Search results for ""Pindar Press""
Pindar Press Studies in the Layout, Buildings and Art in Stone of Early Irish Monasteries
Professor Herity is one of the leading archaeologists in the Early Christian period in Ireland. These papers document a sustained interest in the early development of Irish Christian monasteries and hermitages between the years 400 and 700. Major concerns include the form and layout, buildings and other monuments of these early foundations, particularly those on islands in the Atlantic, most of which were founded before 600. Examination of their cross-carved slabs and pillars has led to a study of the forms of the Tomb of the Founder Saint and the characteristic pilgrimage round known in Irish as an Turas and still performed today. The development of ideas based on the pioneer work of Françoise Henry is documented in two papers on Fechin's hermitage at Ardoiléan or High Island off the Galway coast in 1977 and 1990. Recent papers are also concerned with the forms of the Chi-rho and other early crosses in the insular context.
£60.00
Pindar Press Studies in The History of Medieval Italian Painting, Volume I
The four volumes of Edward Garrison's Studies, published between 1953 and 1962, represented a landmark in the study of medieval Italian painting. They made available for the first time photographs of all miniatures of the region and period concerned - principally the former Papal States and Tuscany in the twelfth century - which the author was able to track down, along with a generous selection of ornamental initials from almost every decorated manuscript he examined. The contemporary wall-paintings and panels from these regions are also illustrated and discussed. They represent one of the most valuable sources of information about twelfth-century painting in existence, and everyone interested in European art of that period has at some time found himself gratefully using them. A serious attempt has been made to get all this material into order, and the general lines of development have been set out. Together with the author's two volumes already published in our Selected Studies Series (Early Italian Painting: Selected Studies, Vols. I & II) these four volumes make available the complete corpus of Edward Garrison's work on medieval Italian painting. The two principal studies are concerned with 'Twelfth-Century Initial Styles of Central Italy' (serialized here in eleven sections) and 'Twelfth-Century Umbro-Roman painting' (serialized in six sections). Most of the non-serialized items are studies of individual manuscripts, but one should note the presence here of Supplements IV-VI to Garrison's Italian Romanesque Panel-painting: an index (Nos. I-III are available in Early Italian Painting: Selected Studies. Vol. I). The reprinting of these four volumes should be particularly welcome to art-historians, since they were originally issued in fascicule form, and many art-historical libraries lack copies. Volume I Contents: Pictorial Histories I. The "Master of the Avila Bible" Revision and Amendment of the Historical Evidence for Dating the S. Clemente Frescoes, Pt. I Notes on Certain Twelfth-Century Central Italian Manuscripts of Importance for the History of Painting, Pt. II Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. I. Synthesis Pictorial Histories II. The "Second Pantheon Bible Master" Revision and Amendment of the Historical Evidence for Dating the S. Clemente Frescoes Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. I. Synthesis. Pt. II. Materials A New History of Bonaventura di Berlinghiero's St. Francis Dossal in Pescia Pictorial Histories III. The Master of the "S. Francesco in Agro Mugellano Bible" Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. II. Materials. The Transitional and Middle Geometric Styles in the Umbro-Roman Region A Lucchese Passionary of about 1125 (Lucca, Bibl. Capitolare, Cod. C) The Hagiological Evidence for Attributing Certain Manuscripts to Lucca: Suggestion of a Method to be Perfected for Other Centres as well Pictorial Histories IV. The Florentine "Master of the Morgan Sacramentary" and a Group of Related Works Twelfth-Century Initial Styles of Central Italy: Indices for the Dating of Manuscripts. Pt. II. Materials. The Transitional Geometrical Style in Tuscany in the Second Quarter of the Twelfth Century A Lucchese Passionary in the Lateran Comment on the Frescoes in S. Trinità di Saccargia Errata Corrige General Index of Volume I General Index of Manuscripts mentioned in Volume I.
£60.00
Pindar Press The Left-Handed Evangelist. A Contribution to Palaeologan Iconography
This book by Professor Spatharakis is a study of the origin and development of a new iconographic type within the late Byzantine period, that of the left-handed Evangelist. Although mainly confined to manuscript illumination, it also takes account of the surviving depictions of the Evangelists in mosaic and fresco on the walls of the churches built during this period. The author examines the appearance of this new type of Evangelist portrait at the beginning of the fourteenth century, and how it came to be sufficiently influential to replace the tenth-century models used by the artists of this period. He investigates how long this new fashion lasted, and the subsequent influence of the left-handed Evangelist in later Byzantine art. This leads on to the question of whether the artists were content to follow older models, or were actively participating in the creation of fresh groupings. The isolation of the archetype, the contemporary parallels, and the subsequent influence of the group of Evangelist portraits examined in this study is based not only on iconographic similarities but on a detailed examination of the individual types. This work makes a significant contribution to our knowledge of Palaeologan iconography, and the working methods of the artists who were responsible for its creation.
£50.00
Pindar Press Studies in Persian Art, Volume II
This second volume of Basil Robinson's Studies concentrates on Persian manuscript illumination, beginning with six studies of artists who worked in this medium. There then follows twenty-two studies of individual manuscripts, from the fourteenth century onwards.
£60.00
Pindar Press Eastern Turkey Vol. II: An Architectural and Archaeological Survey, Volume II
This second volume continues with a description of the fine Georgian monuments of the Tao region, including Ihan, Ök Vank, and Haho. The Pontus region comes next, the centre of the medieval Greek empire of Trebizond. The many Byzantine churches of Trabzon itself are covered, including Aya Sofya and the nearby monasteries of Sumela and Vazelon. The many surviving churches and castles of this period and later in the Pontus are also dealt with. There follows a survey of the early Turkish architecture of Erzurum and the surrounding district. The subsequent section, on Sivas and Tokat, deals with a rich selection of Seljuk monuments; the site of ancient Comana is also covered. The region of the Anti-Taurus contains interesting Byzantine castles. There are also Early Christian remains and medieval castles. The volume concludes with a study of the early Turkish monuments of the Upper Euphrates, in Divrigi and Erzincan, and the border castles of the 9th and 10th centuries.
£225.00
Pindar Press Studies in Early Christian and Medieval Irish Art, Volume II: Manuscript Illumination
Over the past fifty years, Françoise Henry has been the leading authority on the history of early Irish art. A pupil of Henri Focillon, she united two traditions of scholarship, one French and one Irish, and her understanding of the European context within which the art of early Christian Ireland developed has had a profound influence on subsequent research. These three volumes bring together the articles that Dr. Henry published on Irish art and its European links. The first volume is concerned with enamel and metalwork, a field in which the author specialized from the beginning. Émailleurs d'Occident looks at Western enamels, among which the Irish examples figure prominently, and the development of Irish enamelling is treated separately in the following study. Metalwork is also featured, in the form of a number of Dr. Henry's important studies on hanging-bowls, croziers, and chalices. The second volume deals with Irish manuscript illumination. Since a number of the articles reprinted here were published in collaboration with Geneviève Marsh-Micheli, this volume, as Françoise Henry wished, is published as a joint work, and includes an independent article by Mrs. Marsh-Micheli on the Irish manuscripts of St. Gall and Reichenau. The manuscripts dealt with here cover the entire span of Christian Celtic art in Ireland, from the earliest works of the seventh and eighth centuries to the later manuscripts of the period between the Norman Conquest and the final collapse of Gaelic civilisation in Ireland in the late sixteenth century. There are joint studies of Irish manuscripts in Continental and English collections, and a valuable review by Françoise Henry of the facsimile edition of the Book of Lindisfarne. The third volume of Françoise Henry's Studies features her papers on early Christian architecture and sculpture in Ireland. They include one of the author's earliest contributions, Les origines de l'iconographie irlandaise, and the subject of Irish sculpture, particularly the high crosses and cross-slabs, remained one of Françoise Henry's main interests. Her list of dated inscriptions on early Irish graveslabs helps to provide a chronology for this type of monument that is of unique value. The author's studies of the monastic sites represent a particularly valuable contribution to the archaeology of early Christian Ireland. This comprises the results of nearly fifty years of field-work in some of the more inaccessible areas of Ireland. Two of the papers reprinted here carry the study of Irish sculpture into the post-Norman period, with notes on the carved decoration of the Irish Cistercian monasteries, and a figure in Lismore Cathedral.
£60.00
Pindar Press Studies in Early Christian and Medieval Irish Art, Volume III: Sculpture and Architecture
Over the past fifty years, Françoise Henry has been the leading authority on the history of early Irish art. A pupil of Henri Focillon, she united two traditions of scholarship, one French and one Irish, and her understanding of the European context within which the art of early Christian Ireland developed has had a profound influence on subsequent research. These three volumes bring together the articles that Dr. Henry published on Irish art and its European links. The first volume is concerned with enamel and metalwork, a field in which the author specialized from the beginning. Émailleurs d'Occident looks at Western enamels, among which the Irish examples figure prominently, and the development of Irish enamelling is treated separately in the following study. Metalwork is also featured, in the form of a number of Dr. Henry's important studies on hanging-bowls, croziers, and chalices. The second volume deals with Irish manuscript illumination. Since a number of the articles reprinted here were published in collaboration with Geneviève Marsh-Micheli, this volume, as Françoise Henry wished, is published as a joint work, and includes an independent article by Mrs. Marsh-Micheli on the Irish manuscripts of St. Gall and Reichenau. The manuscripts dealt with here cover the entire span of Christian Celtic art in Ireland, from the earliest works of the seventh and eighth centuries to the later manuscripts of the period between the Norman Conquest and the final collapse of Gaelic civilisation in Ireland in the late sixteenth century. There are joint studies of Irish manuscripts in Continental and English collections, and a valuable review by Françoise Henry of the facsimile edition of the Book of Lindisfarne. The third volume of Françoise Henry's Studies features her papers on early Christian architecture and sculpture in Ireland. They include one of the author's earliest contributions, Les origines de l'iconographie irlandaise, and the subject of Irish sculpture, particularly the high crosses and cross-slabs, remained one of Françoise Henry's main interests. Her list of dated inscriptions on early Irish graveslabs helps to provide a chronology for this type of monument that is of unique value. The author's studies of the monastic sites represent a particularly valuable contribution to the archaeology of early Christian Ireland. This comprises the results of nearly fifty years of field-work in some of the more inaccessible areas of Ireland. Two of the papers reprinted here carry the study of Irish sculpture into the post-Norman period, with notes on the carved decoration of the Irish Cistercian monasteries, and a figure in Lismore Cathedral.
£60.00
Pindar Press The Old English Farming Books Vol. V: 1860-1900
This last volume of The Old English Farming Books brings the series up to 1900, and was completed shortly before the author’s death this year. It covers the period of intensive farming in the late nineteenth century, and the spread of agricultural education and textbooks. Science and technology are finally beginning to replace the old methods with new practices, and the improving farmers formed a ready market for books offering the new knowledge. The completion of G. E. Fussell’s Old English Farming Books in five volumes provides a complete bibliographical guide to the literature on English farming over five centuries, from 1523 to 1900, and is a fitting memorial to the work of the author, one of the great figures in the study of the history of farming.
£50.00
Pindar Press The Old English Farming Books Vol. IV: 1840-1860
This fourth volume of Dr. Fussell’s bibliography covers the period from the foundation of the Royal Agricultural Society of England to the agricultural repercussions of the abolition of the Corn Laws. The twenty years featured in this volume saw the publication of an enormous number of farming tracts and studies, reflecting the spread of the agricultural revolution across England and the final creation of the present-day system of agricultural production.
£50.00
Pindar Press Early Italian Painting Vol. I: Selected Studies. Volume I - Panels and Frescoes
Edward Garrison's work on early Italian panels resulted in the publication in 1949 of the first comprehensive index of Romanesque Italian panel painting, which remains the standard work of reference on the subject. Subsequently, his four-volume Studies in the History of Medieval Italian Painting, published in Florence between 1953 and 1962, represents the most considerable body of research yet published on Italian miniature and panel painting from the eleventh to the thirteenth centuries. These two volumes collect together all the author's articles on Italian fresco and panel painting which have been published in art-historical journals since 1945. This provides both an indispensable supplement to the author's earlier Studies in the History of Medieval Italian Painting, and in including three successive Addenda to his Index of Italian Romanesque Panel Paintings, also serves the function of updating the earlier publications.
£150.00
Pindar Press Rethinking Malevich: Proceedings of a Conference in Celebration of the 125th Anniversary of Kazimir Malevich's Birth
"Rethinking Malevich" is an English-language collection of sixteen innovative essays by leading international scholars that document new and intriguing aspects of Kazimir Malevich's art and biography. This latest research on the Russian modern artist appears after more than seventy years of political and cultural difficulties - including the East-West bifurcation of his artistic and written legacy - that impeded the study and understanding of his work. For the first time, the greater portion of Malevich's work and writings was available for the scholarly research and study undertaken here. The result is a wealth of new details about this pioneer of abstraction, including: explorations of his early art education; the differences in the reception of his abstract art by Western and Russian audiences; the appearance of his work in 1936 at the Museum of Modern Art; the artist's special relationship with Ukraine. The development of his art is considered alongside that of Vasily Kandinsky and Giorgio De Chirico, and his philosophy is examined in comparison with the ideas of Nikolai Fedorov and Ortega-y-Gasset. The history of Russian and Soviet art in the 1920s and 1930s is intricately interwoven with the revolutionary social changes taking place throughout the country. Here are details of the political maneuverings Malevich went through in Russia to protect his art and his friends, and his reaction to Lenin's death in 1924 and the subsequent growth of the "Lenin myth." Rethinking Malevich reveals the complex early interweaving of Suprematism and Constructivism, considers little-researched aspects of the artist's Post-Suprematist period, and the history of Malevich's literary legacy. Not least, it demonstrates the various ways in which Malevich's art continues to stimulate the highly unusual work of contemporary Russian artists.
£75.00
Pindar Press Gold Brocade and Renaissance Painting: A Study in Material Culture
Rembrandt Duits completed his PhD at the University of Utrecht , and works at the Photographic Collection of the Warburg Institute, where he also teaches Renaissance material culture. His thesis, Gold Brocade and Renaissance Painting, won the Karel van Mander Prijs for the best publication on art between 1500 and 1800. Gold Brocade and Renaissance Painting discusses the representation of Italian Renaissance patterned silks in paintings from Italy and the Southern Netherlands , from the 14th to the 16th century. It is the first study to approach this subject from the perspective of material culture, attempting to answer such questions as why the subject of luxury textiles gained so great a popularity in Renaissance painting, how artists catered for an audience that desired to have gold brocades depicted but did not always possess the financial means to own the actual fabrics, and what the skills artists developed in this field contributed to the rising social status of the medium of painting. The material culture of the grand courts at which real gold brocade played an essential role in the display of wealth and status is compared to that of the socially ambitious but less affluent middle class for whom paintings were often the only affordable substitute for courtly splendour. Thus, the book also addresses the problem of the distinction between fact and fiction, imagination and reality in the account of contemporary social history presented in paintings.
£30.59
Pindar Press Visible Spirit, Vol. II: The Art of Gian Lorenzo Bernini, Volume II
As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.
£30.59
Pindar Press Whitewash and the New Aesthetic of the Protestant Reformation
This book is a reconsideration of the practice of whitewashing church interiors during the Protestant Reformation in the sixteenth and seventeenth centuries. It is the first detailed study of its kind which challenges the view that whitewash was always only a 'cheap coat of paint'. Victoria George pulls together several histories: of the colour white from the biblical period to the present, and ideas about the colour white in philosophy, theology, art, and architecture from antiquity to the present. She links them to case studies of the ways in which reformers Huldrych Zwingli and John Calvin thought about colour in a careful analysis of the role of colour-thinking in their theological writings. The social meanings embodied in the word, 'whitewash' as it entered the printed media in the 17th century is explored as part of a chapter on the history of whitewashing itself. The long-term symbolic and aesthetic implications of the practice of whitewashing are examined in the larger context of material culture; in terms of their value as a metaphor, for both the Reformed Protestant and the Catholic in opposition to them; and for the uses to which whitewash has been put over time. George proposes that the practice was not only visually transformative but held importance for religious aesthetics as an agent of change, and for an aesthetics of minimalism generally, especially evident in the twentieth and twenty-first centuries. Victoria George received an MFA from the Royal College of Art (London), an MA from The Architectural Association, and a Ph.D. from Cambridge. She has taught religion and the arts at the University of Richmond in Virginia.
£150.00
Pindar Press The Churches of Rome, 1527-1870 Volume II: Vol. II. Notes, Plates and Indexes
The churches of Rome constitute what is probably the most important assemblage of art and architecture in the Western world. This book is a comprehensive and detailed description of 261 churches in Rome and the Vatican City, built or decorated between 1527 and 1870. It includes a history of their construction and a description of the interior decorations, including frescoes, marble and metal work, stucco decorations, monuments and altarpieces. This is based on extensive research in state, church and private archives, as well as an exhaustive survey of modem and historical bibliographical sources. Its aim is to provide a more complete picture of the construction and decoration of these churches than has previously been known. This entails not only providing the names of the architects who designed the churches, but also the names of the masons and stonecutters who built the churches and whose skills were essential for realising the architects' plans. This depth of information is carried through to the interior decorations. The interior of each church is described in detail, on a chapel by chapel basis, and includes stucco work, marble revetments, monuments, metalwork, frescoes and painted decorations and altarpieces. Again care is taken to document the names of the painters, sculptors, stucco workers, metal founders, silversmiths and wood carvers who carried out this work. Archival research has thrown new light on a large number of works of art whose authorship and date have hitherto been unknown. This includes works by well-known artists, but also many others unknown to scholars. An alphabetic index of artists is supplied in Vol. II, and includes the churches where their works are to be found and accurate biographical information for each artist. In addition there is an index of patrons, and a street and rione index. The book is intended to be used as a reference and resource book, as well as being a guide for visitors to these churches. It is lavishly illustrated with 250 photographs.
£150.00
Pindar Press Artists' Art in the Renaissance
Marilyn Aronberg Lavin has taught the history of art at Washington University, the University of Maryland, Yale, Princeton, and Università di Roma, La Sapienza. Specializing in Italian 13th-16th century painting, she is internationally known for her books and articles on Piero della Francesca. Her other books include The Place of Narrative: Mural Painting in Italian Churches, 431-1600 AD., and Seventeenth-Century Barberini Documents and Inventories of Art , both of which were recipients of international prizes for distinguished scholarship. She is one of the leaders in the use of computers and digitized imagery for research, teaching, and publication in the history of art. This book offers a series of case studies intended to introduce and define an important class of fifteenth-century Italian art not previously recognized. It is argued that the paintings and sculptures discussed were created privately by artists for personal satisfaction and internal needs, outside the traditional framework of patronage and commercial gain. Since there is no direct documentation from this period of a work being privately made, the selection presented here is necessarily speculative. Instead, the essays focus on works by Piero della Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear in the artists' testaments, letters of refusals to sell, and inventories showing ownership at the time of death. The task at hand is to uncover the motivation and meaning of works of art in which the medieval craftsman began to rise to the status of independent artist, and the maker and the viewer confront each other face to face for the first time.
£30.59
Pindar Press Art, Culture and Nature: From Art History to World Art Studies
For thirty years John Onians has been trying to expand and deepen the discipline of art history. His books, Art and Thought in the Hellenistic Age (1979), Bearers of Meaning. The Classical Orders in Antiquity, the Middle Ages and the Renaissance (1988) and Classical Art and the Cultures of Greece and Rome (1999), sought to extend the understanding of art as an aspect of culture, while his current project, A Natural History of Art, is designed to show how that understanding can be further enhanced by the recognition that art, like all of culture, is based in human neurobiology, and so in nature. He has also been active as a founding editor of the journal Art History in 1978, in setting up the World Art Research Programme at the University of East Anglia in 1994 and becoming the first Director of Research and Academic Programs at the Clark Art Institute in 1997. The present volume gathers together a selection of the editorials, articles, conference papers and essays, though which he has furthered his own attempts to renew art history and participated in those of others. They reflect the influence of many personal contacts built up during three decades of teaching and lecturing in many countries in Europe, America, Asia and Australia.
£30.59
Pindar Press Studies in Byzantine, Islamic and Near Eastern Silk Weaving
This volume complements Anna Muthesius' two earlier ground-breaking volumes in the field of silk as material culture: Studies in Byzantine and Islamic Silk Weaving and Studies in Silk in Byzantium. The publication highlights the fact that similar patterns of selection were at work in the acquisition of silks by secular and ecclesiastical bodies. These patterns of selection were governed not only by fashions of the time, but by access to international trade routes leading to the Great Silk Road linking the Near East to the Mediterranean. The surviving silks prove that Mediterranean/Near Eastern silk trade flourished continuously and for centuries prior to the thirteenth century, contrary to what has previously widely been assumed. It also highlights the crucial role of the Caucasian silk routes in accessing the Great Silk Road in the early period, and the contribution of Georgian (and Armenian) silk weaving after the thirteenth century. Above all, the book demonstrates how important it is to assess the impact of Near Eastern silk manufacture and distribution in relation to Byzantine and Islamic Mediterranean silk production and trade.
£30.59
Pindar Press Studies in the Islamic Arts of the Book
The studies collected in this volume, some of them rather difficult to access, date mostly from the last fifteen years and focus primarily on Persian book painting of the 14th to the early 16th centuries. In this period, Iran dominated the art of book painting in the Islamic world. The articles reprinted here examine various aspects of this, the golden age of Persian painting. They range from the period of Mongol rule, when the impact of Far Eastern themes and modes radically transformed the heritage bequeathed to Iran by Arab painting - a textbook case of the clash of civilisations - to the dawn of the modern era and the swansong of the classical style of Persian painting under the early Safavids. Yet other articles focus on the roots of book painting in the themes and styles developed in painted ceramics, on medieval Qur'anic calligraphy, on bookbinding and on the remarkably original variations played on the hitherto hackneyed theme of the figural frontispiece by Arab painters. Two major leitmotifs are explored in this selection of essays. One is provided by the constantly varying interpretations of the Shahnama ( The Book of Kings ), the Persian national epic, and especially the tendency of painters to interpret this familiar text in terms of contemporary politics. The other is the interplay of text and image, which highlights the tendency of painters to strike out on their own and to leave the literal text progressively further behind while they develop plots and sub-plots of their own. These enquiries are set within the context of a concerted effort to explore in detail how Persian painters achieved their most spectacular visual effects. In its combination of general surveys and closely focused analyses of individual manuscripts, this collection of articles will be of interest to specialists in book painting and in Islamic art as a whole
£150.00
Pindar Press The Church of the Archangel Michael at Kavalariana: Art and Society on Fourteenth-Century Venetian-Dominated Crete
Dr. Angeliki Lymberopoulou lectures on Byzantine Studies at the Open University, and is an expert on the art and society of Venetian-dominated Crete (12111669). During this period, Crete was perhaps the most important Venetian stronghold in the Mediterranean. The traditional view that there was little cultural interaction between the native Greek Orthodox population and the Venetian colonists has recently been cast in doubt. From the early fourteenth century onwards, the two ethnically and religiously different inhabitants of Crete formed in fact a hybrid society, and Cretan artistic development reflects this progress. The book focuses as a case study on the church of the Archangel Michael at Kavalariana. This is a small church in the village of Kavalariana on the south-western part of the island. It is dated by a dedicatory inscription to the year 1327/28. The conservative iconographic programme of the wall paintings inside the church consists of seventeen religious scenes and thirty-three isolated saintly figures. As the paintings are signed Ioannes, they have been attributed to the prolific fourteenth-century Cretan artist Ioannes Pagomenos. A close examination of the style and comparisons with Pagomenos oeuvre suggest, however, that Ioannes of Kavalariana was a separate artist with an identity of his own. A unique feature of the Kavalariana cycle is the pro-Venetian inscription which, in combination with the fourteen portraits of the donors that appear in the church, forms an important witness to Venetian/Cretan cultural interaction.
£95.00
Pindar Press 'That Old Pride of the Men of the Auvergne' - Laity and Church in Auvergnat Romanesque Sculpture
The title is an allusion to the description by Suger, Abbot of St. Denis, of the men of the Auvergne. Suger depicts "that old pride" in a chapter of his Deeds of Louis the Fat, which chronicles the arrival of King Louis VI in the region (1122 and 1126), to succor Eimeric I, the Bishop of Clermont, obliged to flee his episcopal town after its seizure by the Count of Auvergne. The citation provides a frame of reference for the subject of this study: the Auvergnat laity and its relations with the Church as they can be deduced from the abundant representations of secular figures in Romanesque Auvergne. A wide-ranging interdisciplinary approach is brought into play in dealing with the art historical, historical, social, political, legal, theological, and liturgical aspects of the theme. The first three chapters treat the various contexts in which secular characters appear. Chapter 1 distinguishes between two series, of lay donors and of avaricious persons, Chapter 2 discusses figures of warriors in enigmatic contexts in the churches of Brioude and Riom-ès-Montagnes. Chapter 3 is concerned with non-noble figures, namely a group of rustic shepherds. Chapter 4 examines the ecclesiastical condition in the province through a case study of the monastic community of Mozac. The description of the peculiarities of Auvergnat Romanesque sculpture, and the inquiry into the imagery as a product of the rival forces of Church and laity, offers a new reading of such matters as property, social hierarchy, law, liturgy, and theology, as they are reflected in stone. The unrecorded past of the figures in various contexts of giving or of indulging in avarice, war, and bloodshed, is perhaps compensated by this sculptural abundance.
£30.59
Pindar Press Romanesque Art, Vol. II: Problems and Monuments Vol. II
These two volumes brings together Professor Sauerländer's papers on Romanesque art, and complement his two previously published volumes in this series on Gothic art. The studies are again grouped around a number of common themes: structures, problems of classification, the geography of Romanesque art, and its development in Italy and the Empire. Early studies have been updated with references to the more recent literature, and there is a comprehensive index.
£30.59
Pindar Press Art and Archaeology of Antiquity Volume IV
Over the last fifty years Professor Cornelius Vermeule, formerly curator of Classical Art at the Boston Museum of Fine Arts, has consolidated his reputation as one of the foremost American authorities on Graeco-Roman art. His published work has covered the entire period from Mycenean to Byzantine art, and his papers have included studies of metalwork, sculpture, numismatics and the history of collecting. His studies have been particularly concerned however with Greek and Roman sculpture, especially that of the Roman Empire. These four volumes are designed to make available the most important of Professor Vermeule's contributions to periodicals. Volume I covers studies published between 1953 and 1964, and volume II continues the selection up to 1973. Volume III contains studies published between 1974 and 1984, and volume IV brings the selection up to 1995. Each volume has a new preface by Professor Vermeule and a comprehensive index.
£30.59
Pindar Press L'art monumental en Normandie et dans l'Europe du nord-ouest, 800-1200
Maylis Baylé has had the advantage of a dual training in history and the history of art. She is a director of research at the Centre National de la Recherche Scientifique (Université de Paris I), author of a work on the Romanesque sculpture of Normandy, and an authority in the field of Romanesque monumental art. A method of rigorous analysis that "integrates physical examination and stylistic study has "enabled her to follow the activity and the advances of the workshops of sculptors in the eleventh and twelfth centuries, particularly in Normandy, their links with English art well before 1066, and the importance of Burgundy and the Île-de-France in the transmission of artistic developments. The sculpture of the eleventh century is closely related to the styles of miniature painting and the luxury arts these "rapports are maintained for a long time in Normandy, England and Scandinavia, where they persist well beyond the end of the Romanesque period. These contacts between scriptoria and sculptors, along with an obvious community of styles between the various forms of artistic creation, constitute a recurring 'leitmotiv' through this collection of articles and lead to a new approach to Romanesque art. Another aspect of Maylis Baylé's work relates to "techniques of construction and the history of medieval "architecture, with several points of interest: the artistic revival around the year 1000 and the relations attested then between Normandy, Maine, Anjou, Beauvais and England, and the structure of walls and techniques of vaulting. Monographs of monuments constituting significant stages of this "development, in Normandy, the Loire, Champagne and the Bourbonnais illustrate various aspects of these problems. For some earlier articles, Dr Baylé has added a scientific and bibliographical update.
£30.59
Pindar Press Studies in Late Antique, Byzantine and Medieval Western Art, Volume 2: Studies in Medieval Western Art and the Art of Norman Sicily
Over the past sixty-five years Ernst Kitzinger has been one of the foremost interpreters of the art of Late Antiquity, Byzantium and the medieval West. Beginning with his "influential doctoral dissertation, reprinted here, on early medieval painting in the city of Rome, where western and eastern Byzantine traditions met, one of his principal concerns has been the movement and exchange of artistic ideas and patterns around the Mediterranean. Painting and mosaics have always been central to his enquiry. One focus has been the mosaics of Norman Sicily, on which he has published numerous ground-breaking books and papers. All of Professor Kitzinger's essays on Norman Sicily are included here. Other areas in which he has made outstanding contributions are the arts of Late Antiquity, with a particular emphasis on floor mosaics, medieval Rome, Byzantium in the early and high Middle Ages, and the arts of Anglo-Saxon England. These two volumes include all of Professor Kitzinger's major essays, apart from an earlier selection reprinted in 1975. Each has a new preface by Professor Kitzinger, and comes with a comprehensive index.
£30.59
Pindar Press 'That Old Pride of the Men of the Auvergne' - Laity and Church in Auvergnat Romanesque Sculpture
The title is an allusion to the description by Suger, Abbot of St. Denis, of the men of the Auvergne. Suger depicts "that old pride" in a chapter of his Deeds of Louis the Fat, which chronicles the arrival of King Louis VI in the region (1122 and 1126), to succor Eimeric I, the Bishop of Clermont, obliged to flee his episcopal town after its seizure by the Count of Auvergne. The citation provides a frame of reference for the subject of this study: the Auvergnat laity and its relations with the Church as they can be deduced from the abundant representations of secular figures in Romanesque Auvergne. A wide-ranging interdisciplinary approach is brought into play in dealing with the art historical, historical, social, political, legal, theological, and liturgical aspects of the theme. The first three chapters treat the various contexts in which secular characters appear. Chapter 1 distinguishes between two series, of lay donors and of avaricious persons, Chapter 2 discusses figures of warriors in enigmatic contexts in the churches of Brioude and Riom-ès-Montagnes. Chapter 3 is concerned with non-noble figures, namely a group of rustic shepherds. Chapter 4 examines the ecclesiastical condition in the province through a case study of the monastic community of Mozac. The description of the peculiarities of Auvergnat Romanesque sculpture, and the inquiry into the imagery as a product of the rival forces of Church and laity, offers a new reading of such matters as property, social hierarchy, law, liturgy, and theology, as they are reflected in stone. The unrecorded past of the figures in various contexts of giving or of indulging in avarice, war, and bloodshed, is perhaps compensated by this sculptural abundance.
£50.00
Pindar Press Studies in Italian Manuscript Illumination
The author is Professor at the Institute of Fine Arts at New York University, and a noted authority on Italian medieval and Renaissance manuscript illumination. His numerous publications include Medieval Illuminators and Their Methods of Work, and he recently organized the exhibition The Painted Page: Italian Renaissance Book Illumination 1450-1550 at the Royal Academy of London. The present volume presents a comprehensive selection of Professor Alexander's papers on Italian manuscript illumination, from the medieval period through the Renaissance. These feature some of the most celebrated works of one of the great ages of book production. A paper on marginal illustrations in Italian manuscripts is published here for the first time, and the older studies have been extensively revised and updated. There is a comprehensive index, and a new introduction by the author.
£30.59
Pindar Press Art and Archaeology in Israel and Neighbouring Countries: Antiquity and Late Antiquity
Asher Ovadiah is Professor of Art History at Tel Aviv University, and an authority on the Classical and Byzantine monuments of Israel. This selection of articles, published over the last twenty-five years, falls into four groups and is gathered around a number of common themes. A first group is concerned with the architecture of pagan temples, early churches, synagogues and a Roman theatre. A second deals with sculpture and reliefs, with the emphasis on iconography, style and symbolism, while a third group is concerned with mosaics in secular and religious contexts, with reference to the Classical heritage and anti-Classical trends, philosophical concepts and links with artistic centres. Finally, a fourth group treats the symbolic and allegorical significance of various works of art and Greek laudatory inscriptions.
£30.59
Pindar Press Studies of Petrarch and His Influence
Professor Joseph Trapp has been Director of the Warburg Institute, and is an authority on Renaissance humanism and the classical tradition. The present volume brings "together twenty-one of Professor Trapp's more recent papers on the illuminated manuscripts of Petrarch, and his lasting "influence. The fifteenth- and sixteenth-century movement which led to a European revaluation of social, political, ethical, literary, artistic and intellectual experience and which we know as the Renaissance was given its decisive early impetus from Italy in the fourteenth by Francesco Petrarca (1304-1374). Petrarch is present, sometimes visibly, sometimes all but invisibly, within all the manifestations of the Renaissance imagination covered by these essays. His presence is most obvious in the first division of this book, Petrarch Illustrated, where a comprehensive survey and a number of specialized studies bring up to date and in other ways augment the great work of the prince d'Essling and Eugène Muntz, published in 1902 and now in need of revision in many respects. In the second section, Petrarch is present by reputation and implication, and through the homage paid to him, directly in pilgrimage to and adornment of places where he lived and the search for personal mementos, or indirectly in the search by generations succeeding him for the authentic image of the classical authors whom he studied, imitated, revered and loved as friends, or in the permeation into Northern Europe of the study of the classics which he saw as the guide to letters and to life and its modification by humanists and Biblical scholars. Erasmus, Thomas More and William Tyndale, widely different in both their Christian faith and their views of the Biblical text in Latin, Greek or English, without consciously being aware of it, owed their preoccupation with the texts ultimately to the example of Petrarch and his Italian successors, particularly the schoolmaster Guarino of Verona and the great philologists Lorenzo Valla and Angelo Poliziano.
£120.00
Pindar Press Studies in Medieval Stained Glass and Monasticism
Professor Lillich has studied medieval stained glass - the major painting medium of the Gothic era - for forty years. The articles in this volume discuss the development of stained glass in France from many perspectives, such as the glaziers who produced it, specific glazing techniques and formats of design, evidence of the use of cartoons, types and uses of grisaille and its stylistic development, regional traditions in style, iconography and hagiography, as well as patrons and patronage, often with a particular focus on specifically monastic characteristics, requirements and achievements. Also considered are displaced panels, those dispersed to museums as well as spolia reused in later glazing campaigns and the reasons for such recycling. Of particular interest is the development of stained glass in the late Capetian period, from the aftermath of the High Gothic ensembles of Chartres and Bourges until the introduction of the revolutionizing technique of silver stain in the early fourteenth century. Areas of special importance are those that developed in parallel to the royal style associated with the Ile- de-France: the western French regions of Normandy and Aquitaine as well as, to the east, Lorraine at the francophone border and the county of Champagne.
£30.59
Pindar Press Colours, Symbols, Worship: The Mission of the Byzantine Artist
Trained as an archaeologist and art historian and being a practising painter, Professor Galavaris has been able to relate diverse disciplines in his work, as shown by the wide range of his numerous publications. He moves from the early history of the eucharistic bread in the Orthodox Church, the dramatic impact of the Liturgy on illuminated Byzantine manuscripts, to the role of the icon in: the life of the Church, the poetry of Rainer Maria Rilke and the European painting of the 20th century. He is a leading authority on the study of the relationship between worship, Liturgy and art. Whether it is the cult of the Byzantine Emperor or the Eucharistic Liturgy, manifested in numismatics, illuminated manuscripts, icons, church lights (candles and oil lamps) - all witnesses of the creative forces of the Byzantine artist - Galavaris' interests are symbols, forms and their meaning. He investigates their contribution to worship, to the visual shaping of the Liturgy and how they reveal the freedom and the mission of the artist in realizing the Unseen in everyday life. The 31 studies in the present volume, published over 40 years (5 of them appear in English for the first time) are brought together with an introduction, annotations and an index. The volume contributes essentially to our knowledge of the spirituality of the Eastern Church.
£120.00
Pindar Press Constructive Strands in Russian Art 1914-1937
Professor Lodder is a leading specialist in art of the Russian avant-garde which flourished during the 1910s and 1920s. She is the author of a major study of Russian Constructivism, acclaimed as the standard work on the subject, and with her husband has written an important monograph on the Russian-born sculptor Naum Gabo and edited a collection of the artist's writings. The present volume brings together her articles of the past twenty years, many of which focus on particular aspects of avant-garde responses to the social and political upheavals of the period, especially the Russian Revolution of 1917. Her essays cover subjects such as Vladimir Tatlin's seminal structure, The Model for a Monument to the Third International of 1920, the evolution of public monuments, the cultural debates during the revolutionary period, the development of new teaching programmes, and the implementation of Constructivist ideas in photography and design for textiles, clothing and the theatre. Her interests extend to International Constructivism and to the impact that Russian ideas made on the theory and practice of avant-garde figures working in Central and Eastern Europe during the 1920s. More recently she has concentrated on developments in the 1910s, including the innovative work of Kazimir Malevich and the relationship between art and science. The author has supplied additional notes to the original articles, which draw attention to subsequent research. Since the collapse of Communism in the erstwhile Soviet Union, public collections and archives have become more accessible and the new information has substantially altered existing preconceptions of the period. Occasionally, the need to correct errors exposed by recent developments in the field has involved making some extensive changes to the main body of the text.
£150.00
Pindar Press Studies in Medieval Art and Interpretation
This selection of articles by Walter Cahn, the Carnegie Professor of the History of Art at Yale University, embraces work by the author that spans a period of some thirty years. Professor Cahn's interests here represented range from the illustration of the lost 10th-century Prayer Book of the late Carolingian Queen Emma to a 15th-century guide to the churches of Rome from the library of Margaret of York, Duchess of Burgundy, though their primary focus is Romanesque art of Latinate Europe in the 11th and the 12th century. Somewhat against the grain of academic specialization, the author is equally at home in sculpture, painting, book illumination, and fundamental questions of methodology. Among the topics that particularly engage his attention in this collection are connections between art and Biblical exegesis, Cistercian art and imagery, the role of art in the expression of orthodox and heretical beliefs, and perhaps most insistently, the figuration of religious, social and political structures within the pictorial languages of the medieval world.
£30.59
Pindar Press Studies in Italian Manuscript Illumination
The author is Professor at the Institute of Fine Arts at New York University, and a noted authority on Italian medieval and Renaissance manuscript illumination. His numerous publications include Medieval Illuminators and Their Methods of Work, and he recently organized the exhibition The Painted Page: Italian Renaissance Book Illumination 1450-1550 at the Royal Academy of London. The present volume presents a comprehensive selection of Professor Alexander's papers on Italian manuscript illumination, from the medieval period through the Renaissance. These feature some of the most celebrated works of one of the great ages of book production. A paper on marginal illustrations in Italian manuscripts is published here for the first time, and the older studies have been extensively revised and updated. There is a comprehensive index, and a new introduction by the author.
£120.00
Pindar Press Studies in Medieval Stained Glass and Monasticism
Professor Lillich has studied medieval stained glass - the major painting medium of the Gothic era - for forty years. The articles in this volume discuss the development of stained glass in France from many perspectives, such as the glaziers who produced it, specific glazing techniques and formats of design, evidence of the use of cartoons, types and uses of grisaille and its stylistic development, regional traditions in style, iconography and hagiography, as well as patrons and patronage, often with a particular focus on specifically monastic characteristics, requirements and achievements. Also considered are displaced panels, those dispersed to museums as well as spolia reused in later glazing campaigns and the reasons for such recycling. Of particular interest is the development of stained glass in the late Capetian period, from the aftermath of the High Gothic ensembles of Chartres and Bourges until the introduction of the revolutionizing technique of silver stain in the early fourteenth century. Areas of special importance are those that developed in parallel to the royal style associated with the Ile- de-France: the western French regions of Normandy and Aquitaine as well as, to the east, Lorraine at the francophone border and the county of Champagne.
£75.00
Pindar Press Studies in Italian Art
Andrew Ladis is Franklin Professor of Art History at the University of Georgia. Over the course of the last twenty years he has written extensively on Italian art. In addition to books on Taddeo Gaddi and on the Brancacci Chapel, he has made notable contributions to the study of early Italian painting and sculpture with essays on such figures as Giovanni Pisano, Giotto, Jacopo del Casentino, Ambrogio Lorenzetti, and Niccolò di Tommaso. But the range of his interests, made apparent by this collection, extends far beyond fourteenth-century Florence and Siena to encompass Tuscan painting of the fifteenth century, Renaissance maiolica, the writings of Giorgio Vasari, biography, and modern historiography. Further, the assembled essays and book reviews embrace a wide array of art historical problems, such as connoisseurship, patronage, workshop procedure, and the relationship between form and meaning. Of particular note is a major interpretive essay on one of the key monuments of the Renaissance, the mural decoration of the Brancacci Chapel painted by Masaccio, Masolino, and Filippino Lippi. Appearing here in revised form, this study is newly accompanied by a copious number of illustrations, including some never before published.
£75.00
Pindar Press Byzantium, Italy and the North: Papers on Cultural Relations
This selection of seventeen papers by Professor Anthony Cutler falls into three broad groups, all including topics with which the author has been concerned for many years. Chapters III-VIII are concerned primarily with Byzantine subjects, and with their historiography. The last of this group also probes Italian relations with Byzantium which, in one manner or another, is also the theme of the next four papers. Chapters XIII-XVI are devoted to Scandinavia without, however, abandoning the focus on interconnections between 'works of art' and the societies that they represented. Over the course of thirty years, the author has reverted frequently to the broad theme of the relation between artefacts and the cultures from which they emerged, prompted to respond to the art historian's characteristic lack of concern with the reasons for (as against the 'sources' of) the objects that he or she studies. These papers are linked by Professor "Cutler's general impatience with an attitude set out long ago by Henry Adams: 'We can admire a cathedral without comprehending the force of the Cross that produced it'.
£95.00
Pindar Press Studies in Medieval Islamic Architecture, Vol. I: Volume I
Professor Hillenbrand has written extensively over the last twenty-five years on Islamic architecture from Spain to India and from the seventh to the twentieth century. He has paid consistent attention to the architecture of Iran, focusing particularly on the Saljuq period (11th-12th centuries), but has also worked on Umayyad monuments in the Levant between 660 and 750 A.D., a period when Islamic architecture came of age. Apart from recording unfamiliar buildings, he has increasingly concerned himself with the iconographic significance of Muslim buildings The papers in these two volumes closely reflect these interests. Some present primary material, others attempt to explore the achievements of a specific period or dynasty while yet others analyse the religious, royal, or political context of an important monument or school of architecture. The opportunity has been taken to add illustrations to articles, and to provide additional notes and a comprehensive index.
£150.00
Pindar Press Studies on Claude and Poussin
Michael Kitson (1926-98) taught European art history at the Courtauld Institute for thirty years. He had a special interest in landscape, and in the relationship between 17th-century artists and their later followers in Britain. His most substantial scholarly contributions are confined chiefly to the subjects of this book, Claude Lorrain and Nicolas Poussin - especially to Claude. It is fair to say that he transformed the study of Claude Lorrain's work. His approach was informed by his earlier studies of English literature, both in its insistence on close scrutiny of the work of art, and in its emphasis on the aesthetic or 'poetic' qualities of Claude's work. The present volume contains twenty essays and reviews, chiefly concerning Claude Lorrain, but also including one on Gaspard Dughet, two on Nicolas Poussin (including the latest piece, an authoritative review of the 1994 Poussin"exhibition), and a comparison of Claude and Poussin in landscape. The writings range considerably in scale and scope, from closely focussed analyses of one or two paintings, or a group of drawings, to reviews of exhibitions and"catalogues raisonnés, and the introduction to the 1969 Hayward Gallery exhibition, which introduced a wider public to an"appreciation of Claude and ideal landscape. There is an introduction by Dr. Claire Pace covering the work of Professor Kitson, and a comprehensive index.
£75.00
Pindar Press Byzantium, Eastern Christendom and Islam Vol. I: Art at the Crossroads of the Medieval Mediterranean, Volume I
The central theme of the articles reproduced in these two volumes is the role of the visual arts and architecture in the cultural interaction between medieval societies, Christian and Muslim, in the eastern Mediterranean. Visual forms of production and communication amongst Christian communities themselves, and between Christian and Muslim, are discussed within their specific social and political contexts. Placing the emphasis on areas which passed between Christian and Muslim raises questions of the formation of identities as well as the relationship of the periphery to the centre. Focusing on the areas of Egypt, Syria and Palestine in relation to Byzantium, Islam, and the West provides a framework for consideration of particular issues, especially the identity of particular communities. The core of the work considers the period between the twelfth and fourteenth centuries, when these areas were at the centre of eastern Mediterranean politics, and seeks to interpret little known evidence in the light of political and cultural circumstances with an interdisciplinary approach as its starting point. Vol. I features papers on the legacy of Byzantine art, and the medieval Christian art of Egypt. Vol. II covers the Christian art of Medieval Syria, and the art of the Crusader states.
£95.00
Pindar Press Byzantine Wall Paintings of Crete: Rethymnon Province Volume I
This is a systematic publication of the approximately 20 Byzantine churches with wall-paintings which have survived destruction in the province of Rethymnon, Crete. They date from ca. 1000 A.D. to the fifteenth century. Most were decorated during the Palaeologan era, when the island was occupied by the Venetians (1211-1669 A.D). These monuments are little known to the scholarly world. The style and iconographic programme of each church is investigated, as well as the iconography of the scenes. Special attention is paid to rare and unique iconographic subjects, e.g., a full cycle of the Akathistos and a cycle of the Life of St. John the Evangelist. Certain themes prompt an examination of the degree of western influence on iconography and style. The wall-paintings of Rethymnon significantly enrich our knowledge of Byzantine art, especially that of the late Palaeologan era. Alongside local artists, who worked in a provincial style, we find painters who applied the styles that were in vogue in the great Byzantine artistic centres of Macedonia, Mistra and Constantinople itself. This can be explained by the immigration of artists from the major centres. A few are known to us by name. This publication is the first of four volumes on the churches in the nomos of Rethymnon, which will include the provinces of Mylopotamos, Amari and Agios Basileios. There are over 400 plates, many in colour.
£95.00
Pindar Press Studies in Roman and Early Christian Architecture
The work of J. B. Ward-Perkins on Roman architecture spanned fifty years, and his numerous published papers covered almost every aspect of the subject. This selection of sixteen studies focuses mainly on the provinces, particularly the North African cities. There are two articles on Roman town-plannìng, followed by a study of Nero's Golden House at Rome. The following nine papers deal with architecture in the provinces. The author's interest in the excavations under St. Peter's in Rome resulted in the publication of a number of studies on the development of Early Christian architecture from such Roman models as the basilica and the Imperial mausolea. Five of these papers are included here in the final section on Early Christian architecture. There is a Preface by Professor Roger Ling, and a comprehensive index.
£70.00
Pindar Press Roman Museums: Selected Papers on Roman Art and Architecture
This selection of nineteen papers by the late Professor Donald Strong is grouped thematically into four sections: general papers, architectural studies, sculpture, and acquisitons made by the Department of Greek and Roman Antiquities at the British Museum. The selection has been made by Dr. Susan Walker, who has also contributed a preface, an updated bibliography, and editorial notes where necessary. The initial study on the Romans and archaeology, a hilariously personal view of the subject, was Donald Strong's inaugural lecture as Professor of the Archaeology of the Roman Provinces at London University. His early death in 1973 was a great loss to the world of classical art and archaeology, and the publication under one cover of his papers on Roman art charts the development of a talent that made significant contributions to the subject in a comparatively short career.
£50.00
Pindar Press Further Studies in Romanesque Sculpture
Professor Zarnecki's work on English Romanesque sculpture has proved fundamental in defining the field of research on the subject and his investigations have done much to bring a new interpretation to bear on familiar landmarks of English art. This volume brings together twenty-two papers published on English sculpture over the last twelve years. They supplement the studies pubished in the author's previous volume in this series, Studies in Romanesque Sculpture, and provide a guide to recent research in the field of English Romanesque sculpture. The first three articles deal with the major English Romanesque exhibition of 1984, two of these reprinted from the Catalogue. There follow two articles on links between sculpture in Normandy and England in the 11th century. Nine studies deal with Romanesque sculpture in England. Three further studies deal with iconographical problems, and there is a discussion of the Eadwine Psalter and the patronage of Henry of Blois. Two final studies give an overview of Norman art in Britain, and English art around 1180.
£60.00
Pindar Press Studies in English Printing and Libraries
This volume brings together John Oates' studies on English printing, and the collection at Cambridge University Library, to which he devoted his career. It contains fifteen studies on English printing between the filteenth and the eighteenth centuries, and eleven studies on the collection of Cambridge University Library. Three further studies reflect his interest in Sterne, which began as a hobby, and on whom he formed a collection of international repute. The publication of these papers in collected form provides a fitting memorial to a lifetime's work on English printing, and a career as one of the great scholar-librarians of modem times in England. There is a preface by Dennis Rhodes, who has also contributed a bibliography of John Oates' publications.
£50.00
Pindar Press Studies in Byzantine and Early Medieval Painting
Per Jonas Nordhagen's work on the frescoes of S. Maria Antiqua in Rome is of fundamental importance to the study of early medieval art in Italy. This volume brings together for the first time Professor Nordhagen's work on medieval Roman mosaics and fresco painting. The book begins with a section on Mosaics and Techniques, covering the mosaic techniques in use during this period in Rome. The subsequent section, on S. Maria Antiqua, includes the author's papers on the fresco decoration of this church, one of the most important monuments of early medieval art in Italy. There follows a selection of papers on iconography, derived from a study of the subjects treated in the mosaic and fresco cycles of this period. Four subsequent articles deal with various themes involved in studying the art of the early medieval period in Rome, and its links with the art of the British Isles. The author has added supplementary notes to correct mistakes in the earlier articles, and to draw attention to subsequent research on the monuments.
£75.00
Pindar Press Studies in Byzantine and Medieval Western Art
This volume bring together John Beckwith's papers on medieval and Byzantine art. They focus on those subjects which the author made his own, Coptic and Byzantine "textiles, Western European and Constantinopolitan ivory carving, and Byzantine metalwork. A final section includes a number of studies on cultural diffusion, from Islam and Byzantium to Western Europe, in the early Middle Ages.
£50.00
Pindar Press Eastern Turkey Vol. III: An Architectural and Archaeological Survey, Volume III
In this third volume the regions covered are to the south and east of the Taurus range, beginning with the Upper and Lower Euphrates, which includes the Byzantine and Turkish buildings of Harput, Malatya and the Keban region, where there are also a number of churches and monastic sites. The following section, on the Tigris region, runs from the Taurus to the Tur 'Abdin, a historic centre of Syrian monasticism. In Diyarbakr and Mardin there are many important Christian and Islamic monuments. This was the centre of the medieval Artukid kingdom.
£225.00