in the Work of Arnold A. van Ruler Dirk van Keulen 13 Modern Political Society as Leviathan. Interpretation and Application of Thomas Hobbes’ Use of a Biblical Symbol Ad de Bruijne 14 The Dragon / Snake in Myth, Religion and Mission. Fear of Death Defeated by the Message of Life Kees Haak Part 6 Iconographic Representations 15 A Glimpse of the Beast. Leviathan in Late Medieval and Early Modern Art Anique de Kruijf 16 Incarnations of Death: Leviathan in the Movies Reinier Sonneveld Index of Ancient Sources Index of Geographical and Personal Names Index of Subjects Index of Modern Authors

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Book SynopsisThe Making of A Modern Art World explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai’s art world. Using guohua as the point of entry, this book interrogates the discourse both of guohua itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of ‘art world’, this book contextualizes guohua through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.Table of ContentsAcknowledgements List of Figures Chapter 1 Introduction: The Hierarchy of Shanghai’s Art World Chapter 2 Institutionalisation as Practice: Societies, Periodicals, and Colleges Chapter 3 The Appropriation of New Cultural Capital: Art Exhibitions Chapter 4 The Business of Art: The Art Market Chapter 5 Conclusion Appendix 1 Biographical Notes Appendix 2 Art Societies Established during the Years 1929–1936 Appendix 3 Art Periodicals Established during the Years 1929–1936 Appendix 4 Survey of Exhibitions held during the Years 1919–1937 Appendix 5 Prices for 4-foot Landscape Paintings in the Hall Scroll Format during the Years 1929-1937 Bibliography

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Book SynopsisCan studying an artist’s migration enable the reconfiguration of art history in a new and “global” mode? Michail Grobman’s odyssey in search of a contemporary idiom of Jewish art led him to cross the borders of political blocs and to observe, absorb, and confront different patterns of modernism in his work. His provocative art, his rich archives and collections, his essays and personal diaries all reveal this complexity and open up a new perspective on post-World War II twentieth-century modernism – and on the interconnected functioning of its local models.Table of ContentsPreface List of Illustrations Introduction: Across the East-West Divide: A Portrait of the Artist in Transcultural Perspective 1 The Moscow Prelude: Visual Culture of the Cold War Era or the “Second Russian Avant-Garde”?  1 A Familiar Stranger: The Russian Encounter with Modern Art in the 1950s  2 The Impact of the American National Exhibition in Moscow: From Abstraction to Multiple Idioms  3 The “Cognitive Theory” of the Russian Avant-Garde and Its Role in the Formation of Unofficial Modern Art  4 Situating Unofficial Art Politically: Leviathan as a Symbol of Protest 2 The Notion of Modern Jewish Art across Borders  1 Jewish Art and Modern Culture: A Complex Dialogue  2 Renunciation of Art as the “Hidden Tradition” of Jewish Modernism  3 The Conflict between Traditionalist and Modernist Jewish Art  4 The Revival of Art Theory in the USSR and Grobman’s Debt to Malevich  5 The Genesis Myth and Suprematism in Grobman’s Work of the 1960s 3 Jewish vs. Israeli: Cultural Politics and Identity Controversy in the Work of the Leviathan Group  1 Shifting Self-Definitions in Local Art Scenes of the Late 1960s and Early 1970s  2 Grobman’s Jerusalem Diary: The Jewish Artist as “Other” in the Israeli Art World  3 Grobman and Conceptual Art: “Renunciation” vs. “Dematerialization of the Art Object”  4 “To Stand on the Rock of the Word ‘We’”: The Art of the Leviathan Group 4 Postmodern Variations: Too Jewish, Too Russian, Too Israeli  1 The Jewish Artist as Russian Poet and Israeli Serviceman, 1980s–1990s  2 Conclusion: Parallels, Conflicts, and Hybrids of the Patterns of Modernism in the Biography of a Single Artist Appendices: Selected Texts by Michail Grobman  A Manifesto of Magical Symbolism  B Selected Theoretical Notes  C First Manifesto of the Leviathan Group  D Second Manifesto of the Leviathan Group  E Third Manifesto of the Leviathan Group (Part of the Leviathan Group’s Installation at the Abattoires 89 International Festival of Artistic Groups in Marseille, Which Was Dedicated to the Bicentennial of the French Revolution, Plate 68)  F The Biblical Construction of the Square  G The Riddle of Levitan  H The Second Russian Avant-Garde Bibliography Plates Index

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Book SynopsisMining the rich documentary sources housed in Tuscan archives and taking advantage of the breadth and depth of scholarship produced in recent years, the seventeen essays in this Companion to Cosimo I de' Medici provide a fresh and systematic overview of the life and career of the first Grand Duke of Tuscany, with special emphasis on Cosimo I's education and intellectual interests, cultural policies, political vision, institutional reforms, diplomatic relations, religious beliefs, military entrepreneurship, and dynastic concerns. Contributors: Maurizio Arfaioli, Alessio Assonitis, Nicholas Scott Baker, Sheila Barker, Stefano Calonaci, Brendan Dooley, Daniele Edigati, Sheila ffolliott, Catherine Fletcher, Andrea Gáldy, Fernando Loffredo, Piergabriele Mancuso, Jessica Maratsos, Carmen Menchini, Oscar Schiavone, Marcello Simonetta, and Henk Th. van Veen.Trade Review“This is a fine collection of studies and should be read not only by those interested in Cosimo I (and his successors), but also by others interested in questions of leadership, patronage, family history, and science.” Kathleen M. Comerford, Georgia Southern University. In: Renaissance Quarterly, Vol. 77, No. 2 (Summer 2023), pp. 688–690.Table of ContentsList of Figures Abbreviations Notes on Contributors Introduction: Cosimo I de’ Medici (1519–2019)  Alessio Assonitis and Henk Th. van Veen 1 The Education of Cosimo di Giovanni de’ Medici (1519–1537)  Alessio Assonitis 2 Alessandro de’ Medici: A Reassessment  Catherine Fletcher 3 Cosimo I and His Spanish In-Laws: The Duke and the Toledo Family  Fernando Loffredo 4 The Emperor and the Duke: Cosimo I, Charles V, and the Negotiation of Sovereignty  Nicholas Scott Baker 5 Cosimo I de’ Medici and Catherine de Médicis: Making the Political Personal  Sheila ffolliott 6 Cosimo I versus the Strozzi, the Enemies of the State  Marcello Simonetta 7 His Father’s Son: Cosimo I de’ Medici as Military Leader  Maurizio Arfaioli 8 Cosimo I “Fontana de Iustitia e Nemico de Tristi”: Pragmatism and Aequitas  Daniele Edigati 9 Taking Over the Economy: Cosimo I de’ Medici and the Management of the Wealth of the State  Stefano Calonaci 10 Cosimo I de’ Medici and the Tuscan Territory  Oscar Schiavone 11 Cosimo I and Religious Heterodoxy in Tuscany  Jessica Maratsos 12 Cosimo I de’ Medici and the Jews  Piergabriele Mancuso 13 The Duke as Cultural Manager: Institutionalization and Entrepreneurship  Andrea M. Gáldy 14 Problems with Cosimo I’s Artistic Patronage: Baccio Bandinelli and the Neptune Fountain in Piazza della Signoria  Henk Th. van Veen 15 Cosimo I de’ Medici and the Renaissance Sciences: “To Measure and to See”  Sheila Barker 16 Cosimo I de’ Medici: Antagonism and Praise  Carmen Menchini 17 Cosimo I de’ Medici and Modern Historiography  Brendan Dooley Index of Names

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Book SynopsisSuzanne Karr Schmidt's Interactive and Sculptural Printmaking in the Renaissance tells the story of a hands-on genre of prints: how innovative paper engineering redefined the relationship of early modern viewers to art, humanism, and science. Interactive and sculptural prints pervaded the European reading market of the sixteenth and seventeenth centuries. Single sheets and book illustrations featured movable flaps and dials, and functioned as kits to build three-dimensional scientific instruments. These hybrid constructions—part text, part image, and part sculpture—engaged readers; so did the polemical, satirical, and, occasionally, erotic content. By manipulating dials and flaps, or building and using the instruments, viewers learned to think through images as well as words, interacting visually with desires, social critique, and knowledge itself.Trade Review“This book is a masterclass in how to find odd things, make sense of them and tell their story in order to reinterpret the historical record. […] Although Karr Schmidt has not gone as far as tasting Renaissance prints, her deep understanding of personal engagements with these objects rewrites standard assumptions about early modern print culture. The book is generously illustrated with colour images. It goes far beyond most publications by showing artefacts in different states, illustrating how an image can change, from its closed to open form, from male to female or devotional to obscene. It offers side-by-side comparisons of related interactive works in other media, from ivory carvings to monumental furniture, also in their different states. […] This book constructs a wholly new approach to the history of printed material, one that begins with the cutting, sewing and tactile reading of this hardback volume itself.” Elizabeth Savage, University of London. In: The Burlington Magazine, Vol. 160 (November 2018), pp. 980–981. “This is the cutting edge of a thriving scholarship on prints as a versatile and dynamic art form. It would be of interest to historians interested in prints, art, science, medicine, religion and culture.” Sachiko Kusukawa, Trinity College, Cambridge. In: Historians of Netherlandish Art Reviews, March 2019. “extremely well-researched […] heavily illustrated […] the book makes a substantial contribution to current development in print scholarship by foregrounding the materiality and actual use of prints.” Ashley D. West, Temple University. In: Print Quarterly 36.3 (2019). “fascinating work […] it breaks new ground […] an important contribution to the history of the book” Sheila McTighe, Courtauld Institute of Art. In: The English Historical Review, Vol. 134, Issue 569 (August 2019), pp. 987–989. “authoritative and beautifully illustrated […]. With its meticulous reconstruction of the processes of printing and its close readings of the multitude of ways in which readers procured knowledge, this study will become a necessary point of reference for all scholars working on early modern religious and scientific print culture.” Pollie Bromilow, University of Liverpool. In: Journal of Jesuit Studies 6.3 (August 2019), pp. 534–537. “Schmidt’s volume delves into the subject ambitiously, turning long overdue attention to the contrivance of the medium [of interactive prints]. … the cases she presents are stimulating and might well inspire scholars to work out other facets of these artifacts and their historical contexts.” Charley Ladee, University of Utrecht. In: Nuncius 34.1 (February 2019), pp. 198-200. “innovative […] the discussions of the sensory aspects of flaying, disrobing, and penetrating into other realms of knowledge adds a new dimension to the significance of the ownership and reception of printed images in early modern Europe.” Evelyn Lincoln, Brown University. In: Renaissance Quarterly, Vol. 73, No. 1 (Spring 2020), pp. 251–253.Table of ContentsAcknowledgments List of Illustrations Abbreviations Introduction Revelatory Playthings: The Religious Origins of the Interactive Print 1 Handling Religion 2 Folding Triptychs 3 Dials and the Printed Host Anatomy of the Reformation: Nosce Antichristum 4 Anatomies both Normal and Deformed 5 Bodily Shame 6 Indecent Exposure to the Anatomically Incorrect Instrumentle auff Papir: Georg Hartmann of Nuremberg and the Printed Scientific Instrument Trade 7 Georg Hartmann as Interactive Printmaker 8 Instrument Printmaking before Hartmann 9 Hartmann as Collaborator Consumption and Exploitation: The International Expansion of the Interactive Book 10 Conspicuous Consumption and Private Presses 11 Lotteries, Gaming, and the Public Reaction 12 Liftable Skirts and Deadly Secrets Afterword: A User’s Guide to Art? Bibliography Index

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Book SynopsisEnglish Gothic Misericord Carvings: History from the Bottom Up by Betsy Chunko-Dominguez is the first book to move beyond textual dependence and traditional iconographic analysis when examining misericords. It likewise builds the most thorough discussion to date of the relationship between the misericord’s several potential audiences – including patron, craftsman, occupant of the seat, and modern viewer. Beyond the bounds of misericord studies, there are implications here for study of the relationship between center and margin in late medieval art; and, indeed, what constitutes ‘center’ and ‘margin’ as conceptual realms. Ultimately, this book attempts both to re-integrate the study of misericords into the study of Gothic art in general, and to re-center them in relation to our understanding of late medieval culture.Trade Review"The fabulous panoply of scenes carved into the misericords that once supported the bottoms of medieval monks and canons across England is ripe for an important new treatment, and in Betsy Chunko-Dominguez it has found a suitably erudite and appreciative investigator.[...] a succinct, pithy and broad survey of the medieval interpretive field and a brilliant application of visual analysis, an important historicisation of and corrective to a somewhat neglected subject." Gabriel Byng, Clare Hall, Cambridge, in Journal of Ecclesiastical History, 70 (2019), 152-153. ''Betsy Chunko-Dominguez’s volume makes a significant contribution to the study of specifically English misericord iconography, engaging with recent work in ways that build upon current thinking and, appropriately, offer a stimulating challenge to the views of these authors. Her work engages more fully with critical theory than that of the aforementioned authors, and does so in a way that is purposeful, and that illuminates her subject while avoiding the excesses that can all too often cloud the overly theoretical. Indeed, the writing has a clarity that may be easily understood by the keen nonspecialist [...] The field of misericord studies is still underexplored, and this considered—and, crucially, excellently illustrated—volume makes a valuable contribution to our approaches to this fascinating and often perplexing body of carvings and, more broadly, to the complex material articulations of life and belief in the late Middle Ages''. Paul Hardwick, in Speculum 94/3 (2019), 819-821.Table of ContentsContents Acknowledgments vii List of Illustrations viii Notes on Permissions xi List of Abbreviations xii Introduction: History from the “Bottom Up” 1 1 Meaning(s) and Medieval Misericords 7 Literacy and the Viewer 9 An Iconographic Dilemma 13 Signa and Res 21 The Case for Hybridity 30 2 Violent Women and the Clerical Gaze 33 Touch and Trope 38 “Wykked Wyves” 45 The Clerical Gaze 51 3 The Abject and Uncanny Human Form 55 Illness and Abjection 57 Scatology and Obscaena 65 Ungodly Peoples 71 Conflated Realities 76 4 The Subject as Sign: Iconography of the Lay Classes 85 Images and Fiction 88 At Home and in the Fields 94 “Folk” Iconography 105 Peasants Behaving Badly 111 5 Image and Anxiety: Iconography of Hell and Damnation 121 To Partake with Devils 123 Dark Visions, Corporeal Fears 128 Doleful Realities 136 Afterword: The Vanishing Mediator 143 Appendix: Dating the Misericords of Fairford 149 Bibliography 160 Index 182

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Book SynopsisThis volume sets out to explore the world of domestic devotions and is premised on the assumption that the home was a central space of religious practice and experience throughout the early modern world. The contributions to this book, which deal with themes dating from the fifteenth to the eighteenth century, tell of the intimate relationship between humans and the sacred within the walls of the home. The volume demonstrates that the home cannot be studied in isolation: the sixteen essays, that encompass religious history, the histories of art and architecture, material culture, literary history, and social and cultural history, instead point individually and collectively to the porosity of the home and its connectedness with other institutions and broader communities. Contributors: Dotan Arad, Kathleen Ashley, Martin Christ, Hildegard Diemberger, Marco Faini, Suzanna Ivanič, Debra Kaplan, Marion H. Katz, Soyeon Kim, Hester Lees-Jeffries, Borja Franco Llopis, Alessia Meneghin, Francisco J. Moreno Díaz del Campo, Cristina Osswald, Kathleen M. Ryor, Igor Sosa Mayor, Hanneke van Asperen, Torsten Wollina, and Jungyoon Yang.Trade Review“Domestic Devotions in the Early Modern World offers an array of impressive research that will prove enriching to all scholars of early modern history.” Gary Gibbs, Roanoke College. In: Renaissance Quarterly, Vol. 74, No. 3 (Fall 2021), pp. 1023–1025.Table of ContentsAcknowledgments Figures and Tables Notes on the Editors Notes on the Contributors Introduction  Marco Faini and Alessia Meneghin Part 1: Complicating the Sacred Space: Private and Public 1 The Brazilian House in the Eighteenth Century: Devotion at Home  Cristina Osswald 2 When the Home Becomes a Shrine: Public Prayers in Private Houses among the Ottoman Jews  Dotan Arad Part 2: Confessional Confrontation 3 Psalm-Singing at Home: The Case of Etienne Mathieu, a Burgundian Protestant  Kathleen Ashley 4 Between Domestic and Public: Johann Leisentrit’s (1527–1586) Instructions for the Sick and Dying of Upper Lusatia  Martin Christ 5 The Moriscos’ Artistic Domestic Devotions Viewed through Christian Eyes in Early Modern Iberia  Borja Franco Llopis and Francisco Javier Moreno Díaz del Campo 6 The Unwritten Ritual: The Duality of Religion in Sixteenth-Century Chosŏn Korea  Soyeon Kim Part 3: Family Life 7 Between Home and Sufi Convent: Devotional Book Use in Early Modern Damascus  Torsten Wollina 8 Commemoration of the Prophet’s Birthday as a Domestic Ritual in Fifteenth- and Sixteenth-Century Damascus  Marion H. Katz 9 Prayers at the Nuptial Bed: Spiritual Guidance on Consummation in Seventeenth-Century Dutch Epithalamia  Jungyoon Yang Part 4: The Materiality of Devotion 10 Amulets and the Material Interface of Beliefs in Seventeenth-Century Prague Burgher Homes  Suzanna Ivanič 11 Experimenting with Relics: Laypeople, Knowledge and Relics in Seventeenth-Century Spain  Igor Sosa Mayor 12 Style as Substance: Literary Ink Painting and Buddhist Practice in Late Ming Dynasty China  Kathleen M. Ryor Part 5: Prayer and Meditation 13 ‘Thou Hast Made this Bed Thine Altar’: John Donne’s Sheets  Hester Lees-Jeffries 14 The Book as Shrine, the Badge as Bookmark: Religious Badges and Pilgrims’ Souvenirs in Devotional Manuscripts  Hanneke van Asperen Part 6: Gendering Devotion 15 Living Spaces, Communal Places: Early Modern Jewish Homes and Religious Devotions  Debra Kaplan 16 Birth, Death and Reincarnation in the Life of a Fifteenth-Century Tibetan Princess  Hildegard Diemberger Index Nominum

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Book SynopsisDomestic Devotions in Early Modern Italy illuminates the vibrancy of spiritual beliefs and practices which profoundly shaped family life in this era. Scholarship on Catholicism has tended to focus on institutions, but the home was the site of religious instruction and reading, prayer and meditation, communal worship, multi-sensory devotions, contemplation of religious images and the performance of rituals, as well as extraordinary events such as miracles. Drawing on a wide range of sources, this volume affirms the central place of the household to spiritual life and reveals the myriad ways in which devotion met domestic needs. The seventeen essays encompass religious history, the histories of art and architecture, material culture, musicology, literary history, and social and cultural history. Contributors are Erminia Ardissino, Michele Bacci, Michael J. Brody, Giorgio Caravale, Maya Corry, Remi Chiu, Sabrina Corbellini, Stefano Dall’Aglio, Marco Faini, Iain Fenlon, Irene Galandra Cooper, Jane Garnett, Joanna Kostylo, Alessia Meneghin, Margaret A. Morse, Elisa Novi Chavarria, Gervase Rosser, Zuzanna Sarnecka, Katherine Tycz, and Valeria Viola.Trade Review“This volume makes a substantial contribution to the redefinition of religious identities in early modern Italy […] The volume excels at challenging the enduring notion of an evenly shared Catholic religiosity, administered and regulated rigorously through institutions. The early modern household, so well presented here, reveals itself to be a complex network of devotions and cults, mixing vivid images and icons with pouches of seeds, holy scrolls, herbs, rosaries, and, most importantly, ideas.” Marco Piana, Smith College, Northampton, Massachusetts in Renaissance and Reformation 42.3Table of ContentsAcknowledgments List of Illustrations Notes on the Editors Notes on the Contributors Introduction  Maya Corry, Marco Faini and Alessia Meneghin Part 1: The Unbounded Nature of Domestic Space 1 Singing on the Street and in the Home in Times of Pestilence: Lessons from the 1576–78 Plague of Milan  Remi Chiu 2 The Ex Voto between Domestic and Public Space: From Personal Testimony to Collective Memory  Jane Garnett and Gervase Rosser 3 Spaces for Domestic Devotion in the Noble Residences of Palermo in the Age of Catholic Reform  Valeria Viola 4 Music and Domestic Devotion in the Age of Reform  Iain Fenlon Part 2: Domesticating the Divine 5 Domestic Portraiture in Early Modern Venice: Devotion to Family and Faith  Margaret A. Morse 6 Domestic Religion and Connected Spaces: Isabella della Rovere, Princess of Bisignano (1552–1619)  Elisa Novi Chavarria 7 “And the Word Dwelt amongst Us”: Experiencing the Nativity in the Italian Renaissance Home  Zuzanna Sarnecka Part 3: The Materiality of Devotion 8 Religious Subjects on Sixteenth-Century Deruta Piatti da Pompa  Michael J. Brody 9 Investigating the ‘Case’ of the Agnus Dei in Sixteenth-Century Italian Homes  Irene Galandra Cooper 10 Material Prayers and Maternity in Early Modern Italy: Signed, Sealed, Delivered  Katherine M. Tycz 11 Devotional Panels as Sites of Intercultural Exchange  Michele Bacci Part 4: Prayer and Meditation 12 Creating Domestic Sacred Space: Religious Reading in Late Medieval and Early Modern Italy  Sabrina Corbellini 13 Delight in Painted Companions: Shaping the Soul from Birth in Early Modern Italy  Maya Corry 14 Literary and Visual Forms of a Domestic Devotion: The Rosary in Renaissance Italy  Erminia Ardissino Part 5: Conflict and Control 15 Domestic Prayers and Miracles in Renaissance Italy: The Case of Savonarola and His Cult  Stefano Dall’Aglio 16 Private and Public Devotion in Late Renaissance Italy: The Role of Church Censorship  Giorgio Caravale 17 Contested Devotions: Space, Identities and Religious Dissent in the Apothecary’s Home  Joanna Kostylo Index Nominum

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Book SynopsisThis volume offers an overview of Byzantine manuscript illustration, a central branch of Byzantine art and culture. Just like written texts, illustrations bear witness to Byzantine material culture, imperial ideology and religious beliefs, as well as to the development and spread of Byzantine art. In this sense illustrated books reflect the society that produced and used them. Being portable, they could serve as diplomatic gifts or could be acquired by foreigners. In such cases they became “emissaries” of Byzantine art and culture in Western Europe and the Arabic world. The volume provides for the first time a comprehensive overview of the material, divided by text categories, including both secular and religious manuscripts, and analyses which texts were illustrated in Byzantium, and how. Contributors are Justine M. Andrews, Leslie Brubaker, Annemarie W. Carr, Elina Dobrynina, Maria Evangelatou, Maria Laura Tomea Gavazzoli, Markos Giannoulis, Cecily Hennessy, Ioli Kalavrezou, Maja Kominko, Sofia Kotzabassi, Stavros Lazaris, Kallirroe Linardou, Vasileios Marinis, Kathleen Maxwell, Georgi R. Parpulov, Nancy P. Ševčenko, Jean-Michel Spieser, Mika Takiguchi, Courtney Tomaselli, Marina Toumpouri, Nicolette S. Trahoulia, Vasiliki Tsamakda, and Elisabeth Yota.Trade Review"L’ouvrage sera une référence utile à tous ceux qui s’intéressent aux manuscrits byzantins tant par la documentation réunie que par leur interprétation". Revue des Études Byzantines 77, 2019, p. 313-421.

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Book SynopsisThis volume, edited by Natasha Constantinidou and Han Lamers, investigates modes of receiving and responding to Greeks, Greece, and Greek in early modern Europe (15th-17th centuries). The book's seventeen detailed studies illuminate the reception of Greek culture (the classical, Byzantine, and even post-Byzantine traditions), the Greek language (ancient, vernacular, and 'humanist'), as well as the people claiming, or being assigned, Greek identities during this period in different geographical and cultural contexts. Discussing subjects as diverse as, for example, Greek studies and the Reformation, artistic interchange between Greek East and Latin West, networks of communication in the Greek diaspora, and the ramifications of Greek antiquarianism, the book aims at encouraging a more concerted debate about the role of Hellenism in early modern Europe that goes beyond disciplinary boundaries, and opening ways towards a more over-arching understanding of this multifaceted cultural phenomenon. Contributors: Aslıhan Akışık-Karakullukçu, Michele Bacci, Malika Bastin-Hammou, Peter Bell, Michail Chatzidakis, Federica Ciccolella, Calliope Dourou, Anthony Ellis, Niccolò Fattori, Maria Luisa Napolitano, Janika Päll, Luigi-Alberto Sanchi, Niketas Siniossoglou, William Stenhouse, Paola Tomè, Raf Van Rooy, and Stefan Weise.Trade Review“Receptions of Hellenism in Early Modern Europe: 15th–17th Centuries is an engaging and wide-ranging volume for both historians and classicists, detailing with a diverse range of Greek receptions in this important period.” - Harriet Lander, University of Nottingham, in: Journal of British Studies, Vol. 60, No. 1 (January 2021), pp. 181–183Table of ContentsPreface List of Figures and Tables List of Abbreviations Contributors Introduction: Receptions of Hellenism in Early Modern Europe  Natasha Constantinidou and Han Lamers Part 1: Access and Dissemination Part 2: Learning, Teaching, and Printing Greek 1 Aldus Manutius and the Learning of Greek: the Aldine Appendix  Paola Tomè (†) 2 From a Thirsty Desert to the Rise of the Collège de France: Greek Studies in Paris, c.1490–1540  Luigi-Alberto Sanchi 3 Teaching Greek with Aristophanes in the French Renaissance, 1528–1549  Malika Bastin-Hammou 4 A Professor at Work: Hadrianus Amerotius (1490–1560) and the Study of Greek in Sixteenth-Century Louvain  Raf Van Rooy 5 Greek History in the Early-Modern Classroom: Lectures on Herodotus by Johannes Rosa and School Notes by Jacques Bongars (Jena, 1568)  Anthony Ellis Part 3: Migration, Exchange, and Identity Cultural Encounters and Exchanges between ‘Greek East’ and ‘Latin West’ 6 From “Bounteous Flux of Matter” to Hellenic City: Late Byzantine Representations of Constantinople and the Western Audience  Aslihan Akişik-Karakullukçu 7 Icons of Narratives: Greek-Venetian Artistic Interchange, Thirteenth–Fifteenth Centuries  Michele Bacci 8 Barbaric and Assimilated Hellenes: Textual and Visual Images of Greek Scholars between Lapo da Castiglionchio (c.1405–1438) and Paolo Giovio (1483–1552)  Peter Bell 9 Maximos Margounios (c.1549–1602), his Anacreontic Hymns, and the Byzantine Revival in Early Modern Germany  Federica Ciccolella Perspectives on Greek Migrants in the West 10 Love and Exile in Michael Marullus Tarchaniota: Geographical Exile, Spiritual Homelessness  Niketas Siniossogliou 11 The Longs and Shorts of an Emergent Nation: Nikolaos Loukanes’s 1526 Iliad and the Unprosodic New Trojans  Calliope Dourou 12 From Courts to Cities: Greek Migration, Community Formation, and Networks of Mutual Assistance in Sixteenth-Century Italy  Niccolò Fattori Appropriations and Use: Cultural & Religious History, Archaeology, and Antiquarianism 13 The Greekness of Greek Inscriptions: Ancient Inscriptions in Early Modern Scholarship  William Stenhouse 14 Pirro Ligorio (1513–1583) and Greek Antiquity  Michail Chatzidakis 15 Ancient Coins and the Use of Greek History in Sicilia et Magna Graecia by Hubertus Goltzius (1525–1583)  Maria Luisa Napolitano Humanist Greek and the Reformation 16 Hyperborean Flowers: Humanist Greek Around the Baltic Sea, Sixteenth and Seventeenth Centuries  Janika Päll 17 “Graecia transvolavit Alpes”: the Evaluation of Humanist Greek Writing in Germany by Georg Lizel (1694–1761)  Stefan Weise General Bibliography Index

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