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An innovative overview of the influence of the Apocalypse on the shaping of the Christian culture of the Middle Ages.
The final book of the New Testament, the Apocalypse, has been controversial since its initial appearance during the first century A.D. For centuries after, theologians, exegetes, scholars, and preachers have grappled with the imagery and symbolism behind this fascinating and terrifying book. Their thoughts and ideas regarding the apocalypse—and its trials and tribulations—were received within both elite and popular culture in the medieval and early modern eras. Therefore, one may rightly call the Apocalypse, and its accompanying hopes and fears, a foundational pillar of Western Civilization. The interest in the Apocalypse, and apocalyptic movements, continues apace in modern scholarship and society alike. This present volume, A Companion to the Premodern Apocalypse, collates essays from specialists in the study of premodern apocalyptic subjects. It is designed to orient undergraduate and graduate students, as well as more established scholars, to the state of the field of premodern apocalyptic studies as well as to point them in future directions for their scholarship and/or pedagogy. Contributors are: Roland Betancourt, Robert Boenig, Richard K. Emmerson, Ernst Hintz, László Hubbes, Hiram Kümper, Natalie Latteri, Thomas Long, Katherine Olson, Kevin Poole, Matthias Riedl, Michael A. Ryan
Examinations of the culture - artistic, material, musical - of English monasteries in the six centuries between the Conquest and the Dissolution. The cultural remains of England's abbeys and priories have always attracted scholarly attention but too often they have been studied in isolation, appreciated only for their artistic, codicological or intellectual features and notfor the insights they offer into the patterns of life and thought - the underlying norms, values and mentalité - of the communities of men and women which made them. Indeed, the distinguished monastic historian David Knowles doubted there would ever be sufficient evidence to recover "the mentality of the ordinary cloister monk". These twelve essays challenge this view. They exploit newly catalogued and newly discovered evidence - manuscript books, wall paintings, and even the traces of original monastic music - to recover the cultural dynamics of a cross-section of male and female communities. It is often claimed that over time the cultural traditions of the monasteries were suffocated by secular trends but here it is suggested that many houses remained a major cultural force even on the verge of the Reformation. James G. Clark is Professor of History at the University of Exeter. Contributors: DAVID BELL, ROGER BOWERS, JAMES CLARK, BARRIE COLLETT, MARY ERLER, G. R. EVANS, MIRIAM GILL, JOAN GREATREX, JULIAN HASELDINE, J. D. NORTH, ALAN PIPER, AND R. M. THOMSON.
The theme of the 17th Harlaxton Symposium was predetermined by the fact that it was held in 2000. The twenty-one papers turn their attention to the fear of cataclysm and the end of the world that obsessed many writers, artists and thinkers in medieval Europe, not only around the year 1000 but at other key dates during the Middle Ages, anyone of which was viewed as a possible candidate for the Day of Doom. Subjects include: the Revolution of 1399; astrology; the presentation of the Apocalypse in manuscripts, tapestries, stained glass windows and other media; the Pearl poem; the Westminster Abbey Sanctuary pavement as a means of calculating the lifespan of the universe; prophecy in the Sibylla Tiburtina; Matthew Paris; prose sermons; the Peasants' Revolt; Wells Cathedral.
The sixth volume of The New Cambridge Medieval History covers the fourteenth century, a period dominated by plague, other natural disasters and war which brought to an end three centuries of economic growth and cultural expansion in Christian Europe, but one which also saw important developments in government, religious and intellectual life, and new cultural and artistic patterns. Part I sets the scene by discussion of general themes in the theory and practice of government, religion, social and economic history, and culture. Part II deals with the individual histories of the states of western Europe; Part III with that of the Church at the time of the Avignon papacy and the Great Schism; and Part IV with eastern and northern Europe, Byzantium and the early Ottomans, giving particular attention to the social and economic relations with westerners and those of other civilisations in the Mediterranean.
This report describes excavations at the St Mary's Priory and cathedral church, Coventry, conducted between 1999 and 2003 as part of the Phoenix Initiative, Coventry's Millennium Project. The Priory was located on the site of a late Saxon Abbey whose benefactors were Leofric, Earl of Mercia, and his wife, Lady Godiva. Its church became a cathedral in the early 12th C AD and the priory grew to become one of the largest monastic communities in the region. It was suppressed on 15th January 1539 and the cathedral became the only one in the Kingdom to be destroyed as a result of dissolution. This excavation report describes the history of the buildings and then presents new discoveries about the cathedral, the monastic house, the service buildings and priory mill. Detailed studies of finds include chapters on floor tiles, apocalyptic paintings in the Chapter House, pottery, coins, leather, wood, glass and human bone.
As a 'biography' of the fourteenth-century illustrated Bible of Clement VII, an opposition pope in Avignon from 1378-94, this social history traces the Bible's production in Naples (c. 1330) through its changing ownership and meaning in Avignon (c. 1340-1405) to its presentation as a gift to Alfonso, King of Aragon (c. 1424). The author's novel approach, based on solid art historical and anthropological methodologies, allows her to assess the object's evolving significance and the use of such a Bible to enhance the power and prestige of its princely and papal owners. Through archival sources, the author pinpoints the physical location and privileged treatment of the Clement Bible over a century. The author considers how the Bible's contexts in the collection of a bishop, several popes, and a king demonstrate the value of the Bible as an exchange commodity. The Bible was undoubtedly valued for the aesthetic quality of its 200+ luxurious images. Additionally, the author argues that its iconography, especially Jerusalem and visionary scenes, augments its worth as a reflection of contemporary political and religious issues. Its images offered biblical precedents, its style represented associations with certain artists and regions in Italy, and its past provided links to important collections. Fleck's examination of the art production around the Bible in Naples and Avignon further illuminates the manuscript's role as a reflection of the court cultures in those cities. Adding to recent art historical scholarship focusing on the taste and signature styles in late medieval and Renaissance courts, this study provides new information about workshop practices and techniques. In these two court cities, the author analyzes styles associated with different artists, different patrons, and even with different rooms of the rulers' palaces, offering new findings relevant to current scholarship, not only in art history but also in court and collection studies.
The essays in this volume challenge prevailing views on the way in which apocalyptic concerns contributed to larger processes of social change at the first millennium. They should provoke new interest in and debate on the nature and causes of social change in early medieval Europe.
Gender, Piety, and Production in Fourteenth-Century English Apocalypse Manuscripts is the first in-depth study of three textually and iconographically diverse Apocalypses illustrated in England in the first half of the fourteenth century by a single group of artists. It offers a close look at a group of illuminators previously on the fringe of art historical scholarship, challenging the commonly-held perception of them as mere craftsmen at a time when both audiences and methods of production were becoming increasingly varied. Analyzing the manuscripts? codicological features, visual and textual programmes, and social contexts, it explores the mechanisms of a fourteenth-century commercial workshop and traces the customization of these books of the same genre to the needs and expectations of varied readers, revealing the crucial influence of their female audience. The book will be of interest to scholars and students of English medieval art, medieval manuscripts, and the medieval Apocalypse, as well as medievalists interested in late medieval spirituality and theology, medieval religious and intellectual culture, book patronage and ownership, and female patronage and ownership.