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Explores the reception of fifteenth-century English manuscripts and two generations of a Tudor family who owned and read them.
The current volume presents ten different studies dealing with the final stages of Hebrew book art production in medieval Iberia. Ranging from the Farhi Codex, copied and illuminated in the late 14th century, to the Philadelphia Bible, copied and illuminated in Lisbon in 1496, this volume discusses a wide scope of topics related with the production, consumption and circulation of medieval decorated Hebrew manuscripts. Among the issues discussed in this volume we highlight the role played by three distinct artistic languages (Mudejar, Late Gothic and Renaissance) in the shapping of 15th century Sephardic illumination, the codicological specificity of some solutions in terms of layout and the relation between the layout of these manuscripts and Hebrew incunabula, the use of geometric decoration in scientific diagrams, or the afterlife of these manuscripts in Europe and Asia following the expulsion of the Jews from Iberia.
This edition presents the full text of a personal collection of temporale Middle-English sermons, compiled by a parish priest for his own use. It also includes the notes and fragments of sermons or exempla found at the beginning of the manuscript with a purpose of giving insight into the way a parish priest would compile materials. This manuscript has attracted attention because it perserves versions of these sermons' early stages. This edition is therefore complementary to editions of later versions of the same sermons. The introduction provides a discussion of these sermons' textual history and the circumstances in which they were possibly preached. This volume also includes explanatory notes and a glossary.
Reveals a religiously diverse pre-industrial society in the Middle East, broadening studies of global Christianity and challenging Islamic history's exceptionalism.
An introduction to 15th century Italian painting and the social history behind it, arguing that the two are interlinked and that the conditions of the time helped fashion distinctive elements in the painter's style.
Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.
Influenced by a revival of interest in Greco-Roman ideals and sponsored by a newly prosperous merchant class, fifteenth-century artists produced works of astonishingly innovative content and technique. The International Gothic style of painting, still popular at the beginning of the century, was giving way to the influence of Early Netherlandish Flemish masters such as Jan van Eyck, who emphasized narrative and the complex use of light for symbolic meaning. Patrons favored paintings in oil and on wooden panels for works ranging from large, hinged altarpieces to small, increasingly lifelike portraits. In the Italian city-states of Florence, Venice, and Mantua, artists and architects alike perfected existing techniques and developed new ones. The painter Masaccio mastered linear perspective; the sculptor Donatello produced anatomically correct but idealized figures such as his bronze nude of David; and the brilliant architect and engineer Brunelleschi integrated Gothic and Renaissance elements to build the self-supporting dome of the Florence Cathedral. This beautifully illustrated guide analyzes the most important people, places, and concepts of this early Renaissance period, whose explosion of creativity was to spread throughout Europe in the sixteenth century
The fifteenth century, one of the most curious and confused periods in recorded history, witnessed amazing developments in the printing industry and in the production of books. The present volume surveys the history of the manufacture of books throughout the fifteenth century, whether written by hand or produced by the press, and points out that both methods faced very similar problems and found almost identical solutions for them. Actually, the fifteenth century itself saw no material difference between manuscripts and incunabula (fifteenth-century printings), and regarded the latter simply as codices produced by "a new method of artificial writing." Curt F. Bühler discusses the impact of the epoch-making invention on the scribes as well as the attitudes that the contemporary book-lovers adopted toward the products of the press. The author also studies the types of men who were attracted to the new industry and the nature of the books that they believed to be readily vendible. In addition, certain familiar beliefs regarding the history of the early presses are challenged, and possible solutions are presented for the problems are still imperfectly understood. To illustrate the text, beautiful reproductions of illuminated manuscript pages, printed pages, colophons, woodcut illustration, and early typefaces have been included. The author's discussion of the decoration in books is not so much a study in the fine arts but, rather, an analysis of the types of volumes which lent themselves to decoration, and the various forms of such work.
Over the course of the fifteenth century, the Low Countries transformed Europe's economic, political and cultural life. Innovative and influential cultural practices emerged across the region in flourishing courts, towns, religious houses, guilds and confraternities. Whether in visual culture, music, devotional practice, or communal rituals, the thriving cultures of the Low Countries wrestled with time, both through explicit measurement and reflection, and in the rhythms of social and religious life. This book offers a deeper understanding of how time was structured and experienced by different constituencies through a series of detailed readings of diverse cultural objects and practices, ranging from woodcuts and painted altarpieces, to early print books, and to the use of polyphony in the liturgy. Individual chapters are devoted to life in the university towns of Louvain and Ghent, the liturgical rituals at Cambrai Cathedral, and the rich pageantry that marked the courts of Philip the Good and the new Burgundian rulers. What emerges is a complex temporal landscape in which devotional and secular practices and experiences merged into a new "fullness of time."