Religious and ceremonial arts Books

Book SynopsisA vital collection of interdisciplinary essays that illuminates the significance of Marian shrines and promises to teach scholars how to “read” them for decades to come. American Patroness: Marian Shrines and the Making of US Catholicism is a collection of twelve essays that examine the historical and contemporary roles of Marian shrines in US Catholicism. The essays in this collection use historical, ethnographic, and comparative methods to explore how Catholics have used Marian devotion to make an imprint on the physical and religious landscape of the United States. Using the dynamic malleability of Marian shrines as a starting place for studying US Catholicism, each chapter reconsiders the American religious landscape from the perspective of a single shrine to Mary and asks: What does this shrine reveal about US Catholicism and about American religion? Each of the contributors in American Patroness examines why and how Marian shrines persist in the twenty-first century and subsequently uses that examination to re-read contemporary US Catholicism. Because shrines are not neutral spaces—they reflect and shape the elastic yet strict boundaries of what counts as Catholic identity, and who controls prayer practices—the studies in this collection also shed light on the contested dynamics of these holy sites. American Patroness demonstrates that Marian shrines continue to be places where an American Catholic identity is continuously worked on, negotiations about power occur, and Marian relationships are fostered and nurtured in spaces that are simultaneously public and intimate.Table of ContentsIntroduction | 1 Katherine Dugan and Karen E. Park Part I: Mapping Marian Places “Lourdes of the Southwest”: The Borderlands Transformation of a Nineteenth-Century French Shrine Adrienne Nock Ambrose | 21 “Guadalupe Represents La Cultura”: A Mexican American Mural-Shrine in California Lloyd Barba | 44 A Global Odyssey: Our Lady of Perpetual Help and the Promise to “Make Her Known” Patrick J. Hayes | 67 The Battle of Bayside: Contesting Religious Topographies in an Urban Apparition Site Joseph P. Laycock | 92 Part II: Shifting Marian Meanings Fatima Family Shrine: Reinterpreting Mary on the South Dakota Prairie Katherine Dugan | 117 Consolation’s Many Faces: Ethnic Intersections at the National Shrine of Our Lady of Consolation in Carey, Ohio David J. Endres | 139 American Czestochowa: Polish Piety and Haitian Hybridities of Marian Meaning in Pennsylvania Terry Rey | 159 The National Shrine Basilica of Our Lady of Fatima: Meaning Making at a Cold War Niagara Falls Tourist Shrine Karen E. Park | 183 Part III: Devotional Creativity at Marian Shrines Digital Devotion: Marian Shrines Online Kayla Harris | 205 Our Lady of the Underpass: Sacred and Social Space in the City Stephen Selka | 222 Materiality and Attachment: Universality and Locality at Roman Catholic Pilgrimage Sites Claire Vaughn and James S. Bielo | 244 “These Are Our Saints”: A Lourdes Shrine, the St. Coletta School for Exceptional Children, and the Catholic Remaking of Cognitive Disability Andrew Walker-Cornetta | 261 Acknowledgments | 287 Bibliography | 289 List of Contributors | 307 Index | 309

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Book SynopsisA vital collection of interdisciplinary essays that illuminates the significance of Marian shrines and promises to teach scholars how to “read” them for decades to come. American Patroness: Marian Shrines and the Making of US Catholicism is a collection of twelve essays that examine the historical and contemporary roles of Marian shrines in US Catholicism. The essays in this collection use historical, ethnographic, and comparative methods to explore how Catholics have used Marian devotion to make an imprint on the physical and religious landscape of the United States. Using the dynamic malleability of Marian shrines as a starting place for studying US Catholicism, each chapter reconsiders the American religious landscape from the perspective of a single shrine to Mary and asks: What does this shrine reveal about US Catholicism and about American religion? Each of the contributors in American Patroness examines why and how Marian shrines persist in the twenty-first century and subsequently uses that examination to re-read contemporary US Catholicism. Because shrines are not neutral spaces—they reflect and shape the elastic yet strict boundaries of what counts as Catholic identity, and who controls prayer practices—the studies in this collection also shed light on the contested dynamics of these holy sites. American Patroness demonstrates that Marian shrines continue to be places where an American Catholic identity is continuously worked on, negotiations about power occur, and Marian relationships are fostered and nurtured in spaces that are simultaneously public and intimate.Table of ContentsIntroduction | 1 Katherine Dugan and Karen E. Park Part I: Mapping Marian Places “Lourdes of the Southwest”: The Borderlands Transformation of a Nineteenth-Century French Shrine Adrienne Nock Ambrose | 21 “Guadalupe Represents La Cultura”: A Mexican American Mural-Shrine in California Lloyd Barba | 44 A Global Odyssey: Our Lady of Perpetual Help and the Promise to “Make Her Known” Patrick J. Hayes | 67 The Battle of Bayside: Contesting Religious Topographies in an Urban Apparition Site Joseph P. Laycock | 92 Part II: Shifting Marian Meanings Fatima Family Shrine: Reinterpreting Mary on the South Dakota Prairie Katherine Dugan | 117 Consolation’s Many Faces: Ethnic Intersections at the National Shrine of Our Lady of Consolation in Carey, Ohio David J. Endres | 139 American Czestochowa: Polish Piety and Haitian Hybridities of Marian Meaning in Pennsylvania Terry Rey | 159 The National Shrine Basilica of Our Lady of Fatima: Meaning Making at a Cold War Niagara Falls Tourist Shrine Karen E. Park | 183 Part III: Devotional Creativity at Marian Shrines Digital Devotion: Marian Shrines Online Kayla Harris | 205 Our Lady of the Underpass: Sacred and Social Space in the City Stephen Selka | 222 Materiality and Attachment: Universality and Locality at Roman Catholic Pilgrimage Sites Claire Vaughn and James S. Bielo | 244 “These Are Our Saints”: A Lourdes Shrine, the St. Coletta School for Exceptional Children, and the Catholic Remaking of Cognitive Disability Andrew Walker-Cornetta | 261 Acknowledgments | 287 Bibliography | 289 List of Contributors | 307 Index | 309

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Book SynopsisChristianity Today 2022 Book Award of Merit (Beautiful Orthodoxy) Many Christians view the Bible as an instruction manual. While the Bible does provide instruction, it can also captivate, comfort, delight, shock, and inspire. In short, it elicits emotion--just like poetry. By learning to read and love poetry, says literature professor Matthew Mullins, readers can increase their understanding of the biblical text and learn to love God's Word more. Each chapter includes exercises and questions designed to help readers put the book's principles and practices into action.Table of ContentsContentsIntroduction: The Hatred of Poetry and Why It Matters1. How Reading Literature Became a Quest for Meaning2. The Bible Is Literature3. Meaning Is More Than Message4. Not Anything5. Reading with Our Guts6. Delight and Instruction7. Why We Worship8. Changing Our Approach9. How to Read--General Sense10. How to Read--Central Emotion11. How to Read--Formal Means12. A Short Compendium of FormsConclusion: Negative Capability and HabituationAfterword: Reading AloudIndex

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Book SynopsisRefresh your soul with beautifully rendered pieces of art paired with thought-provoking devotions. The designers and writers collaboratively invested their energy and creativity into this collection, each drawing upon the timeless, inspired words of Scripture. The result is 100 pairings of art and devotional thought that illuminate the words of Scripture.

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Book SynopsisWith new photography of extraordinarily rare works of art, this pioneering study features discoveries and research essential to understanding the origins and meaning of Buddhist artistic traditions “Both the show and the book are extraordinary achievements. . . . They will astonish even those who think they are familiar with the art of Buddhism.”—William Dalrymple, New York Review of Books Named for two primary motifs in Buddhist art, the sacred bodhi tree and the protective snake, Tree & Serpent: Early Buddhist Art in India is the first publication to foreground devotional works produced in the Deccan from 200 BCE to 400 CE. Unlike traditional narratives, which focus on northern India (where the Buddha was born, taught, and died), this groundbreaking book presents Buddhist art from monastic sites in the south. Long neglected, this is among the earliest corpus of Buddhist art surviving, and among the most sublimely beautiful. An international team of researchers contributes new scholarship on the sculptural and devotional art associated with Buddhism, and masterpieces from recently excavated Buddhist sites are published here for the first time—including Kanaganahalli and Phanigiri, the most important new discoveries in a generation. With its exploration of Buddhism’s emergence in southern India, as well as of India’s deep commercial and cultural engagement with the Hellenized and Roman worlds, the definitive study expands our understanding of the origins of Buddhist art itself. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (July 21–November 13, 2023) National Museum of Korea, Seoul (December 22, 2023–April 14, 2024)Trade Review“A spectacular achievement . . . [that] opens a window onto a sophisticated courtly and monastic world previously known to only a handful of art historians. . . . Tree & Serpent—beautifully curated and spectacularly well lit—is accompanied by an exceptional scholarly catalog. Both the show and the book are extraordinary achievements. . . . They will astonish even those who think they are familiar with the art of Buddhism.”—William Dalrymple, New York Review of Books

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Book SynopsisZen art poses a conundrum. On the one hand, Zen Buddhism emphasizes the concept of emptiness, which among other things asserts that form is empty, that all phenomena in the world are illusory. On the other hand, a prodigious amount of artwork has been created in association with Zen thought and practice. A wide range of media, genres, expressive modes, and strategies of representation have been embraced to convey the idea of emptiness. Form has been used to express the essence of formlessness, and in Japan, this gave rise to a remarkable, highly diverse array of artworks and a tradition of self-negating art.In this volume, Yukio Lippit explores the painting The Gourd and the Catfish (ca. 1413), widely considered one of the most iconic works of Japanese Zen art today. Its subject matter appears straightforward enough: a man standing on a bank holds a gourd in both hands, attempting to capture or pin down the catfish swimming in the stream below. This is an impossible task, a nonsensical act underscored by the awkwardness with which the figure struggles even to hold his gourd. But this impossibility is precisely the point.

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Book SynopsisDistant blue hills, soaring trees, vast cloudless skies-the majesty of nature has always had the power to lift the human spirit. For some it evokes a sense of timelessness and wonder. For others it reinforces religious convictions. And for many people today, it raises concerns for the welfare of the planet.During the Renaissance, artists from Italy to Flanders andEngland to Germany depicted nature in their religious art tointensify the spiritual experience of the viewer. Devotionalmanuscripts for personal or communal use-from small-scale prayer books to massive choir books-were filled withsome of the most illusionistic nature studies of this period.Sacred Landscapes, which accompanies an exhibition at theJ. Paul Getty Museum, presents some of the mostimpressive examples of this art, gathering a wide range ofilluminated manuscripts made between 1400 and 1600, aswell as panel paintings, drawings, and decorative arts.Readers will see the influ-ence of such masters as AlbrechtDu rer, Jan van Eyck, Leonardo da Vinci, and Piero dellaFrancesca and will gain new appreciation for manuscriptilluminators like Simon Bening, Joris Hoefnagel, Vincent Raymond, and the Spitz Master. These artists were innovative in the early development of landscape painting and were revered through-out the early modern period. The authors provide thoughtful examination of works from the fifteenth through seventeenth centuries.

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Book SynopsisSarnath has long been regarded as the place where the Buddha preached his first sermon and established the Buddhist monastic order. Excavations at Sarnath have yielded the foundations of temples and monastic dwellings, two Buddhist reliquary mounds (stupas), and some of the most important sculptures in the history of Indian art. This volume offers the first critical examination of the historic site. Frederick M. Asher provides a longue duree (long-term) analysis of Sarnath-including the plunder, excavation, and display of antiquities and the Archaeological Survey of India's presentation-and considers what lies beyond the fenced-in excavated area. His analytical history of Sarnath's architectural and sculptural remains contains a significant study of the site's sculptures, their uneven production, and their global distribution. Asher also examines modern Sarnath, which is a living establishment replete with new temples and monasteries that constitute a Buddhist presence on the outskirts of Varanasi, the most sacred Hindu city.

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Book SynopsisSantería, also called Lucumi or Orisha Worship by its practitioners, originated in Nigeria among the Yoruba people. It took shape in Cuba during and after the slave trade and reached North America through Afro-Caribbean immigration. As the fastest growing African-based religion in the United States, Santería has stimulated many publications, but none prior to this book noted the special significance of its art and artists.In Santería Garments and Altars, for the first time, two distinguished folklorists and practitioners of the faith focus upon the artistry of garments and altars that are intrinsic to the worship. Detailed here is information about their design and creation, the artists who make them, and the importance of aesthetics as text in the religious celebration.

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Book SynopsisArtist Pamela Thayer creates a beautiful collection of varied images to color while reflecting on inspirational Bible verses.God Is Love provides a peaceful and meditative coloring experience. More than 60 inspirational Bible verses are brought to life through artist Pamela Thayer's lovely illustrations. Peaceful landscapes, delightful flowers, charming birds, flowers, butterflies, intricate mandalas, beautiful crosses, and other evocative images perfectly complement some of the most encouraging and moving verses of the Bible. The entire family will enjoy nurturing their souls and their creative spirits as they fill the pages with glorious color and reflect on God's word.

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Book SynopsisThis fascinating and richly illustrated book accompanies The Medieval Body, the third in a series of vanguard exhibitions that places medieval masterpieces within a contemporary context.The title of the exhibition refers to both a literal thread of figuration that runs throughout the works in the presentation, as well as the complex and often shifting symbolism of the human body in the medieval period. For thinkers and artists of that time, the human body served as a rich source of religious and philosophical significance, one that was in a constant state of flux between idealism anddisfigurement. While the early Middle Ages reserved representations of suffering bodies to the margins of their world, the later Middle Ages displayed wounded bodies in the most central spaces of public life. The crucified body of Christ and the wounded bodies of saints assumed important positions as they were displayed on altars, in processions, and on the exteriors of churches.The Medieval Body tells a unique story about the human form as both a physical entity and a recognizable metaphor. Presenting works spanning the course of a thousand years, this exhibition offers insight into the body as an essential imagemaking tool with far-reaching implications for the development of art in the European Middle Ages.

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Book SynopsisAn examination of the passion and crucifixion of Christ as depicted in the visual and religious culture of Anglo-Norman England. The twelfth century has long been recognised as a period of unusual vibrancy and importance, witnessing seminal changes in the inter-related spheres of theology, devotional practice, and iconography, especially with regard to thecross and the crucifixion of Christ. However, the visual arts of the period have been somewhat neglected, scholarly activity tending to concentrate on its textual and intellectual heritage. This book explores this extraordinarily rich and vibrant visual and religious culture, offering new and exciting insights into its significance, and studying the dynamic relationships between ideas and images in England between 1066 and the first decades of the thirteenth century. In addition to providing the first extensive survey of surviving Passion imagery from the period, it explores those images' contexts: intellectual, cultural, religious, and art-historical. It thus not only enhances our understanding of the place of the cross in Anglo-Norman culture; it also demonstrates how new image theories and patterns of agency shaped the life of the later medieval church. John Munns is a Fellow of MagdaleneCollege, Cambridge.Trade Review[Munns] demonstrates clearly the interdependence of theology, artistic production, devotion, philosophy, individual agency, and religious institutions that characterize the development of human thought. In doing so, he also demonstrates his own magisterial grasp of them. * SPECULUM *Beautifully produced .. Munns has complied a remarkably comprehensive overview of the centrality of the Cross in English society. [His] lavishly illustrated study opens a window onto the rich and vibrant visual culture of post-Conquest England, shedding new light on contemporary expressions of devotion and of individual spiritual practices. * ART AND CHRISTIANITY *Both a good read and an original contribution to its complex subject. * CHURCH TIMES *[A] truly impressive interdisciplinary study of a period of art history that has long merited more scholarly attention. . . . Cross and Culture in Anglo-Norman England is a monumental work of scholarship that will long be a primary point of reference for medievalists in a variety of fields. * CATHOLIC HISTORICAL REVIEW *Table of ContentsIntroduction Part I: The Theology of the Cross, c. 1066-c. 1170 St Anselm, Affect, and the Site of Salvation The Cross, the Trinity, and the Sacrifice of the Mass The Art of Imitation Part II: The Image of the Cross In ecclesio media: The Public Image Ecce homo: Liturgy and Exposition Narrative and Contemplation in Manuscript Illumination Part III: The Way of the Cross, c. 1170-c. 1215 Pilgrimage and Relics: Proximity to the Holy Cross, Councils, and Crusade Epilogue Bibliography

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Book SynopsisAn examination of the passion and crucifixion of Christ as depicted in the visual and religious culture of Anglo-Norman England. The twelfth century has long been recognised as a period of unusual vibrancy and importance, witnessing seminal changes in the inter-related spheres of theology, devotional practice, and iconography, especially with regard to the cross and the crucifixion of Christ. However, the visual arts of the period have been somewhat neglected, scholarly activity tending to concentrate on its textual and intellectual heritage. This book explores this extraordinarily rich and vibrant visual and religious culture, offering new and exciting insights into its significance, and studying the dynamic relationships between ideas and images in England between 1066 and the first decades of the thirteenth century. In addition to providing the first extensive survey of surviving Passion imagery from the period, it explores those images' contexts: intellectual, cultural, religious, and art-historical. It thus not only enhances our understanding of the place of the cross in Anglo-Norman culture; it also demonstrates how new image theories and patterns of agency shaped the life of the later medieval church.Trade Review[Munns] demonstrates clearly the interdependence of theology, artistic production, devotion, philosophy, individual agency, and religious institutions that characterize the development of human thought. In doing so, he also demonstrates his own magisterial grasp of them. * SPECULUM *Beautifully produced .. Munns has compiled a remarkably comprehensive overview of the centrality of the Cross in English society. [His] lavishly illustrated study opens a window onto the rich and vibrant visual culture of post-Conquest England, shedding new light on contemporary expressions of devotion and of individual spiritual practices. * ART AND CHRISTIANITY *Both a good read and an original contribution to its complex subject. * CHURCH TIMES *[A] truly impressive interdisciplinary study of a period of art history that has long merited more scholarly attention. . . . Cross and Culture in Anglo-Norman England is a monumental work of scholarship that will long be a primary point of reference for medievalists in a variety of fields. * CATHOLIC HISTORICAL REVIEW *Table of ContentsIntroduction Part I: The Theology of the Cross, c. 1066-c. 1170 St Anselm, Affect, and the Site of Salvation The Cross, the Trinity, and the Sacrifice of the Mass The Art of Imitation Part II: The Image of the Cross In ecclesio media: The Public Image Ecce homo: Liturgy and Exposition Narrative and Contemplation in Manuscript Illumination Part III: The Way of the Cross, c. 1170-c. 1215 Pilgrimage and Relics: Proximity to the Holy Cross, Councils, and Crusade Epilogue Bibliography

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Book SynopsisThis volume focuses on the migration and acculturation of images in Jewish culture and how that reflects intercultural exchange. Gender aspects of Jewish art are also highlighted, as is the role of images in interreligious encounters. Other topics covered include the history, codicology, and iconography of a Haggadah produced in the late fifteenth century.

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Book SynopsisThis volume focuses on the migration and acculturation of images in Jewish culture and how that reflects intercultural exchange. Gender aspects of Jewish art are also highlighted, as is the role of images in interreligious encounters. Other topics covered include the history, codicology, and iconography of a Haggadah produced in the late fifteenth century.

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Book SynopsisIcons are among the most elusive subjects in the history of art, but at the same time their study constitutes possibly its fastest expanding field, and with the opening-up of the former Soviet Union many new objects are being discovered, studied and exhibited. In this book, Robin Cormack considers the icon as an integral document of society and gives us new insights into the nature of Byzantine art. Painting the Soul explores both the creation and the development of the icon. After the early Christians - like the pagans before them - had come to expect their god to be visually present among them, endless questions confronted both the artist and the Church. What did Christ look like? How should Christ be represented? Should Christ be represented (as he is for example on the Turin Shroud)? Appropriately, Cormack's study ends with Venetian Crete, where the icon underwent its final development and transformation into the art of the Renaissance. Here, established Byzantine forms of religious art confronted developing Renaissance modes of expression: the first 'icons' of El Greco were painted in Crete. Painting the Soul is beautifully illustrated, featuring many little-known works of art. Even so, Cormack treats the icon not as a mere artistic product, but as the symbolic face of medieval Europe. He shows how this new field within the history of art - the study of the icon - will transform our understanding of European art and culture.Trade ReviewWinner of The Runciman Award 1998. 'This book is a firework display. It sets off scores of explosions which light up the sky over-arching our field, terrain that is normally traversed nose down and too mindful of the footsteps of our predecessors. Burlington Magazine deserves to be read and pondered TLS ambitiously panoramic and highly accessible Anglo-Hellenic Review

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Book SynopsisArs Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. The study of Jewish art frequently raises questions relating to Jewish survival and Jewish identity. These issues have always been of relevance throughout the Jewish diaspora, and as is evident from the articles in this volume they continue to concern Jewish artists to this day. The opening article, 'Illuminations of Kol Nidrei in Two Ashkenazi Mahzorim' by Sara Offenberg, deals with the hidden meanings expressed by groups of animals depicted in two medieval Ashkenazi prayer books for the Day of Atonement. By using allegorical animals in this way the Jews of the thirteenth and fourteenth centuries could safely express their fear of the hostile Christian society in which they lived, as well as their trust in God and belief in redemption.A surprising link between the Middle Ages and modern times is made by Rachel Singer’s article, 'Maurice Sendak’s Where the Wild Things Are: An Exploration of the Personal and the Collective'. Published in 1963, this classic children’s book, written and illustrated by the son of a Jewish immigrant family in Brooklyn, is far removed, both chronologically and geographically, from the Ashkenazi Middle Ages. In her study, however, Singer prises out hidden sources of antisemitic perceptions rooted in medieval Christian Europe. This leads us to the volume’s third article, 'The Return of the Wandering Jew(s) in Samuel Hirszenberg’s Art' by Richard I. Cohen and Mirjam Rajner. The motif of the wandering Jew, a negative and frightening figure, is rooted in the late Middle Ages: it made its first appearance in Christian art, in printed books which disseminated the Christian legend all over Europe. In the nineteenth century, Jewish artists engaging with the image of the wandering Jew endowed it with new interpretations and presentations. One of these is revealed by the authors as they focus on the painting The Wandering Jew, created in 1899 by the Polish Jewish artist Samuel Hirszenberg. As is well known, emancipation and the Jewish national awakening in late nineteenth-century Europe were accompanied by diverse artistic activities. These included the establishment of Jewish societies promoting Jewish art and artists, exhibitions, documentation, and research. Among the most impressive efforts were the activities of Jewish artists in interwar Poland, recorded in contemporary local newspapers and periodicals. As these were published in Polish and Yiddish they weren’t accessible to the English-speaking reader, something that is now rectified by Renata Piątkowska in ‘A Sense of Togetherness: The Jewish Society for the Encouragement of the Fine Arts in Warsaw (1923–1939)'. Based on primary sources, the article introduces us to the flourishing artistic life which was cruelly destroyed in the Holocaust.Another result of Jewish national awakening, in this case in the medium of photography, is presented in 'Modernity as Anti-Nostalgia: The Photographic Books of Tim Gidal and Moshe Vorobeichic and the Eastern European Shtetl', by Rose-Carol Washton Long. This article examines how Zionist ideas led two assimilated German-trained photographers to develop variant thematic and stylistic portrayals of eastern European shtetls in their photobooks, published in 1931 and 1932. Their volumes are neither romantic nor nostalgic, but instead convey a vibrant vision of modernity. While the first five articles discuss issues of identity encountered by Jewish individuals or groups, the next contribution focuses on a 'Jewish identity' that was imposed by a colonial administration. Dominique Jarrassé's 'Orientalism, Colonialism, and Jewish Identity in the Synagogues of North Africa under French Domination' fills the gaps in our knowledge of synagogue architecture in Tunisia and Algiers in the modern era in general, and about colonial Orientalism in particular. Covert Jewish identity is revealed by Milly Heyd in 'Hans Richter: Universalism vis-à-vis Particularism'. This is the third part of her study of the place of the hidden Jew in the Dada avant-garde, one part of which is published in volume 1 of Ars Judaica. The focus in the present piece is on Hans Richter’s art in the context of Man Ray, Tristan Tzara, and others who were born to Jewish families but opted for universalism rather than particularism in their art. The Special Item in this year’s volume is devoted to a painting by Moritz Oppenheim that was long thought to be lost. 'Of Provenance and Providence: On the Reappearance of David Playing the Harp for Saul by Moritz Oppenheim', by Susan Nashman Fraiman, raises some new and interesting questions about Oppenheim’s early work and patrons. The study of this painting reveals a conscious effort to incorporate Jewish source material into his work, an important aspect of his corpus which has previously been neglected.Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica, Department of Jewish Art, Bar-Ilan University, Ramat-Gan 52900, Telephone 03 5318413; Fax 03 6359241; Email [ajudaica@mail.biu.ac.il]Table of ContentsEditor's Note BRACHA YANIV Illuminations of Kol Nidrei in Two Ashkenazi Mahzorim SARA OFFENBERG Maurice Sendak's Where the Wild Things Are: An Explanation of the Personal and the Collective RACHEL SINGER The Return of the Wandering Jew(s) RICHARD I. COHEN and MIRJAM RAJNER The Sense of Togetherness: The Jewish Society for the Encouragement of the Fine Arts in Warsaw (1923 - 1939) RENATA PIATKOWSKA Modernity as Anti-Nostalgia: The Photographic Books of Tim Gidal and Moshe Vorobeichic and the Eastern European Shtetl ROSE-CAROL WASHTON LONG Orientalism, Colonialism, and Jewish Identity in the Synagogues of North Africa under French Domination DOMINIQUE JARRASSE Hans Richter: Universalism vis-a-vis Particularism MILLY HEYD Special Item Of Provenance and Providence: On the Reappearance of David Playing the Harp for Saul by Moritz Oppenheim SUSAN NASHMAN FRAIMAN Book Reviews Discovering the Magic of Yiddishkayt Futur anterieur: L'avant-garde et le livre yiddish (1914 - 1939), catalogue, ed. Nathalie Hazan- Brunet with Ada Ackerman BER (BORIS) KOTLERMAN Felix Lembersky: The Artist Uncovered Yelena Lembersky (ed), Felix Lembersky (1913 - 1970): Paintings and Drawings ORI Z. SOLTES Books and Catalogues Received ELISHEVA REVEL-NEHER, AVIVA CARMI LEVINE In Memoriam Kazimierz Maciej Piechotka (1919 - 2010) by Samuel D. Gruber Abbreviations Contributors to this Issue Submission and Style Guidelines

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Book SynopsisBringing to light little-known artistic traditions, the latest volume of Ars Judaica focuses on the local and temporal contexts of objects and their images and explores collective and personal memories and identities in art. Rivka Ben-Sasson examines modes of symbolic perception of nature prevalent in religious thought and art by analysing images of the lulav and etrog. Iwona Brzewska and Waldemar Deluga discuss the significance of Hebrew script in paintings and prints of the fifteenth to seventeenth centuries originating from the borderland between the Catholic and Christian Orthodox domains of eastern Europe. Michelle Klein studies the typological development of the havdalah candle-holder, based on an analysis of 170 examples. Matthew Baigell suggests that American Jewish artists are characterized by concern for the betterment of humankind; his sources include Jewish postcards, photographs, and caricatures as well as the work of contemporary American Jewish artists. Astrid Schmetterling discusses how Else Lasker-Schüler’s Orientalism offered a serious aesthetic-political challenge to both German and Jewish society. Mor Presiado argues that the contemporary use of sewing and embroidery by contemporary Jewish women artists to depict women’s experience of the Holocaust initiates a new, feminist response to the Holocaust. The Special Item in this volume, an article by Shalom Sabar on the earliest illustrated Esther Scroll by Shalom Italia, is an illuminating insight into early modern Jewish art in the making. Also included are exhibition and book reviews. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica, Department of Jewish Art, Bar-Ilan University, Ramat-Gan 52900, Telephone 03 5318413; Fax 036359241; Email ajudaica@mail.biu.ac.ilTable of ContentsEditor's NoteBRACHA YANIVBotanics and Iconography: Images of the Lulav and the EtrogRIVKA BEN-SASSONA Note on the Hebrew Script in Christian Art between Wroclaw and LvivIWONA BRZEWSKA and WALDEMAR DELUGAThe Havdalah Candle-holder MICHELE KLEIN Social Concern and Tikkun Olam in Jewish American Art MATTHEW BAIGELL 'I am Jussuf of Egypt': Orientalism in Else Lasker-Schüler’s Drawings ASTRID SCHMETTERLING'These Threads Captured Shadows': Sewing and Embroidery in Holocaust Art Works of Contemporary Jewish Women Artists MOR PRESIADOSpecial ItemA New Discovery: The Earliest Illustrated Esther Scroll by Shalom ItaliaSHALOM SABARExhibition ReviewHommage à Lucien Hervé MÁRTA NAGY Book Reviews Mati Meyer, An Obscure Portrait: Imaging Women's Reality in Byzantine Art ELISHEVA BAUMGARTEN Marc Michael Epstein, The Medieval Haggadah: Art, Narrative, and Religious Imagination KATRIN KOGMAN-APPEL Herbert L. Kessler and David Nirenberg, Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to ColonialismKATHY ARON-BELLER Jewish Dimensions in Modern Visual Culture ESTHER LEVINGER Musya Glants, Where Is My Home? The Art and Life of the Russian Jewish Sculptor, Mark Antokolsky, 1843–1902 JOHN E. BOWLT

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Book SynopsisArs Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. In this volume, Avraham Faust considers a unique phenomenon in the material culture of ancient Israel during the biblical period: pottery without painted decoration. Moshe Idel, an expert on Jewish mysticism, sheds new light on the figure of Helios in the Hammath Tiberias synagogue mosaic, comparing it to descriptions of angel ‘Anafi’el in the Heikhalot literature and medieval Kabbalistic texts. Rahel Fronda attributes a group of medieval Ashkenazi Bible manuscripts containing similar micrographic ornaments to the same scribal workshop, possibly near Würzburg. Alexander Mishory reveals a Scroll of Esther illuminated by one of the first Bezalel artists, Shmuel Ben-David, and focuses on his use of fowl and fox imagery deriving from an Arab fable. Artur Tanikowski discusses social awareness and humanist values in the work of Polish modernists of Jewish origin. The Special Item by Nurit Sirkis Bank is dedicated to hasidic wedding rings. A silver ring, square on the outside, round within, and engraved with the Hebrew letter he is understood as a symbol of unity and harmony between man and woman, the human and the Divine, nature and culture, and even good and evil.Contributor Information:Walter Cahn, Professor, History of Art Department, Yale University, Avraham Faust, Director, Tel 'Eton Excavations, Institute of Archaeology, Martin (Szusz) Department of Land of Israel Studies and Archaeology, Bar-Ilan University, Rahel Fronda, Hebraica and Judaica Subject Librarian, Bodleian Library, University of Oxford, Carole Herselle Krinsky, Professor, Art History Department, New York University, Moshe Idel, Professor, Department of Jewish Thought, Hebrew University of Jerusalem; Senior Researcher, Shalom Hartman Institute, David Malkiel, Professor, Department of Jewish History, Bar-Ilan University, Alec Mishory, independent scholar, Israel, Ilia Rodov, Lecturer, Department of Jewish Art, Bar-Ilan University, Nurit Sirkis Bank, Curator, Wolfson Museum of Jewish Art, Hechal Shlomo; doctoral candidate, Bar-Ilan University, David Stern, Professor, Jewish Studies Faculty, University of Pennsylvania, Artur Tanikowski, Graphic Department, Academy of Fine Arts, Warsaw; Faculty of Humanities, Fryderyk Chopin Uiversity of Music, Warsaw; Curator, Museum of the History of Polish Jews, Warsaw Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 Telephone: 03 5318413 Email: ajudaica@mail.biu.ac.ilTable of ContentsEditors’ NoteBRACHA YANIV, MIRJAM RAJNER, and ILIA RODOVDecoration versus Simplicity: Pottery and Ethnic Negotiation in Early IsraelAVRAHAM FAUSTHolding an Orb in His Hand: The Angel ‘Anafi’el and a Late Antiquity Helios MosaicMOSHE IDELAttributing of Three Ashkenazi Bibles with Micrographic ImagesRAHEL FRONDAA Purim Masquerade: Fowls and Foxes in Shmuel Ben David’s Illuminated Scroll of Esther (c. 1923)ALEC MISHORYToward the Philosophy of Work: The Late Paintings of Leopold GottliebARTUR TANIKOWSKISpecial ItemOpposites United: The Square-Round Silver Wedding RingNURIT SIRKIS BANKBook ReviewsThe New Jewish Book HistorySarit Shalev-Eyni, Jews among Christians: Hebrew Book Illumination from Lake ConstanceDAVID STERNMonuments of an Exotic CommunityRemnant Stones: The Jewish Cemeteries and Synagogues of Suriname: Epitaphs, eds. Aviva Ben-Ur and Rachel FrankelRemnant Stones: The Jewish Cemeteries and Synagogues of Suriname: Essays, eds. Aviva Ben-Ur and Rachel FrankelDAVID MALKIELComprehensive View of Hungarian SynagoguesRudolf Klein, Zsinagógák Magyarországon 1782–1918: Fejlo˝déstörténet, tipológia és epítészeti jelentöség / Synagogues in Hungary 1782–1918: Genealogy, Typology and Architectural SignificanceCAROL HERSELLE KRINSKYResearch of Research of Jewish Art: Focusing on LithuaniaILIA RODOVResearch of Jewish Art: Art in the Ukrainian ContextILIA RODOVJewish Art in Modern Times: A New AppraisalSamantha Baskind and Larry Silver, Jewish Art: A Modern HistoryWALTER CAHN

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Book SynopsisArs Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts.In this volume, Sarit Shalev-Eyni considers the Mahzor as a cosmological calendar, while Katrin Kogman-Appel looks at the work of Elisha ben Abraham, known as Cresques, in fourtheenth-century Mallorca. Evelyn M. Cohen discusses a surprising model for Charlotte Rothschild's Haggadah of 1842 and Ronit Sternberg examines sampler embroidery past and present as an expression of merging Jewish identity. Jechezkiel David Kirszenbaum’s exploration of personal displacementis the subject of an article by Caroline Goldberg Igra, and the Great Synagogue on Tłomackie Street in Warsaw one by Eleanora Bergman. The Special Item by Sergey R. Kravtsov and Vladimir Levin is devoted to Perek Shirah on a wall of the Great Synagogue in Radyvyliv. The volume also includes book reviews and an appreciation of the life of Alfred Moldovan by William L. Gross. Contributors: Ziva Amishai-Maisels, Professor, History of Art Department, Hebrew University of Jerusalem, Eleonora Bergman, Emanuel Ringelbaum Jewish Historical Institute, Warsaw, Evelyn M. Cohen, Professor, Jewish Theological Seminary (JTS), New York, Caroline Goldberg Igra, Guest Curator, Beit Hatfusot, Tel Aviv, William L. Gross, Collector, Tel Aviv, Katrin Kogman-Appel, Professor, Ben-Gurion University of the Negev, Beersheva, Sergey R. Kravtsov, Center for Jewish Art, Hebrew University of Jerusalem, Vladimir Levin, Center for Jewish Art, Hebrew University of Jerusalem, Sarit Shalev-Eyni, History of Art Department, Hebrew University of Jerusalem, Larry Silver, History of Art Department, University of Pennsylvania, Ronit Steinberg, History and Theory Department, Bezalel Academy of Arts and design, JerusalemVolumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to:Ars JudaicaDepartment of Jewish ArtBar-Ilan UniversityRamat-Gan 52900telephone 03 5318413fax 03 6359241 email ajudaica@mail.biu.ac.ilTable of ContentsEditors’ NoteThe Mahzor as a Cosmological Calendar: The Zodiac Signs in Medieval Ashkenazi Context SARIT SHALEV-EYNI'Elisha ben Abraham, Known as Cresques': Scribe, Illuminator, and Mapmaker in Fourteenth-Century Mallorca KATRIN KOGMAN-APPELA Surprising Model for Charlotte Rothschild’s Haggadah of 1842 EVELYN M. COHENSampler Embroidery Past and Present as an Expression of Merging Jewish Identity RONIT STEINBERGThe Restoration of Loss: Jechezkiel David Kirszenbaum’s Exploration of Personal Displacement CAROLINE GOLDBERG IGRAThe Great Synagogue on Tłomackie Street: Warsaw Inspirations ELEONORA BERGMANSpecial itemLeviathan Thanks the Lord: Perek Shirah on a Wall of the Great Synagogue in Radyvyliv SERGEY R. KRAVTSOV and VLADIMIR LEVINBook ReviewsObsessions of a DiasporistCilly Kugelmann, Eckhart Gillen, and Hubertus Gaßner, Obsessions: R. B. Kitaj 1932–2007 ZIVA AMISHAI-MAISELSIsrael’s Art Viewed and ReviewedYigal Zalmona, A Century of Israeli Art LARRY SILVERIn MemoriamAlfred Moldovan (1921–2013) WILLIAM L. GROSSAbbreviationsContributors to this issue

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Book SynopsisArs Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts.Contributors: Matthew Baigell, Rutgers University of New Jersey, Batya Brutin, Beit Berl Academic College, Zofit, Warren Zev Harvey, Department of Jewish Thought, Hebrew University of Jerusalem, Moshe Idel, Shalom Hartman Institute, Jerusalem; Department of Jewish Thought, Hebrew University of Jerusalem, Sara Offenberg, Department of Jewish Art, Bar-Ilan University, Nils Roemer, University of Texas at Dallas, Debra Higgs Strickland, School of Culture and Creative Arts, University of Glasgow, Annette Weber, Hochschule für Jüdische Studien, Heidelberg Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241 email ajudaica@mail.biu.ac.ilTable of ContentsEditors' Note‘The Masorah is a Fence to the Torah’ Monumental Letters and Micrography in Medieval Ashkenazi Bibles ANNETTE WEBERVisualization of Colours, 1: David ben Yehudah he-Hasid’s Kabbalistic Diagram MOSHE IDELThe Boy from the Warsaw Ghetto as Holocaust Icon in Art BATYA BRUTINRobert Kirschbaum’s Art: Abstract, Intellectual, Spiritual MATTHEW BAIGELLBook ReviewsDreaming of MichelangeloAsher D. Biemann, Dreaming of Michelangelo: Jewish Variations on a Modern ThemeNIELS ROEMERThe Jewishness of Christian ArtHerbert L. Kessler and David Nirenberg (eds), Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to ColonialismDEBRA HIGGS STRICKLANDMicrographic Midrash in Fourteenth-Century BarcelonaDalia-Ruth Halperin, Illuminating in Micrography: The Catalan Micrography Mahzor MS Heb. 806527 in the National Library of IsraelWARREN ZEV HARVEYFormer Synagogues and Host-Miracle Shrines in Germany and AustriaMitchell B. Merback, Pilgrimage and Pogrom: Violence, Memory, and Visual Culture at the Host-Miracle Shrines of Germany and AustriaSARA OFFENBERG

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Book SynopsisArs Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. Contributors: Zsofia Buda, Andreina Contessa, Monika Czekanowska-Gutman, Basema Hamarneh, Moshe Idel, Sharman Kadish, Reuven Kiperwasser, Rudolf Klein, Susan Nashman Fraiman, Ido Noy, Larry Silver, Ronit Sorek, Sharon Weiser-Ferguson Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241 email ajudaica@mail.biu.ac.ilTable of ContentsEditors' NoteSacrifice in Balance: The Akedah—An Eschatological Perspective ZSOFIA BUDAThe Fleuron Crown from Neumarkt in Silesia (Środa Śląska): Christian Material Culture in a Jewish Context IDO NOYVisualization of Colours, 2: Implications of David ben Yehudah he-Hasid's Diagram for the History of Kabbalah MOSHE IDELThe Mantua Torah Ark and Lady Consilia Norsa: Jewish Female Patronage in Renaissance Italy ANDREINA CONTESSAChallenging the Non-Jewish Images of a Jewish Queen: Portrayals of Esther by Early-Twentieth Century Jewish Artists MONIKA CZEKANOWSKA-GUTMANHumour in Architecture: Jewish Wit on Béla Lajta’s Buildings RUDOLF KLEINChagall's Stained-Glass Syncretism LARRY SILVERSpecial ItemZoya Cherkassky's Aachen Passover Haggadah: A Subversive Illuminated Manuscript RONIT SOREKBook ReviewsMosaics Mirror of FaithRina Talgam, Mosaics of Faith: Floors of Pagans, Jews, Samaritans, Christians, and Muslims in the Holy LandBASEMA HAMARNEHRabbis as Visual BeingsRachel Neis, The Sense of Sight in Rabbinic Culture: Jewish Ways of Seeing in Late AntiquityREUVEN KIPERWASSERJewish Sanctuary in the Old and New WorldsBarry L. Stiefel, with the assistance of David Rittenberg, Jewish Sanctuary in the Atlantic World: A Social and Architectural HistoryBarry L. Stiefel, Jews and the Renaissance of Synagogue Architecture, 1450-1730SHARMAN KADISHExhibition ReviewsLooking Back on a Forward Thinker: Moshe Zabari RetrospectiveMoshe Zabari: Retrospective, curator and catalogue editor Nitza Behroozi BarozBezalel: In and Out in Jewish Contemporary Art, curator and catalogue editors Shiriat-Miriam Shamir and Ido NoySHARON WEISER-FERGUSONThe Second Jerusalem Biennale for Contemporary Jewish Art 2015SUSAN NASHMAN FRAIMAN

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Book SynopsisAn exciting new account of Irish high crosses This landmark study of Irish high crosses focuses on the carvings of an unnamed artist, the “Muiredach Master,” whose monuments—completed in the early years of the 10th century—deserve a place alongside the Book of Kells as great works of their time. Drawing on a wealth of recent research, Roger Stalley describes in vivid detail how the crosses were made, where they were carved, and how they were lifted into place. His lively prose situates the works in their context, identifying patrons and exploring their motives, as well as venturing to understand what the crosses may have meant to those who gazed at them a millennium ago. In doing so, Stalley rejects preconceived notions about the imagery of the crosses, including the extent to which they were inspired by images from abroad. Distributed for the Paul Mellon Centre for Studies in British ArtTrade Review“Engagingly and expertly written by Roger Stalley, Early Irish Sculpture and the Art of the High Crosses is the ideal replacement or preparation for a visit to these unparalleled works of art.”—Christopher Howse, The Tablet“[W]ell written and widely researched. . . . I join with the author in wishing that the book will make high crosses better known outside Ireland.”—Peter Harbison, Irish Arts Review“Roger Stalley demonstrates yet again his status as one of the pre-eminent art historians of the Middle Ages. Displayed throughout this book is an ability to blend an engaging and readable summary with an encyclopaedic knowledge, where the overall narrative never gets lost in the detail. As such, this volume is destined to become a landmark in the study and understanding of Ireland’s high crosses and medieval art.”—Patrick Gleeson, Journal of Irish Archaeology“Explores how High Crosses were constructed; how and where the stone was quarried and carved. . . . This approach leads to new insights into the crosses.”—Elizabeth Alexander, Burlington Magazine

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Book SynopsisIcons and murals depicting the biblical scene of the Last Judgment adorned many Eastern-rite churches in medieval and early modern Ukraine. Dating from the twelfth to the eighteenth centuries, these images were extraordinarily elaborate, composed of dozens of discrete elements reflecting Byzantine, Novgorodian, Moldavian, and Catholic influences, in addition to local and regional traditions. Over time, the details of the iconography evolved in response to changing cultural resources, the conditions of material life at the time, and new trends in mentality and taste.The World to Come lists and describes more than eighty Last Judgment images from present-day Ukraine, eastern Slovakia, and southeastern Poland, making it the largest compilation of its kind. Photographs show overviews and details of the images, and most are printed in full color. The icons and murals provide a valuable source of knowledge about the culture in which they were created: what was meant by good and evil, what was prophesied for the future, and what awaited in the afterlife.

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Book SynopsisTomáš Špidlík: A Theological Life offers one of the first comprehensive reflections on the life and work of the enigmatic Czech theologian. In part one, Karel Sládek explores Špidlík’s thoughts on family, the formation of Jesuit priests, the ecumenical mission of the monastery at Velehrad in Moravia (where Špidlík himself studied), and the wisdom he acquired during stays in Rome. The latter part of the book focuses on Špidlík’s spiritual theology, which was grounded in a synthesis of Eastern and Western Christianity. Here, the book explores subjects such as the Holy Spirit, the Eucharist as a source of spiritual life, and the influence of the Philokalia on Eastern spirituality. By the conclusion, we see Špidlík’s most mature ideas and his forming of a theology of beauty; Špidlík spent his final years in Rome, living and working at the Centro Aletti’s renowned art studio, where he put his mind to observing the theology of art for an understanding of music, film, literature, and iconography.Table of Contents1. A theological interpretation of the life and work of Tomáš Špidlík1.1 The family, and spiritual sonhood and fatherhood1.2 The theologian with the ‘spirit of Velehrad’1.3 The sources of Špidlík’s wisdom2. A synthesis of the spiritual theology of the Christian East and West2.1 The Holy Spirit and the spiritual life2.2 The Eucharist as the primary source of spiritual life2.3 The influence of the Philokalia on Špidlík’s spiritual theology3. Špidlík on art: A theological last will and testament3.1 Mysticism and the theology of beauty3.2 Czech art and the theology of anamnesis3.3 A spiritual-theological interpretation of the films of Andrei Tarkovsky Bibliography

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Book SynopsisThe 23 chapters in this volume explore the material culture of sanctity in Latin Europe and the Mediterranean between c. 1000 and c. 1220, with a focus on the ways in which saints and relics were enshrined, celebrated, and displayed.Reliquary cults were particularly important during the Romanesque period, both as a means of affirming or promoting identity and as a conduit for the divine. This book covers the geography of sainthood, the development of spaces for reliquary display, the distribution of saints across cities, the use of reliquaries to draw attention to the attributes, and the virtues or miracle-working character of particular saints. Individual essays range from case studies on Verona, Hildesheim, Trondheim and Limoges, the mausoleum of Lazarus at Autun, and the patronage of Mathilda of Canossa, to reflections on local pilgrimage, the deployment of saints as physical protectors, the use of imagery where possession of a saint was disputed, island sanctuaries, and the role of Templars and Hospitallers in the promotion of relics from the Holy Land. This book will serve historians and archaeologists studying the Romanesque period, and those interested in material culture and religious practice in Latin Europe and the Mediterranean c.1000âc.1220.Table of ContentsThe Lazarus Mausoleum at Autun RevisitedNeil StratfordA re-præsentatio of Royal and Holy Bodies: The Monumental Tombs of Vienne Cathedral in their Liturgical SettingsBarbara FranzéHeribert and Anno II of Cologne: Two Saintly Archbishops, their Cult, and their Romanesque ShrinesSusanne WittekindThe Canonisation of Bernward and Godehard: Hildesheim as a Cultural and Artistic Centre in the 12th and 13th CenturiesGerhard LutzA Garland of Saints: Romanesque Verona and the Evocation of RomeMeredith FlukeThe Geography of Death: Tombs of Saints and Nobles in the Lands of the CanossasArturo Carlo QuintavalleA Satirical Itinerary of Holy Bodies? Recommendations from The Pilgrim’s GuideRose WalkerThe Pilgrimage Church of St Martin at Tours: The Building Project of the Treasurer Hervé (c. 1001–1022) and its ContextRichard GemSaint Martial of Limoges and the Making of a SaintClaude Andrault-SchmittLocal Hero: Saint Eusice at Selles-sur-CherDeborah Kahn Extra-Mural Developments: The 11th-Century Reconstruction of St-Eutrope at SaintesJohn McNeill Stone, Image, Body: Constructing the Memory of Saint Dionysius in RegensburgMichele Luigi VescoviByzantine Echoes at the end of the 11th Century in the Kingdom of Aragon: Sancho Ramirez and the Relics of Saint Demetrios of Thessaloniki, Fact or Historiographic Fiction?Marta Poza YagüeInventing a New Antiquity: The Reliquary-Altar Depicting the Martyrdom of Saint Saturninus at Saint-Hilaire d’AudeManuel Castiñeiras With Faithful Mind: The Pilgrimage to Santo Domingo de SilosElizabeth Valdez del ÁlamoBradanreolice, Burryholms, and Barry Island: Saints, Shrines and Island Pilgrimage Centres in the Severn EstuaryJeremy KnightLeo on the Margins? Reform, Romanesque, and the Monastery on Inishark Island, IrelandRyan Lash Three Hungarian Shrines from 1083: Canonisation, Politics, and ReformBéla Zsolt SzakácsThe Royal and Christlike Martyr: Constructing the Cult of Saint Olav, 1030–1220Øystein EkrollThe "Forest of Symbols" on the Romanesque Bronze Doors at Gniezno Cathedral ChurchTomasz WęcławowiczImages in the Bayeux Tapestry and Rodes Bible: Reliquaries, Models,and MeaningMontserrat Pagès i ParetasTemplars, Cults, and Relics: The Cleveland Reliquary of the True CrossGaetano CurziTemplars, Hospitallers, and Canons of the Holy Sepulchre on the Way of Saint James: Building at the Service of Lay SpiritualityJavier Martínez de AguirreIndex

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Book SynopsisThe Significance of Monuments is an indispensable text for all students of European prehistory. It is also an enlightening read for professional archaeologists and all those interested in this fascinating period.Trade Review'Bradley writes as he speaks: enthusiastically, lucidly and, even more importantly, interestingly.''Like a stone on calm water, it by necessity leaves out some areas but makes a profound impact on others and in so doing is no less gratifying. It should be essential reading to anyone interested in Neolithic studies.' - Alex Gibson, Landscape History vol 20 98'As someone who can work theory into practice, Bradley has the rare ability to produce successful interpretative archaeologies in a clear, readable and compelling style. It is a publication that deserves a wide audience, and not just within the closed circle of British prehistorians.' - Joshua Pollard'Bradley has identified some aspects of cosmological significance at a broad European level. The Significance of Monuments is stimulating, interesting, and enjoyable; I would highly recommend it for teaching.' - Assemblage, University of SheffieldTable of ContentsList of Figures Preface Part One: From the House of the Dead 1. Structures of Sand: Settlements, Monuments and the Nature of the Neolithic 2. Thinking the Neolithic: the Mesolithic World View and its Transformation 3. The Death of the House: the Origins of Long Mounds and Neolithic Enclosures 4. Another Time: Architecure, Ancestry and the Development of Chambered Tombs 5. Small Worlds: Causewayed Enclosures and their Transformations Part Two: Describing a Circle 6. The Persistence of Memory: Ritual, Time and the History of Ceremonial Monuments 7. The Public Interest: Ritual and Ceremonial, from Passage Graves to Henges 8. Theatre in the Round: Henge Monuments, Stone Circles and their Integration with the Landscape 9. Closed Circles: the Changing Character of Monuments, from Enclosures to Cemeteries 10. An Agricultural Revolution: the Domestication of Ritual Life during later Prehistory References.

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Book SynopsisThis book introduces the relationship between the apocryphal texts and the paintings, mosaics, and sculpture in which they are paralleled, and which have been so significant in transmitting these non-Biblical stories to generations of churchgoers.Trade Review'[This] tough and prodigiously learned, and amply illustrated, [book considers] ... subjects of immediate importance not only to art historians, but also to all concerned with the roots of Christianity.' - Pamela Tudor-Craig, Church Times'The book forms a highly accessible guide to the main apocryphal sources for Christian iconography ... [it] is very well written, simply structured, and has informative illustrations.' - Andrew Spira, Reviews in Religion and Theology' ... an important document for all lovers of Christian art.' - Nouvelle Revue Thélogique' ... it is superbly illustrated with over a 100 plates and has evidently been a labour of love. It is a book which will stimulate and open up new avenues for the student in search of Christian origins.' - Koninklijke Brill NV'The entire work, by text and illustration, demonstrates the influence of the New Testament apocrypha on art from the third or fourth century down to the sixteenth ...' - The Heythrop JournalTable of ContentsPreface Table of Illustrations Introduction 1. Text, Art and the Christian Apocrypha 2. Mary 3. Images of Christ 4. The Life and Mission of Jesus 5. Paul, Thecla and Peter 6. Apostles and Evangelists Bibliography General Index Index of Extracts from Apocryphal Texts Permissions and Acknowledgements

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