Nobody doubts the exceptional importance of the long reign of Louis IX (1226-70) as perceived either from modern historical perspectives, or presented in thirteenth-century (or later) views.
Reflecting the place of the Bible as the bedrock of medieval culture, biblical imagery was ubiquitous in medieval England, yet it has not hitherto been the subject of a comprehensive modern monograph. Such precedents as there were – notably M. R. James’s The Apocalypse in Art (London: British Academy, 1931) and F. Wormald’s ‘Bible Illustration in Medieval Manuscripts’, in G. W. H.
How do you write the history of buildings? This is not merely a rhetorical question, but a very real problem for anyone whose primary source material is timber or stone structures. The difficulty is that it is necessary to infer intent and function from objects which cannot speak and for which there is little written evidence.
The main aim of this book (1) is to provide a social history of the religious architecture commissioned in the kingdom of Naples under three generations of French kings (from the conquest of Charles of Anjou in 1266 to the death of his grandson, Robert the Wise in 1343).
This collection of essays, first presented at the Harlaxton Symposium in 2009, brings together a range of researchers interested in the intellectual and cultural history of Europe, under two equally broad and controversial themes. Frances Andrews's introduction goes some way to binding the ideas together.
In his early 20th-century anti-clerical novel La Catedral, Vicente Blasco Ibáñez follows his protagonist into Toledo Cathedral’s Mozarabic Chapel for the daily celebration of what Richard Ford, in the 19th century, called ‘this peculiar ritual’: ‘As Gabriel listened to the monotonous singing of the Mozarabic priests he remembered the quarrels during the time of Alfonso VI between the
One can hardly imagine that several decades ago the concept of spolia did not yet indicate a field of widespread research in the history of architecture, art and archaeology. The title of this volume with 12 essays and a fascinating introduction, points to this change in research focus, since the value of reuse of objects and materials has not always been recognized.
Karen Overbey’s monograph is undoubtedly a welcome addition to the weighty collection of (predominantly antiquarian) archaeo- / art-historical studies focusing on medieval Irish relics and reliquaries, a healthy proportion of which is judiciously consolidated and summarised throughout the book.
The work of Mary Carruthers is well known to students of medieval culture. Her Book of Memory charted discussions of memory from antiquity to the late Middle Ages, treading in the footsteps of Frances Yates in arguing that memory was not just another concept in the minds of medieval writers, but a conceptual motor for the organisation and motivation of thought.
When attending a book-signing reception at the Jesuit School of Theology in Berkeley nearly ten years ago, I lifted the hefty coffee table tome titled The Jesuits and the Arts and turned to a Jesuit friend of mine and said, ‘This is certainly a beautiful and lavishly illustrated book!’ After a pause I then, with unabashed Dominican chauvinism, added, ‘… but of course if this were a history of t