Search results for ""Pindar Press""

Professor Marks has been a curator at the British Museum, Keeper of the Burrell Collection, Glasgow, and Director of the Royal Pavilion and Museums in Brighton. Subsequently he held a Personal Chair in the History of Art Department at the University of York, and is now Emeritus Professor; he also currently has an Honorary Professorship in the History of Art at Cambridge University. He has held honorary posts as Vice-President of The Society of Antiquaries of London and International President of the Corpus Vitrearum Medii Aevi project. He has worked on a number of major exhibitions, including Gothic. Art for England 1400–1547 (Victoria & Albert Museum, 2003–4), which he curated. Professor Marks’main interest is the religious imagery of medieval Europe, in all the visual arts. Much of his research has been on English stained glass, and, more recently, on the function and reception of devotional images. His works here include Stained Glass in England during the Middle Ages (1993), The Medieval Stained Glass of Northamptonshire (1998), The Golden Age of English Manuscript Painting 1200–1500 (1981) and Image and Devotion in Late Medieval England (2004). This volume brings together thirty-one of Professor Marks’ studies, encompassing historiography, stained glass, manuscript illumination, screen and wall painting, sculpture and funerary monuments.

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Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders (1400-1800). In 1993, she was conferred O Grão Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eyck's diplomatic visits to the Iberian Peninsula. This manuscript investigates Van Eyck's patronage by the Crown of Portugal and his role as diplomat-painter of the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429 when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided in the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analyzed with regard to King João I's conquest of Ceuta, achieved by his sons who were hailed as an"illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitania 's sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henrique the Navigator's expedition to Tangier and King Duarte's attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy.

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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.

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Silk fabrics woven with gold thread, predominantly produced in Italy, were depicted frequently in Renaissance painting, both in costumes and as backdrops for important figures. These painted textiles carried an economic and social significance that a contemporary audience would have recognised as part of the message conveyed by the picture. Gold brocade and Renaissance painting focuses on examples from Italy and the southern Netherlands , dating from the fourteenth to the early seventeenth centuries. Setting aside traditional notions of the hierarchy of the major and minor arts, the book treats gold brocade and painting equally as exponents of the special segment of Renaissance material culture that was art. The fabrics rendered in painting reflected the tradition of actual weaving, but only to an extent, as many gold brocades were painted from imagination. Gold brocades were much more expensive than paintings; hence the two media functioned in different contexts. Gold brocade was an important element in the display of wealth and status at grand courts, while painting often formed the only affordable substitute for courtly splendour for the socially ambitious but less affluent urban upper-middle class. Their value and cultural role also meant that gold-brocaded textiles could be included in paintings both in praise of luxury and as a condemnation of it - sometimes in one and the same work. Gold brocade and Renaissance painting examines the skills artists developed for representing these lavish textiles. It uses a wide range of documents (from inventories and account books to letters, poems, educational treatises and sermons) to compare the economic value of gold brocade and painting, clarify the conditions of their use, and interpret the different messages given by brocades in different pictures. Primarily, however, the book deals with the distinction between fact and fiction, imagination and reality in the world shown in Renaissance paintings.

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Recent discussions on Byzantine art have been dominated by the question of representing realia. Among these, however, the way works of art reflect the daily life of women have not received much space or attention. The present book studies various images representing women's status and her performative tasks, and their significance from the fourth century to the fall of the Empire, through analysis of archaeological evidence and works of art. It addresses a wide range of questions, some pertaining both to pictorial traditions and to their late antique antecedents, others peculiar to changing and evolving Byzantine culture and mentality. The first chapter deals with the imagery of childbearing, starting with conception and concluding with the care given to the new born and the mother. The second chapter investigates motherhood imagery (breastfeeding, child care, and child-mother intimacy) and the portrayal of women as caretakers and managers of the household (preparing food, bringing water, carding and weaving, or working side by side with their husbands). The third chapter is dedicated to representations of women holding positions outside the house: midwives, maidservants, wet nurses, and mourners. Images of women engaged in disreputable occupations-dancers, musicians, prostitutes and courtesans - complete this chapter. The fourth chapter discusses images of women portrayed in the metaphorical margins - looking out from the gynaikon (the women's apartments), or at their private toilette; it also deals with representations of women who stray from the societal mainstream - concubines; adulteresses, women consenting to sexual acts or being coerced into them - considered symbolically as belonging to the margins of society. The book concludes with a discussion of the degree to which the visual material reliably reflects reality and changing attitudes toward women between Late Antiquity and late Byzantium; and further, to what extent it reveals embedded perceptions and conceptions of women, constructed by canonic regulations and imperial law, popular beliefs and accepted customs. The book aims to lift a veil from known and less known works of art and to present the rarely described picture of the daily life of women in Byzantine art over a very wide chronological span of time, in an effort to expand our knowledge of women in Byzantium and their realia.

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Trained as both an archaeologist and an art historian, Richard Gem established his specialist interest in pre-Romanesque and Romanesque architecture with his doctoral research at Cambridge University. Since then he has researched, published and lectured widely in this subject, while holding posts in different fields of cultural resource management. Dr Gem's earlier work aimed to establish an understanding of English architecture in the 11th century that would break away from the view that cultural development in this period could be simply explained in terms of whether buildings were constructed before or after the Norman Conquest. He has taken a wide view of how cultural processes in England need to be seen in the context of broader European trends, in order to understand both English architecture's indebtedness to the Continent, and also what gives it its specific national character. His earlier papers applied this approach to the development of the Romanesque style of architecture in England through the course of the 11th century while more recently he has applied a similar approach to earlier centuries, including the Carolingian period. Taking a broad view of cultural trends as his starting point, he has always anchored his work on a detailed archaeological, historical and stylistic analysis of individual buildings before drawing conclusions. This publication includes Dr Gem's main work over a period of quarter of a century. Taken together, these studies present an overview of the development of English Church architecture from the 7th century to the 12th.

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Romanesque mural painting was arguably the most visible field for religious images in Western churches between the eleventh and thirteenth centuries. Beyond its traditional justification as Bible of the illiterate mural painting demarcated the principal functional spaces within the church and propagated the sacred narratives, the systems of belief and institutional politics. The present volume provides the first accessible collection of essays devoted exclusively to the contextual interpretation of Romanesque mural painting. They are offered in homage to Otto Demus, who established the essential parameters for the field with his unsurpassed survey of the field over thirty years ago. Presenting previously unpublished research on individual case studies from Italy, France and Spain, the collection of essays published here pursues Demus's premise that mural painting was designed both to shape the experience and ritual use of distinctive spaces within the medieval church, and to advertise certain institutional affiliations and political agendas. The introduction, by Thomas Dale, provides a methodological overview to the field, assessing Demus's contribution to the study of Romanesque mural painting and surveying the scholarship of the past thirty years. It also furnishes the first overview of primary texts that refer to the functions and exegesis of mural painting between the tenth and thirteenth centuries. The ten essays are grouped under four topics 1. Patterns of Narrative Disposition in Sacred Space 2. Reinforcing the Praesentia of the Saints: The Church as Locus Sanctus 3. The Burial Crypt as Mediator between the Living and the Dead, Terrestrial and Celestial Space 4. Ecclesiastical Politics and Institutional Identity.

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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.

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Lilian Armstrong is Professor of Art at Wellesley College, Massachusetts, and a specialist on Venetian Renaissance book illumination. She is the author of The Paintings and Drawings of Marco Zoppo and Renaissance Miniature Painters and Classical Imagery: The Master of the Putti and His Venetian Workshop, and she was a major contributor to the exhibition catalogue The Painted Page: Italian Renaissance Book Illumination 1450-1550 (ed. by Jonathan Alexander). Her publications have focussed particularly on the transition from illuminated manuscripts to the hand-illuminated early printed book in Venice. The present volume collects Professor Armstrong's papers on miniaturists active in Venice and Northern Italy in the 15th and early 16th centuries, and on the impact of the new invention of printing on these artists and their patrons. Included are papers on Marco Zoppo, primarily a monumental"painter, who nevertheless also painted in manuscripts and incunables. The studies variously identify miniaturists and designers of woodcuts through stylistic groupings, trace iconographic traditions for Pliny's Natural History and Petrarch's De viris illustribus, demonstrate the importance of heraldry for studying patronage of Venetian printed books, and explore the distribution of Venetian incunables throughout Europe based on analysis of their decoration.

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Trained as both an archaeologist and an art historian, Richard Gem established his specialist interest in pre-Romanesque and Romanesque architecture with his doctoral research at Cambridge University. Since then he has researched, published and lectured widely in this subject, while holding posts in different fields of cultural resource management. Dr Gem's earlier work aimed to establish an understanding of English architecture in the 11th century that would break away from the view that cultural development in this period could be simply explained in terms of whether buildings were constructed before or after the Norman Conquest. He has taken a wide view of how cultural processes in England need to be seen in the context of broader European trends, in order to understand both English architecture's indebtedness to the Continent, and also what gives it its specific national character. His earlier papers applied this approach to the development of the Romanesque style of architecture in England through the course of the 11th century while more recently he has applied a similar approach to earlier centuries, including the Carolingian period. Taking a broad view of cultural trends as his starting point, he has always anchored his work on a detailed archaeological, historical and stylistic analysis of individual buildings before drawing conclusions. This publication includes Dr Gem's main work over a period of quarter of a century. Taken together, these studies present an overview of the development of English Church architecture from the 7th century to the 12th.

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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.

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Christa Gardner von Teuffel's studies of Italian altarpieces have provided fundamental insights concerning the original structure and setting of some of the canonical monuments of Italian late medieval and Renaissance painting. Studies of panel type and frame architecture are combined with an investigation of original sites. Archival discoveries at Florence and Palermo have led to a new assessment of institutional patronage and private benefaction, and illuminated the formulation of altarpiece programmes, such as Perugino's Vallombrosan Assumption and Raphael's Lo Spasimo. These essays contribute enduringly to our understanding of contractual obligation, design process and altarpiece installation, and demonstrate the nexus between ecclesiastical and lay patrons, artists and congregations. The author's pioneering examination of Carmelite patronage and subsequent investigation of the iconographical impact of Benedictine and Franciscan reform movements have prompted others to re-assess the patronage of religious Orders in the Quattrocento. The pervasive iconographical influence of the Holy Land is traced through Sansepolcro, Santa Croce in Gerusalemme at Rome and as far as the astonishing View of Sinai by El Greco.

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Early-medieval Irish fine metalwork is generally agreed to be one of the high points of achievement in European decorative arts. In the corpus of finds from the 7th to the 10th centuries are many masterpieces of the goldsmith's art some are personal ornaments, many are objects made for the service of the Church. The corpus of metalwork has been greatly expanded in recent years by new finds and by re-examination of older discoveries and major international exhibitions have won a new understanding of the significance of this material. A series of papers by Michael Ryan recording many new finds and analysing their significance are republished in this volume.

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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.

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Dr Jean Michel Massing is a Reader in the History of Art and a Fellow of King's College, Cambridge. The first volume of Studies in Imagery, Text and Images, consists of 25 "studies grouped under four sections: Classical Art and its Nachleben; Symbolic Languages; Saints and Devils; Comets, Dreams and Stars. The topics include the Celto-Roman "goddess Epona, the Calumny of Apelles and its reconstructions, the Triumph of Caesar, proverb illustration, the art of memory, emblematic and didactic imagery, the temptations of St Anthony, as well as dreams and celestial phenomena. They span a wide range of periods, from classical antiquity to the nineteenth century. Vol. 2, The World Discovered, deals variously with the relationship of European with non-European cultures, cartography in medieval and early modern times, the representation of foreign lands and people, and the collecting of exotic artefacts. A central theme involves the imagery of black Africans from the Middle Ages up to the nineteenth century.

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Christopher Walter, in his research on Byzantine art, has been particularly concerned by the significative value of iconography. The Byzantines, perhaps more than other cultural groups, were aware that pictures could "speak". The form and content of their "message" is explored here in a series of twenty-six articles, together with the use to which this "message" could be put. The first group of six articles is concerned with manuscript illustration. The second group of six articles shows how pictures could be used for ecclesiological purposes, not only to set out the universal mission of the Church. and its relations with political authorities, but also the relations of a local Church with the ensemble. A third group of three articles is concerned with the use of pictures in order to instruct the faithful on the raison d'être of the liturgy. The fourth group of seven articles studies the use of pictures to make better known to the populace the role of saints in the life of terrestrial men. Finally two articles document the use of iconography on apotropaic objects like amulets. In an epilogue the author brings up to date the bibliography of the subjects studied in these articles.

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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.

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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.

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This book brings together seventeen important new papers published by Anna Muthesius since 1995. Many of the articles, plates and specially prepared figures are available only in this book. The volume acts as an essential companion to Dr Muthesius' earlier book in this series, Studies in Byzantine and Islamic Silk Weaving. The present book includes a group of seven papers (Studies II-VI, X, and XIV) originally entitled 'Silk in Byzantium'. These were prepared in the first instance for a seminar held in 1997 in Nicosia at the University of Cyprus. They offer an overall survey of Byzantine sericulture, silk manufacture, design, use and distribution. Study I has been added as an introduction to the Cyprus series, and to the book as a whole. Silk in an ecclesiastical context (the relationship between Imperial and monastic piety, ritual and Christological debate) forms the focus for a further five papers (Studies VIII-IX and XI-XIII). Study VIII acts to introduce a new subject, the theme of Byzantine Seafaring silks. The final three articles (Studies XV-XVII) explore the immense impact of Byzantine silks abroad between the fifth and fifteenth centuries, in regions as far apart as the British Isles and Central Asia.

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Ernst Grube's research on Islamic painting over more than three decades has dealt with materials, issues and problems ranging from 10th-century Egypt through Ottoman Turkey to 19th-century Persia. The studies collected in this volume represent the breadth of his scholarship: they collect and lay new materials before the reader, isolate and define schools of painting as thinking about them coalesces, and propose new interpretations of materials already well-known to scholars and students. Most of these studies are reprinted without major alterations, but additional notes at the end make some essential readjustments. Article 5, a study of a drawing on a so-called 'Fustat-Fragment', possibly of 9th-century date, has 50 pages of illustrations of such fragments, not included in the original article and most of them not published before. Professor Grube brings the methodological approach of a Western Medievalist to the study of a primary form of Islamic art. These articles are all essential reading for anyone interested in painting as a major form of art not only in the lands where Islam held sway but also in Late Classical Antiquity, Medieval Europe and Byzantium.

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The eleven studies reprinted here were published by Professor Kauffmann over a period of twenty years, and reflect his interest in Romanesque and Gothic art in England and Europe. They include a number of studies on panel paintings, and a highly influential article on the art of the Bury Bible. The Bible in British Art is the catalogue to an exhibition at the Victoria and Albert Museum, reprinted here in full, and Professor Kauffmann's work in the field of English Romanesque book illumination is represented in two other papers. The author has contributed additional notes, updating these studies, and a preface and index.

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This book offers a comprehensive survey of descriptions of Constantinople written by visitors, from the pilgrims of the Middle Ages to the European travellers and diplomats of the 18th and 19th centuries. The author examines the evidence these accounts provide for the history of the city, and for monuments which have long disappeared. In its attractive synthesis of bibliographical, archaeological and historical detail, this work is a memorial to Ebersolt's scholarship and a personal tribute to the city itself.

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George Henderson's work on English biblical illumination has thrown new light on the sources of some of the most celebrated Anglo-Saxon and Norman illustrated manuscripts and helped to place the astonishing creativity and skill of the artists who worked on these manuscripts within the developing tradition of Bible illumination in the Middle Ages. These two volumes make available Professor Henderson's studies published over twenty years. In the first volume, he traces the links with late-antique pictorial sources, and compares the innovations in interpreting the Bible text with contemporary developments in other artistic media. He also deals with those works of art from the Anglo-Saxon period known from historical sources but now lost, and with the influence that the art of this early period exerted on a later period, the seventeenth century, and its religious disputes. The second volume of Professor Henderson's studies deals mainly with the celebrated Anglo-French illuminated Apocalypses of the thirteenth century. The principal manuscripts are all covered, and the iconographic programmes are examined in detail. Two articles draw attention to newly-discovered fragments of other Apocalypse manuscripts. The volume also includes a number of the author's studies on medieval English seals, where the iconography is often of considerable art-historical importance.

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This second volume of Basil Gray's studies covers his work on Chinese ceramics and on Islamic art. Appropriately, Chinese ceramics proved the most potent medium in introducing Islamic artists to the motifs of Chinese painting, in view of their wide popularity in the Middle East. The articles on Islamic art were written over a period of forty years. Early studies on Persian manuscript painting of the Mongol period are followed by papers on Turkish and Indian manuscript illumination, and general studies on Chinese influence in Persian painting, and on textiles and glass.

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Professor White's work on late medieval and Renaissance Italian art needs no introduction. His early articles on Renaissance perspective led on to a book, The Birth and Rebirth of Pictorial Space, which remains the standard work on the subject. His subsequent work on the reconstruction of such major works of art as Donatello's Padua altar and Duccio's Maestà has brought the methodology of reconstructing a damaged or altered work of art to a new level of scholarly seriousness. The present publication forms the first part of a two-volume edition of Professor White's studies which contains a total of two single and three double articles devoted to reconstructions. Between them they cover the methods, ranging from documentary and physical investigation to iconographic and stylistic analysis, which the author believes should be brought into play in tackling such problems. The selection of articles for this first volume has been made on the basis of chronology rather than method. The artists and their works dealt with here belong to the period of the Renaissance. Since both painting and sculpture are covered equally, the initial article, on the Paragone, the discussion as to primacy among the arts, is particularly appropriate. The Northern Renaissance is also featured, in the articles on Bruegel. Additional notes have been added at the end to review the subsequent literature on a number of the works of art dealt with.

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This second volume of Professor Kurz's studies completes the comprehensive selection in Vol. I with a further thirty articles, published over forty years, and showing the extraordinary breadth of the author's interests. It begins with eight studies on Classical, Byzantine and Islamie art, continues to the Renaissanee and Baroque in Italy and Northern Europe, and ends with an entertaining section on the restoration, misattribution and faking of works of art. In these two volumes all of Professor Kurz's major studies are now available. Whether they throw fresh light on an old problem, or bring to attention an unnoticed work, they remain stimulating, and always highly intertaining. A sixteen-page memoir of Otto Kurz by Professor Sir Ernst Gombrich is included here as a preface to this second volume.

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This selection of 57 studies by Dr. D. E. Rhodes focuses on the history of printing in Italy from the earliest printers of the 15th century to the flourishing of regional presses in the 16th and 17th centuries. The author is a leading authority on early printed books, and the present volume brings together for the first time a number of important articles on early printing in Venice, Rome, Mantua and Milan, and also covers the presses of Southern Italy, and the smaller Italian towns. The articles have been up-dated where necessary, with the addition of bibliographical notes and an index. There is a preface by George Painter.

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John James is an Australian architect and medieval historian. Since 1969 he has been searching for the origins of the Gothic style, beginning with a five-year study of Chartres cathedral. At that time there were no coherent techniques for analysing the detailed construction history of existing stone structures. This he created. He expanded his research to include all the early Gothic churches in the Paris region with a three-year survey of over 3500 buildings. His most important discovery has been that all churches of this period were constructed in many short campaigns by mobile building teams, and that major innovation was more likely to occur in the smaller buildings than in the larger. This volume makes available 42 of the author's studies on the development of Gothic architecture in France.

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Professor Charles D. Cuttler changed from artist to art historian at New York University's Institute of Fine Arts, studying under distinguished teachers such as Walter Friedlaender and Erwin Panofsky. A specialist in Flemish painting, he spent the major part of his career teaching at the University of Iowa. He published numerous articles, reviews, and a well known text, Northern Painting. He lectured on Bosch on three continents, and his retirement enabled him to devote time to further research. A result is Hieronymus Bosch: Late Work. This new book presents Cuttler's discoveries on three late triptychs, a major trio of Bosch's maturity: the Haywain, the Lisbon Temptation of St. Anthony, and the Garden of Earthly Delights. He presents Bosch's unique view of Christ and salvation in union with hagiography, the Devotio moderna, and medieval hermeneutics, a revelation of Bosch's immense erudition and overwhelming artistry. Bosch reinforced his concepts with supporting casts of animals, natural and demonic, birds, and other iconographic elements. Analysis of the Berlin painting of St. John the Evangelist's apocalyptic vision of the Virgin Mary, the Madrid Seven Deadly Sins tondo, and the Vienna drawing of the Tree-Man expands our understanding of these themes. Other influences affecting Bosch's art, such as whether he travelled or whether he used contemporary prints, whether he drew upon Dante's Inferno, or religious tracts, and the attitudes of his ambience are also examined. The final chapter presents the author's understanding of Bosch, his religiosity and his genius, in his time and place.

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John James is an Australian architect and medieval historian. Since 1969 he has been searching for the origins of the Gothic style, beginning with a five-year study of Chartres cathedral. At that time there were no coherent techniques for analysing the detailed construction history of existing stone structures. This he created. He expanded his research to include all the early Gothic churches in the Paris region with a three-year survey of over 3500 buildings. His most important discovery has been that all churches of this period were constructed in many short campaigns by mobile building teams, and that major innovation was more likely to occur in the smaller buildings than in the larger. This volume makes available 42 of the author's studies on the development of Gothic architecture in France.

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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.

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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.

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This volume presents a selection of studies written during the past decades by Professor DaCosta Kaufmann on a variety of topics concerning the history of painting, sculpture, art theory, collecting, and architecture. It includes several of his ground-breaking essays interpreting art at the Prague court of Rudolf II (1576-1512). However, the collection represents other aspects of the broad range of his interests as well: the papers gathered here range through Central Europe from the sixteenth to the early nineteenth century. In addition to essays on Rudolfine Prague, another "complex of papers deals with art at other courts in Salzburg, Germany, the Low Countries, and Denmark in the early "seventeenth century, and with art during the time of the Thirty Years' War. Two papers consider important developments in the history of collecting. Five essays offer interpretations of architecture (and sculpture) in Bohemia, Germany, Austria and Poland during the eighteenth and early nineteenth century. While concentrating on the visual arts and architecture of Central Europe, many of these essays engage with broader issues of cultural history. Many of them also offer approaches "which will be of more general methodological interest.

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Trained as both an archaeologist and an art historian, Richard Gem established his specialist interest in pre-Romanesque and Romanesque architecture with his doctoral research at Cambridge University. Since then he has researched, published and lectured widely in this subject, while holding posts in different fields of cultural resource management. Dr Gem's earlier work aimed to establish an understanding of English architecture in the 11th century that would break away from the view that cultural development in this period could be simply explained in terms of whether buildings were constructed before or after the Norman Conquest. He has taken a wide view of how cultural processes in England need to be seen in the context of broader European trends, in order to understand both English architecture's indebtedness to the Continent, and also what gives it its specific national character. His earlier papers applied this approach to the development of the Romanesque style of architecture in England through the course of the 11th century while more recently he has applied a similar approach to earlier centuries, including the Carolingian period. Taking a broad view of cultural trends as his starting point, he has always anchored his work on a detailed archaeological, historical and stylistic analysis of individual buildings before drawing conclusions. This publication includes Dr Gem's main work over a period of quarter of a century. Taken together, these studies present an overview of the development of English Church architecture from the 7th century to the 12th.

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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.

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In her study of the relationship between art and its theological, liturgical and literary background in Byzantium, Dr. Gavrilovic has devoted a great deal of attention to the medieval state of Serbia, where, in the process of a strong cultural influence, Byzantine art had taken deep root and was practised with much vigour and individuality. Serbia's position on the north-western flank of the Empire, in the proximity of the city of Salonika, assured an uninterrupted contact with Byzantine masters in the artistic field. This was enhanced by the great building schemes and patronage of Serbian rulers and their allegiance to Orthodoxy, as well as by the particularly strong ties between the Serbian Church and Mount Athos. The good state of preservation of some of the vast church decoration programmes in Serbia contribute to a better understanding of art in Byzantium where the destruction through the centuries was more severe.

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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.

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For the last forty years Florentine Mutherich has worked as editor of the corpus of Carolingian illuminated manuscripts she has recently published the School of Reims and is currently preparing the Franco-Saxon schools. In addition to her work on these volumes, she has explored various aspects of Carolingian book illumination. This volume presents a selection of her studies where the different types of school - court schools, and monastic and episcopal schools - are represented, as well as the different types of manuscripts. These are mostly Bibles, Gospel books, Psalters and Sacramentaries, but also secular works such as copies of late antique authors, Vergil, Aratus and the treatises of Roman land surveyors. Other articles deal with special problems such as the relationship to Roman or to Byzantine art.

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This Festschrift for Christopher Walter features a number of studies on the ritual and art of the Byzantine church. Contributors include Jeffrey Anderson, David Buckton, Suzy Dufrenne, Tania Velmans, and Panayotis Vokotopoulos on Byzantine art, Albert Failler and Joseph Munitiz on texts, and Robert Taft on the liturgy. There is a complete bibliography of Christopher Walter's publications, and an introduction by Pamela Armstrong.

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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.

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Dr. Avery has worked on Italian sculpture since he joined the Victoria and Albert Museum in 1966. His study continued during his career as Director of Christie's sculpture department (1979-1990) and since then as an independent consultant and historian. He has published extensively in this field, including his survey, Florentine Renaissance Sculpture (1970); Giambologna: the complete sculpture (1987); Donatello: an Introduction (1994); and Bernini, Genius of Baroque Rome (1997). A number of articles on Italian sculpture have been included in two successive volumes entitled Studies in European Sculpture (1981 and 1987). The present volume comprises further articles written over the decade since 1986, some on specific discoveries and others consisting of broader surveys of individual sculptors' activity or under-studied classes of Renaisance sculpture: bronze artefacts, such as seals and locks; and garden sculpture. Several are unpublished texts of lectures, or radical expansions of briefly published pieces.

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This second volume of Viktor Lazarev's studies makes available a comprehensive selection of his papers on the history of early Russian art, principally fresco and panel painting. Most of the articles gathered in this collection were written between 1953 and 1971. Though they are grouped under the title 'Russian art' they are concerned with the art of a far larger community. All the objects discussed by Lazarev in this volume were produced for the Russian church, but not necessarily by Russians or even on Russian soil. The art discussed in these articles belongs, first and foremost, to a Christian tradition. The majority of these studies have previously been published in Russian, and their translation here into English makes them accessible for the first time to most western art historians. Dr Jana Howlett has contributed an Preface assessing the life and work of Viktor Lazarev.

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This volume makes available Professor Jolivet-Lévy's papers on the art of Byzantine Cappadocia published over the last twenty years. They deal mainly with wall-paintings, a field in which the author has specialized. In its richness and "diversity, the archaeological documentation preserved in Cappadocia provides important evidence for the society and religious life of the Byzantine province (subsequently, from the end of the 11th century, part of the Seljuk sultanate of Rum). Although often little known to art historians, these monuments are of great importance for the history of Byzantine art, in particular for the period of the ninth and tenth centuries.

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Professor Sauerländer is the leading authority on Gothic sculpture of the twelfth and thirteenth centuries. The papers collected here have been published over the last 35 years. They represent important contributions to the subject - two are published here for the first time - and reflect sensible shifts of method and approach in the study of the art of this period. The studies form two volumes, and are grouped around a number of common themes: the great centers, the survival of antiquity, the new interest in nature and its representation, and the European spread of the Gothic style. Ten are in German, six in French, and six in English. Early studies have been updated with references to the more recent literature. There is a comprehensive index and a bibliography of Professor Sauerländer's work.

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Romanesque sculpture in Burgundy has always been seen as central to our understanding of the history and culture of 11th and 12th century Europe, standing as it does at a cross-roads between north and south, with its rich agricultural and urban economies out of which grew some of the great monastic settlements of feudal Europe, including of course Cluny and the Cistercians. Neil Stratford has been Keeper of Medieval and Later Antiquities at the British Museum since 1975 and is recognised as a leading authority on Romanesque and Gothic art. Over the last twenty years he has published many articles on Romanesque Burgundy in a number of English and French journals. The most famous sculptures (above all the Cluny apse capitals and the Vézelay tympanum) have been studied, alongside unpublished and little known monuments. These two volumes brings together a selection of these studies, some published in English for the first time and with new photographs. All are updated with brief corrections and new comments from the author.

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Early-medieval Irish fine metalwork is generally agreed to be one of the high points of achievement in European decorative arts. In the corpus of finds from the 7th to the 10th centuries are many masterpieces of the goldsmith's art some are personal ornaments, many are objects made for the service of the Church. The corpus of metalwork has been greatly expanded in recent years by new finds and by re-examination of older discoveries and major international exhibitions have won a new understanding of the significance of this material. A series of papers by Michael Ryan recording many new finds and analysing their significance are republished in this volume.

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Professor Otto Demus's work on Byzantine art represents one of the great original contributions to the subject made in this century. His early studies in the 1930s on the "mosaics of Greece were followed by his fundamental work on the mosaics of Norman Sicily after the Second World War, and the later great studies of the decoration of San Marco in Venice, which remained throughout his abiding concern. These two volumes make available the papers Otto Demus published in a variety of periodicals in the course of a long and highly productive working lifetime. They have been edited and revised by Dr. Irmgard Hutter, a pupil and friend of the author. Volume I includes Demus's papers on Byzantine art in general, including his outstanding "contribution to the study of the development of Palaeologan art. His interest in the working methods of the artists is also evident. The volume includes most of his papers on Byzantine mosaics, mural painting, icons, enamels and manuscript illumination. Volume II deals with the author's lifelong interest, the mosaics of the church of San Marco in Venice. The papers reproduced here cover the history and decoration of this great monument, including the sculpture. The influence of the San Marco mosaics and Byzantine art on the art of western Europe is also covered.

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Professor Otto Demus's work on Byzantine art represents one of the great original contributions to the subject made in this century. His early studies in the 1930s on the "mosaics of Greece were followed by his fundamental work on the mosaics of Norman Sicily after the Second World War, and the later great studies of the decoration of San Marco in Venice, which remained throughout his abiding concern. These two volumes make available the papers Otto Demus published in a variety of periodicals in the course of a long and highly productive working lifetime. They have been edited and revised by Dr. Irmgard Hutter, a pupil and friend of the author. Volume I includes Demus's papers on Byzantine art in general, including his outstanding "contribution to the study of the development of Palaeologan art. His interest in the working methods of the artists is also evident. The volume includes most of his papers on Byzantine mosaics, mural painting, icons, enamels and manuscript illumination. Volume II deals with the author's lifelong interest, the mosaics of the church of San Marco in Venice. The papers reproduced here cover the history and decoration of this great monument, including the sculpture. The influence of the San Marco mosaics and Byzantine art on the art of western Europe is also covered.

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