Search results for ""Author Richard Barber""

This highly-illustrated volume, by bestselling author Richard Barber, shows how medieval princes proclaimed their special status through displays of magnificence. The book is stunning, in every respect, and will be the gold standard in its subject for years to come. ALISON WEIR "This is glorious! It's a peach-and-peacock of a book, as befits its subject: scholarly, always accessible, with a wealth of fabulous illustrations, superbly designed." KEVIN CROSSLEY-HOLLAND How do you recognise a king when you see one? By the thirteenth century, the special status, which had evolved over thecenturies, was matched by the display of kingly grandeur. This was enshrined in the idea of "magnificence". Magnificence was seen as the king's duty, was applied to everything: his person, the garments he wore, his courtiers, the artists, the musicians and architects he employed. Above all, it was on show in his public appearances, his feasts and ceremonies. The "magnificent" collections of jewels, manuscripts and holy relics were displayed to a handfulof favoured visitors. Those visitors also had to be entertained, and royal feasts developed into an amazing form of performance art. This book is not only about objects and occasions, but also about the people who created them, from the kings themselves and their court servants to the artists, craftsmen and musicians of all kinds, down to the scribes and clerks, the showmen, dancers and acrobats, and the servants at table. All this is explored in this wide-ranging survey, covering the whole of western Europe, but centring on France, the wealthiest of the kingdoms, members of whose extended royal family were at different times kings of Poland, Hungary, Naples, Jerusalem, England, and, most spectacularly, dukes of Burgundy. Pageantry and displays of splendour always catch our attention, and medieval feasts and tournaments are among the most popular forms of historical re-enactment today. Magnificence celebrates many of the high points of the medieval world, drawing them together in a sumptuous volume.

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Published by Boydell & Brewer Inc.

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This anthology shows the diversity of the Arthurian legends and their many sources by presenting contrasting versions of the stories of Arthur, Gawain, Tristan and other medieval Arthurian heroes - and heroines. The image of Arthur has haunted the poets and writers of western Europe for nearly nine centuries, and there is no sign of an end to the reign of the "once and future king" in the world of literature. The Arthurian epic is as popular a subject now as it was when it was first fashioned, and the stories about Arthur and the heroes associated with him come in a bewildering number of guises. The sheer variety of the legends, both in style and content, is extraordinary; and this collection attempts to present, in a small space, something of this diversity. Sir Thomas Malory, half a millennium ago, plundered a whole range of sources to create his masterpiece, Le Morte Darthur; buthe did so to weld them together within the framework of Arthur's own career. Legends of King Arthur draws on different sources, but emphasises the way in which writers have created new stories around the great heroes, or have told the stories in different ways. So there are two versions of each hero's exploits. Arthur is shown as emperor and warlord, and as the triumphant and tragic king of the romances, betrayed by Lancelot and Guinevere. Gawain is the central figure of the wonderful adventures of a Dutch romance, and the courtly and subtle hero of the English masterpiece Sir Gawain and the Green Knight. Tristan appears as the single-minded lover of Iseult in the original version of his story, and then as a knight of the Round Table whose devotion to chivalry is almost as great as his passion for his beloved. In these differing versions, we can see how the Arthurian romances held the medieval world spellbound for so long, in all their colour and variety. RICHARD BARBER's books on Arthur include Arthurian Legends: An Illustrated Anthology, King Arthur: Hero and Legend and Myths and Legends of theBritish Isles.

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A delightful translation of one of the finest, and most beautiful, examples of a medieval Bestiary. Bestiaries are a particularly characteristic product of medieval England, and give a unique insight into the medieval mind. Richly illuminated and lavishly produced, they were luxury objects for noble families. Their three-fold purpose was to provide a natural history of birds, beasts and fishes, to draw moral examples from animal behaviour (the industrious bee, the stubborn ass), and to reveal a mystical meaning - the phoenix, for instance, as a symbol ofChrist's resurrection. This Bestiary, MS Bodley 764, was produced around the middle of the thirteenth century and is of singular beauty and interest. The lively illustrations have the freedom and naturalistic quality ofthe later Gothic style, and make dazzling use of colour. This book reproduces the 136 illuminations to the same size and in the same place as the original manuscript, fitting the text around them. Richard Barber's translation from the original Latin is a delight to read, capturing both the serious intent of the manuscript and its charm. RICHARD BARBER has written many books on the history of and life in the middle ages, from his Somerset MaughamAward-winning The Knight and Chivalry, by way of biographies of Henry II and the Black Prince, to an anthology of Arthurian literature from England, France and Germany, Arthurian Legends, and an account of the historical Arthur, King Arthur: Hero and Legend.

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The destruction of the French army at Crécy in 1346 and the subsequent siege and capture of Calais marked a new era in European history. The most powerful, glamorous and respected of all western monarchies had been completely humiliated by England, a country long viewed either as a chaotic backwater or a mere French satellite.The young Edward III's triumph would launch both countries, as we now know, into a grim cycle of some 90 years of further fighting ending with English defeat, but after Crécy anything seemed possible - Edward's claim to be King of France could be pressed home and, in any event, enormous rewards of land, treasure and prestige were available both to the king and to the close companions who had made the victory possible. It was to enshrine this moment that Edward created one of the most famous of all knightly orders, the Company of the Garter.Barber writes about both the great campaigns and the individuals who formed the original membership of the Company - and through their biographies makes the period tangible and fascinating. This is a book about knighthood, battle tactics and grand strategy, but it is also about fashion, literature and the privates lives of everyone from queens to freebooters. Barber's book is a remarkable achievement - but also an extremely enjoyable one.

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Published by Boydell & Brewer Inc.

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Published by Boydell & Brewer Inc.

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Books define the character of a publishing house better than any account of its business transactions or its organisation. This selection of forty books to mark the fortieth anniversary of Boydell & Brewer reflects the evolution of the company and the changing focus of its activities. It began as the Boydell Press, a very small and very general operation and is now a group of primarily academic imprints. The story of the company's progress and developmentis told through the books, with a strong emphasis on authors and supporters and the occasions linked to the books. Reading Beowulf by firelight on Mound One at Sutton Hoo on an October evening; holding a tournament on the castlemeadow at Framlingham; renting Orford castle for the day; giving the Pepys Dinner in association with Magdalene College - all these add colour to the routine business of publishing. But there is a more serious side. During the 1970s and 1980s, dissatisfaction with the inflexibility of academic publishing led scholars and independent publishers to set up companies designed to serve the needs of their specialised fields. Four such firms, D.S. Brewer, Tamesis, Camden House and James Currey, together with the University of Rochester Press (created in collaboration with the University) make up the Boydell & Brewer Group of today.

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Richard Barber, author of Holy Grail: The History of a Legend and King Arthur: Hero and Legend, has written an engaging and intriguing book on one of the most original concepts of the medieval mind. Profusely illustrated and redesigned for a new generation of readers. Profusely illustrated and redesigned for a new generation of readers, Richard Barber's classic The Reign of Chivalry presents a broad picture of the chivalric world, and shows how chivalry affected or was affected by greatsocial movements, great writers and great events, and analyses the legacy it passed down to later ages. The opening chapter looks at the central figure of the whole chivalric world, the knight, and asks why he is such a different figure from other fighting men. Following sections deal with chivalry in relation to the main themes of medieval literature, especially the vast cycle of Arthurian romances, and discuss the attitudes towards chivalry of writers such as Jean Froissart, whose pages cast a golden glow over the harsh realities of war. Later sections look at chivalry's influence on the Renaissance and later culture, beginning with the knight's transition to gentleman. The element by which chivalry is now most remembered, its respectful, even adoring, attitude towards women, is the subject of a wide-ranging discussion, covering both medieval reality and modern ideals. Richard Barber, author of Holy Grail: History of a Legend, Myths and Legends of the British Isles and King Arthur: Hero and Legend, has written an engaging and intriguing book on one of the most original concepts of the medieval mind.

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Tales from the dawn of Christianity to the age of the Plantagenets reveal a mythology in its time as potent as that of the classical world. The British Isles have a long tradition of tales of gods, heroes and marvels, hinting at a mythology once as relevant to the races which settled the islands as the Greek and Roman gods were to the classical world. The tales drawntogether in this book, from a wide range of medieval sources, span the centuries from the dawn of Christianity to the age of the Plantagenets. The Norse gods which peopled the Anglo-Saxon past survive in Beowulf; Cuchulainn, Taliesin and the magician Merlin take shape from Celtic mythology; and saints include Helena who brought a piece of the True Cross to Britain, and Joseph of Arimathea whose staff grew into the Glastonbury thorn. Tales of the British Arthur are followed by legends of later heroes, including Harold, Hereward and Godiva. These figures and many others were part of a familiar national mythology on which Shakespeare drew for Lear, Macbeth and Hamlet, creating the famous versions that are known today. Here the original stories are presented. RICHARD BARBER's other books include and The Knight and Chivalry.

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The acclaimed Penguin Monarchs series: short, fresh, expert accounts of England's rulers - now in paperbackHenry II (1154-89) through a series of astonishing dynastic coups became the ruler of an enormous European empire. One of the most dynamic, restless and clever men ever to rule England, he was brought down both by his catastrophic relationship with his archbishop Thomas Becket and his debilitating arguments with his sons, most importantly the future Richard I and King John. His empire may have ultimately collapsed, but in Richard Barber's vivid and sympathetic account the reader can see why Henry II left such a compelling impression on his contemporaries.Richard Barber has written for Penguin The Penguin Guide to Medieval Europe, The Holy Grail and Edward III and the Triumph of England. He is a major figure in medieval studies, both as a writer and as a publisher.

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Published by Boydell & Brewer Inc.

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Published by Boydell & Brewer Inc.

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The whole subject is brought up to date - Arthurian buffs will want this book. DAILY TELEGRAPH Who was the real Arthur? Why were his knights so famous? Was he buried at Glastonbury? Richard Barber takes the story from the anonymous 8th century chronicler who first listed his battles to the novelists of the 20th century. A clear and readable account of the development of the stories about Arthur and his court from the earliest times to the present day.

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The vital index to all previous volumes, I-X; plus new research. Epitomises what is best in Arthurian scholarship today.ZEITSCHRIFT FUR ROMANISCHE PHILOLOGIE Arthurian Literatureis now established as a leading publication for research articles of monograph length on subjects of perennial interest to Arthurians. The Indexto the first ten volumes, representing the years 1980-1990, will be warmly welcomed by Arthurians and other scholars with an interest in medieval and later literature. Additionally an extended biographical essay by JANET GRAYSON draws together material relating to the life and work of Jessie Weston, who, largely working outside the mainstream of scholarly tradition, exercised a powerful influence on Arthurian studies. The regular "Update" feature catalogues Arthurian legend in the fine and applied art of the 19th and early 20th centuries, contributed by ROGER SIMPSON.

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The tenth volume of Arthurian Literature continues some ofthe themes of earlier issues, as well as exploring unfamiliar andcontroversial ground. The second part of CHRISTINE POULSON's survey of the Arthurian legend in 19th-century art is an analysisby subject of the works catalogued by artist in Arthurian Literature IX. A. H. W. SMITH provides a substantial update to MaryWildman's bibliography of modern Arthurian literature which appearedin Arthurian Literature II, adding not only recent works butalso many items missing from the earlier list. Mr Smith also contributesan article on Ponticus Virumnius and the text of Gildas, one of themore intriguing mysteries ofArthurian text history, and sets outVirumnius' claim to have seen a poem by Gildas which has since disappeared. ARMEL DIVERRES writes on the origins of Chretien de Troyes'Conte del Graal; he argues that we should seek thepoet's inspiration in the crusading activities of Philip of Flanders, supporting his case with a careful examination of many otherwise difficult passages in the poem.

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The first serious study of tournaments throughout Europe reveals their importance - in the training of the medieval knight, the development of arms and armour, as an instrument of political patronage, and as a grand public spectacle. Will appeal to a wide audience. It is beautifully presented...the illustrations add further glory to a thorough historical analysis which is based on extensive research in Europe-wide sources... particularly useful in bringing toour attention lesser-known materials from the Iberian peninsula. The level of discussion, range and thoroughness of treatment and excellence of annotation make this a useful reference work for the academic historian too: it is hard to find any aspect of tournaments that is not covered.HISTORY The first serious study of tournaments throughout Europe reveals their importance - in the training of the medieval knight, the development of arms and armour, as an instrument of political patronage, and as a grand public spectacle.

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Geoffrey le Baker's chronicle covers the reigns of Edward II and Edward III up to the English victory at Poitiers. David Preest's new translation includes extensive notes and an introduction by Richard Barber. Geoffrey le Baker's chronicle covers the reigns of Edward II and Edward III up to the English victory at Poitiers. It starts in a low key, copying an earlier chronicle, but by the end of Edward II's reign he offers a much more vivid account. Baker's description of Edward II's last days is partly based on the eyewitness account of his patron, Sir Thomas de la More, who was present at one critical interview. This story of Edward's death, like many other details from his chronicle, was picked up by Tudor historians, particularly by Holinshed, who was the source for Shakespeare's history plays. The reign of Edward III is dominated, not by Edward III himself, but by Baker's real hero, Edward prince of Wales. His bravery aged sixteen at Crécy is presented as a prelude to his victory at Poitiers, a battle which Baker is able to describe in great detail, apparently from what he was told by the prince's commanders. It is a rarity among medieval battles, because - in sharp contrast to the total anarchy at Crécy - the prince and his staff were able to see the enemy's manoeuvres. Throughout the chronicle there are sharply defined vignettes which stay in the mind - the killing of the Scottish champion on Halidon Hill, the drowning of Sir Edward Bohun, the earls of Salisbury and Suffolk as prisoners carried in a cart, the death of Sir Walter Selby and his two sons, the bravery of Sir Thomas Dagworth against a cobbler's son, the duel between Otho and the duke of Lancaster, John Dancaster and the lewd washerwoman. Baker writes in a complex Latin which even scholars find problematic,and David Preest's new translation will be widely welcomed by anyone interested in the fourteenth century. There are extensive notes and an introduction by Richard Barber. DAVID PREEST has also translated The Chronica Maiora of Thomas Walsingham, a Choice Outstanding Academic Title; RICHARD BARBER's recent book Edward III and the Triumph of England draws heavily on Geoffrey le Baker's work for the first twenty years of Edward'sreign.

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Geoffrey le Baker's chronicle covers the reigns of Edward II and Edward III up to the English victory at Poitiers. David Preest's new translation includes extensive notes and an introduction by Richard Barber. Geoffrey le Baker's chronicle covers the reigns of Edward II and Edward III up to the English victory at Poitiers. It starts in a low key, copying an earlier chronicle, but by the end of Edward II's reign he offers a much more vivid account. His description of Edward II's last days is partly based on the eyewitness account of his patron, Sir Thomas de la More, who was present at one critical interview. Baker's story of Edward's death, like many other details from his chronicle, was picked up by Tudor historians, particularly by Holinshed, who was the source for Shakespeare's history plays. The reign of Edward III is dominated, not by Edward III himself, but by Baker's real hero, Edward prince of Wales. His bravery aged 16 at Crécy is presented as a prelude to his victory at Poitiers, a battle which Baker is able to describe in great detail, apparently from what he was told by the prince's commanders. It is a rarity among medieval battles, because - in sharp contrast to the total anarchy at Crécy - the prince and his staff were able to see the enemy's manoeuvres. Throughout the chronicle there are sharply defined vignetteswhich stay in the mind - the killing of the Scottish champion on Halidon Hill, the drowning of Sir Edward Bohun, the earls of Salisbury and Suffolk as prisoners carried in a cart, the death of Sir Walter Selby and his two sons, the bravery of Sir Thomas Dagworth against a cobbler's son, the duel between Otho and the duke of Lancaster, John Dancaster and the lewd washerwoman. Baker writes in a complex Latin which even scholars find problematic, and David Preest's new translation will be widely welcomed by anyone interested in the fourteenth century. There are extensive notes and an introduction by Richard Barber.

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This collection of new essays on Arthurian themes contains one on Layamon, two on Chretien, and one on Victorian art. They are as follows: Oliver Goulden, 'Erec et Enide': The Central Section The opening and closing sections of Erec et Enide have always attracted critical attention: Dr Goulden argues that the central section, often neglected, is crucial to our understanding of the poem.Claude Luttrell, The Arthurian Hunt with a White Bratchet:The theme of the hunt with a magical hound is found from the Mabinogion to Malory, and this essay charts its gradual change from the supernatural.W.R.J.Barron and Francoise Le Saux, Aspects of Layamon's Narrative Art: Layamon's Arthurian epic has been regarded as little more than a lively translation of Wace, here his different approach to narrative is examined, and shown to be an original aspect of his work.Christine Poulson, Arthurian Legend in Fine and Applied Art of the 19th and early 20th Centuries: A Catalogue of Artists:Following the bibliographies of modern Arthurian writing in earlier volumes, Dr Poulson presents a catalogue of visual materials. A list by subject will appear in Volume X.

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Vast in its scope, incomparably dense in its imagery, Parzival ranks alongside Dante's Divine Comedy as one of the foremost narrative works to emerge from medieval Europe. Written in the first decade of the thirteenth century, Parzival is the greatest of the medieval Grail romances. It tells of Parzival's growth from youthful folly to knighthood at the court of King Arthur, and of his quest for the Holy Grail. Full of incident and excitement, the story involves deeds of chivalry, tournaments and sieges, courtly love and other erotic adventures. Parzival's quest becomes a moral and spiritual journey of self-discovery, as he learns that he must repent of his past misdeeds if he is to succeed. Exuberant and Gothic in its telling, as well as profoundly moving, Parzival has inspired and influenced works as diverse as Wagner's Parsifal and Lohengrin, Terry Gilliam's film The Fisher King, and Umberto Eco's Baudolino. Cyril Edwards's fine translation also includes the fragments of Titurel, an elegiac offshoot of Parzival. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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A dramatic archaeological find at Windsor Castle reveals Edward III's 'House of the Round Table', designed to show off Edward's power and prestige at a crucial moment in his attempts to lay claim to the throne of France. The image of King Arthur's Round Table is well-known, both as Thomas Malory's portrayal of a fellowship of knights dedicated to the highest ideals of chivalry, and as the great wooden table at Winchester castle. Now a dramatic archaeological find at Windsor castle sheds new light on the idea of a round table as a gathering: the 'House of the Round Table' which Edward III ordered to be constructed at the conclusion of his Windsor festival of 1344. Thediscovery of the foundation trench of a great building two hundred feet in diameter in the Upper Ward of Windsor castle, allows the reconstruction of that building's appearance and raises the question of its purpose. Chronicles, building materials inventories from the royal accounts, medieval romances, and earlier descriptions of round table festivals all confirm the archaeological evidence: at a time when secular orders of knighthood were almost unknown,Edward declared his intention to found an Order of the Round Table with three hundred knights. This grand building, and the Arthurian entertainments he planned for it, would bind his nobles to his cause at a crucial point in hisprogress to claiming the throne of France. His ambitious scheme, however, was overtaken by events. Victory at Crécy in 1346 confirmed Edward's reputation, and the order which he founded in 1348 was the much more exclusive Order of the Garter, rewarding those commanders who had helped him to win the Crécy campaign. His reputation was assured, the omens for his reign were auspicious; he had the loyalty of his knights and magnates. The Round Table building was abandoned, and eventually pulled down in the 1360s. Thus a major plank in the strategic thinking of one of England's greatest kings almost became a footnote in history. Time Team discovered ... there [are] indeed foundations of a massive round building in Windsor Castle's upper ward. A splendidly produced volume, which gives full credit both to the history and to the archaeology: analysis of the chivalric background, archaeological analysis, discussion of the probable form of the building [and] the early history of Windsor Castle as well as the types of stone used by Edward III's masons. The book is attractively illustrated, and its appendices provide a full text inLatin, with translation, of the building accounts, as well as translations of many of the relevant chronicle extracts. MICHAEL PRESTWICH, THE TIMES LITERARY SUPPLEMENT

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A dramatic archaeological find at Windsor Castle reveals Edward III's 'House of the Round Table', designed to show off Edward's power and prestige at a crucial moment in his attempts to lay claim to the throne of France. NEW LOWER PRICE The image of King Arthur's Round Table is well-known, both as Thomas Malory's portrayal of a fellowship of knights dedicated to the highest ideals of chivalry, and as the great wooden table at Winchester castle. Now a dramatic archaeological find at Windsor castle sheds new light on the idea of a round table as a gathering: the 'House of the Round Table' which Edward III ordered to be constructed at the conclusion of his Windsor festival of 1344. The discovery of the foundation trench of a great building two hundred feet in diameter in the Upper Ward of Windsor castle, allows the reconstruction of that building's appearance and raises the question of itspurpose. Chronicles, building materials inventories from the royal accounts, medieval romances, and earlier descriptions of round table festivals all confirm the archaeological evidence: at a time when secular orders of knighthood were almost unknown, Edward declared his intention to found an Order of the Round Table with three hundred knights. This grand building, and the Arthurian entertainments he planned for it, would bind his nobles to his cause ata crucial point in his progress to claiming the throne of France. His ambitious scheme, however, was overtaken by events. Victory at Crécy in 1346 confirmed Edward's reputation, and the order which he founded in 1348 was themuch more exclusive Order of the Garter, rewarding those commanders who had helped him to win the Crécy campaign. His reputation was assured, the omens for his reign were auspicious; he had the loyalty of his knights and magnates.The Round Table building was abandoned, and eventually pulled down in the 1360s. Thus a major plank in the strategic thinking of one of England's greatest kings almost became a footnote in history. Time Team discovered .there [are] indeed foundations of a massive round building in Windsor Castle's upper ward. A splendidly produced volume, which gives full credit both to the history and to the archaeology: analysis of the chivalric background, archaeological analysis, discussion of the probable form of the building [and] the early history of Windsor Castle as well as the types of stone used by Edward III's masons. The book is attractively illustrated, and its appendicesprovide a full text in Latin, with translation, of the building accounts, as well as translations of many of the relevant chronicle extracts. MICHAEL PRESTWICH, THE TIMES LITERARY SUPPLEMENT

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A survey of the influence of the Arthurian legends on musical works. King Arthur in Music is the first book to be devoted to the subject. The range of musical material is too wide for a single author to tackle satisfactorily, and the nine contributors to this volume are experts in the very different fields involved. The first essay, by Robert Shay, deals with the late seventeenth century semi-opera King Arthur, while the final essay by William Everitt looks at the appearances of Arthur on stage and screen and the scores that have accompanied these. Between these two extremes, the main body of the book deals largely with opera as we now understand it, from Wagner's 'Tristan' and 'Parsifal' to Harrison Birtwistle's 'Sir Gawain and the GreenKnight'. Some works have never been performed, such as Hubert Parry's 'Guenever' and Rutland Boughton's Arthurian cycle, while others have only recently been staged or revived, such as Isaac Albeníz's 'Merlin' and Ernest Chausson's 'Le roi Artus', both striking post-Wagnerian works in very different styles: 'Merlin', for instance, begins with a passage based on Gregorian chant. The range of music is therefore wider than one might at first suspect, and other aspects of Arthurian music are brought out in the introduction, which is a general survey of the field, and in Jerome V.Reel's comprehensive listing of Arthurian musical items which is printed as an appendix. Contributors ROBERT ADLINGTON, RICHARD BARBER, WALTER A. CLARK, JEREMY DIBBLE, WILLIAM A. EVERITT, TONY HUNT, MICHAEL HURD, JEROME V. REEL, NIGEL SIMEONE, ROBERT SHAY, DEREK WATSON.

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The Marlborough Mound has recently been recognised as one of the most important monuments in the group around Stonehenge. It was also a medieval castle and a feature in a major 17th century garden. This is the first comprehensive history of this extraordinary site. Marlborough Mound, standing among the buildings of Marlborough College, has attracted little attention until recently. Records showed it to be the motte of a Norman castle, of which there were no visible remains. The local historians and archaeologists who had investigated it had found very little in the way of archaeological evidence beyond a few prehistoric antler picks, the odd Roman coin, and a scatter of medieval pottery. It was to be archaeology which provided the most dramatic discovery after the Mound Trust began to restore the mound in 2003. English Heritage were investigating Silbury Hill, and arranged to take cores from the Mound for dating purposes. The results were remarkable, as they showed that the Mound was almost a twin of Silbury Hill and therefore belonged to the extraordinary assembly of prehistoric monuments centred on Stonehenge. For the medieval period, this book brings together for the first time all that we know about the castle from the royal records and from chronicles. These show that it was for a time one of the major royal castles in the land. Most of the English kings from William I to Edward III spent time here. For Henry III and his queen Eleanor of Provence, it was their favourite castle after Windsor. It marks the end of the first stage of the work of the Mound Trust, which, following the restoration, turns to its second objective of promoting public knowledge of the Mound based on scholarly research. As to its final form as a garden mound next to the house of the dukes of Somerset, in the eighteenth century, this emerges from letters and even poems, and from the recent restoration. Much of this has been slow and painstaking work, however, involving the removal of the trees which endangered the structure of the Mound, the recutting of the spiral path and the careful replanting of the whole area with suitable vegetation. By doing this, the shape of the Mound as a garden feature has re-emerged, and can now be seen clearly. This book marks the end of the first stage of the work of the Mound Trust, which, following the restoration, turns to its second objective of promoting public knowledge of the Mound based on scholarly research.

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Continuing its policy of publishing extended explorations of Arthurian subjects, this eighth volume of Arthurian Literature contains four articles. Elizabeth Archibald addresses the reasons for the insertion of the story of Mordred's incestuous birth into many versions of the Arthurian legend (including Malory's) from the early 13th century on, and follows its development from the Vulgate Cycle to later Arthurian narratives. The use of irony to point up aspects of the Lancelot-Guinevere relationship in the prologue to Le Chavalier de la Charrete is explored by Jan Janssens. The early 13th-century Romance of Fergus is introduced and translated by D.D.R. Owen, who finds it of special interest not just because of its uniquely Scottish setting, but also because its use of parody foreshadows later medieval comedy; Scottish concerns also figure in Edward Donald Kennedy's discussion of the 15th-century chroniclerJohn Hardyng's use of the story of Galahad's grail quest, and the changes he made.

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