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Richly illustrated, this book investigates human figural sculpture installed in church portals of mid-twelfth century France. Janet Snyder takes a close look at sculpture at more than twenty churches, describes represented ensembles, defines the language of textiles and dress, and investigates rationale and significance in context. She analyzes how patrons employed sculpture to express and shape perceived reality, using images of textiles and clothing that had political, economic, and social significances.
"Richly illustrated, Early Gothic Column-Figure Sculpture in France is a comprehensive investigation of church portal sculpture installed between the 1130s and the 1170s. At more than twenty great churches, beginning at the Royal Abbey of Saint-Denis and extending around Paris from Provins in the east, south to Bourges and Dijon, and west to Chartres and Angers, larger than life-size statues of human figures were arranged along portal jambs, many carved as if wearing the dress of the highest ranks of French society. This study takes a close look at twelfth-century human figure sculpture, describing represented clothing, defining the language of textiles and dress that would have been legible in the twelfth-century, and investigating rationale and significance. The concepts conveyed through these extraordinary visual documents and the possible motivations of the patrons of portal programs with column-figures are examined through contemporaneous historical, textual, and visual evidence in various media. Appendices include analysis of sculpture production, and the transportation and fabrication in limestone from Paris. Janet Snyder's new study considers how patrons used sculpture to express and shape perceived reality, employing images of textiles and clothing that had political, economic, and social significances."--Provided by publisher.
Richly illustrated, Early Gothic Column-Figure Sculpture in France is a comprehensive investigation of church portal sculpture installed between the 1130s and the 1170s. At more than twenty great churches, beginning at the Royal Abbey of Saint-Denis and extending around Paris from Provins in the east, south to Bourges and Dijon, and west to Chartres and Angers, larger than life-size statues of human figures were arranged along portal jambs, many carved as if wearing the dress of the highest ranks of French society. This study takes a close look at twelfth-century human figure sculpture, describing represented clothing, defining the language of textiles and dress that would have been legible in the twelfth-century, and investigating rationale and significance. The concepts conveyed through these extraordinary visual documents and the possible motivations of the patrons of portal programs with column-figures are examined through contemporaneous historical, textual, and visual evidence in various media. Appendices include analysis of sculpture production, and the transportation and fabrication in limestone from Paris. Janet Snyder's new study considers how patrons used sculpture to express and shape perceived reality, employing images of textiles and clothing that had political, economic, and social significances.
The touchstones of Gothic monumental art in France - the abbey church of Saint-Denis and the cathedrals of Chartres, Reims, and Bourges - form the core of this collection dedicated to the memory of Anne Prache. The essays reflect the impact of Prache’s career, both as a scholar of wide-ranging interests and as a builder of bridges between the French and American academic communities. Thus the authors include scholars in France and the United States, both academics and museum professionals, while the thematic matrix of the book, divided into architecture, stained glass, and sculpture, reflects the multiple media explored by Prache during her long career. The essays employ a varied range of methodologies to explore Gothic monuments. The chapters in the architectural section include an intensive archeological analysis of the foundations of Reims Cathedral, the close reading of a late medieval literary text for a symbolic understanding of Paris, and essays that explore the medieval use of practical geometry in designing entire buildings and their components. Saint-Denis, Reims, and Chartres, all monuments studied by Prache, are discussed in the next part, on stained glass. These chapters demonstrate how old problems can be clarified by new evidence, whether from the accessibility of previously unknown archival information, for Reims, or through revelations that arise from restoration, at Chartres. These essays also include a study showing the complexity of making attributions for the storied glass of Saint-Denis. The final set of essays likewise takes different approaches to sculpture, whether constructing links to the liturgy at Reims, or discussing the meaning of a sculptural ensemble studied by Prache early in her career, the cloister of Notre-Dame-en-Vaux in Châlons-en-Champagne, or scrupulously examining the façade sculpture at Bourges Cathedral for insights into the design process. As a whole, the volume provides a window onto key directions in the study of
This collection of essays presents the exciting and innovative work being done in the field of medieval architectural history by scholars affiliated with AVISTA, one of the most active sponsors of such research in the Anglo-American scholarly community. These studies constitute a snapshot of the range of new interpretive strategies being deployed by researchers in the reassessment of previous scholarship and identification of new modes of inquiry. In recent years, the study of medieval architecture has been transformed by the emergence of new critical perspectives and new technologies. The contributors to this book are among those at the forefront of these developments. Several of the essays present dramatic reinterpretations of canonical monuments including the Abbey of Saint-Denis, Beauvais Cathedral and Notre-Dame in Paris. Others consider broader methodological issues such as the applications of geometry, workshop practice, and the shaping of historical narratives. Still others demonstrate how high-tech scanning and visualization methods can enhance our understanding of construction methods and the behavior of buildings. The publication of this collection of pioneering essays should foster further exploration by clarifying the state of research, by establishing specific historical arguments, and by providing models of inquiry to inspire emerging scholars.
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional experiences. The authors included here study the provocation and the reactions associated with medieval and Renaissance art and architecture. These essays trace the impetus towards interactivity from the points of view of their creators and those who used them.Contributors include: Mickey Abel, Alfred Acres, Kathleen Ashley, Viola Belghaus, Sarah Blick, Erika Boeckeler, Robert L.A. Clark, Lloyd DeWitt, Michelle Erhardt, Megan H. Foster-Campbell, Juan Luis González García, Laura D. Gelfand, Elina Gertsman, Walter S. Gibson, Margaret Goehring, Lex Hermans, Fredrika Jacobs, Annette LeZotte, Jane C. Long, Henry Luttikhuizen, Elizabeth Monroe, Scott B. Montgomery, Amy M. Morris, Vibeke Olson, Katherine Poole, Alexa Sand, Donna L. Sadler, Pamela Sheingorn, Suzanne Karr Schmidt, Anne Rudloff Stanton, Janet Snyder, Rita Tekippe, Mark Trowbridge, Mark S. Tucker, Kristen Van Ausdall, Susan Ward.
This collection forges new ground in the discussion of aristocratic and royal women, their relationships with their objects, and medieval geography. It explores how women’s geographic and familial networks spread well beyond the borders that defined men’s sense of region and how the movement of their belongings can reveal essential information about how women navigated these often-disparate spaces. Beginning in early medieval Scandinavia, ranging from Byzantium to Rus', and multiple lands in Western Europe up to 1500, the essays span a great spatio-temporal range. Moreover, the types of objects extend from traditionally studied works like manuscripts and sculpture to liturgical and secular ceremonial instruments, icons, and articles of personal adornment, such as textiles and jewelry, even including shoes.
These essays address how narratives unfolded in time and space when a body or object moved through premodern architectural or natural environments. Such narratives encompass interpretations of topography, change in built environments over time, and spaces for public assembly.
Pan-European research on medieval clothing and textiles, drawing from a range of disciplines. This volume continues the series' tradition of bringing together work on clothing and textiles from across Europe. It has a strong focus on gold: subjects include sixth-century German burials containing sumptuous jewellery and bands brocaded with gold; the textual evidence for recycling such gold borders and bands in the later Anglo-Saxon period; and a semantic classification of words relating to gold in multi-lingual medieval Britain. It also rescues significant archaeological textiles from obscurity: there is a discussion of early medieval headdresses from The Netherlands, and an examination of a fifteenth-century Italian cushion, an early example of piecework. Finally, uses of dress and textiles in literature are explored in a survey of the Welsh Mabinogion and Jean Renart's Roman de la Rose. Robin Netherton is a professional editor and a researcher/lecturer on the interpretationof medieval European dress; Gale R. Owen-Crocker is Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Brigitte Haas-Gebhard, Britt Nowak-Böck, Maren Clegg Hyer, Louise Sylvester, ChrystelBrandenburgh, Lisa Evans, Patricia Williams, Katherine Talarico.
(The open access version of this book has been published with the support of the Swiss National Science Foundation.) The book proposes a reassessment of royal portraiture and its function in the Middle Ages via a comparative analysis of works from different areas of the Mediterranean world, where images are seen as only one outcome of wider and multifarious strategies for the public mise-en-scène of the rulers’ bodies. Its emphasis is on the ways in which medieval monarchs in different areas of the Mediterranean constructed their outward appearance and communicated it by means of a variety of rituals, object-types, and media. Contributors are Michele Bacci, Nicolas Bock, Gerardo Boto Varela, Branislav Cvetković, Sofia Fernández Pozzo, Gohar Grigoryan Savary, Elodie Leschot, Vinni Lucherini, Ioanna Rapti, Juan Carlos Ruiz Souza, Marta Serrano-Coll, Lucinia Speciale, Manuela Studer-Karlen, Mirko Vagnoni, and Edda Vardanyan.