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According to the Chaworth Roll, Egbert was 'the first king of all England', reigning 829-39. The Chaworth genealogical Roll of the kings of England was made in the 1320s for the Chaworth family, then it was brought up to date as far as Henry IV (1399-1413) and remained with Chaworth descendants until very recently. Such rolls were made for members of an increasingly literate aristocracy whose appetite for popular history flourished in 14th-century England.
In the Middle Ages, rolls were ubiquitous as a writing support. While scholars have long examined the texts and images on rolls, they have rarely taken the manuscripts themselves into account. This volume readdresses this imbalance by focusing on the materiality and various usages of rolls in late medieval England and France. Researchers from England, France, Germany and Singapore demonstrate in 11 contributions how this approach can increase our understanding of the rolls and their contents, as well as the contexts in which they were produced and used.
A survey of the history, holdings, decoration, and conservation of one of England's finest medieval libraries, with full catalogue. The Willoughby family, from Wollaton, Nottinghamshire, built up an extensive medieval library, including the notable Wollaton Antiphonal; theirs is the largest surviving library gathered by a gentry family of the period, the product of a single acquisitive burst, beginning around 1460 and mainly completed at about the time of the Dissolution in 1540. The manuscripts remain unique because of the very substantial core which survives more or less in situ, together with a huge collection of family archives, at the University of Nottingham, just a few miles from their original home. This book focuses upon the ten manuscripts now in the Wollaton Library Collection as well asthe famous Antiphonal. Essays explore the history of the library and the Willoughby family, the books of Sir Thomas Chaworth, the art and function of the Antiphonal, the works of pastoral instruction, the decoration of the Frenchmanuscripts (including the earliest fully illustrated manuscript of romances), the Confessio Amantis, and the conservation of the collection. The essays are followed by a full catalogue of the Wollaton Library Collection aswell as of manuscripts and early printed books now dispersed as far afield as Tokyo and New York. Contributors: Alixe Bovey, Gavin Cole, Ralph Hanna, Dorothy Johnston, Rob Lutton, Derek Pearsall, Alison Stones, Thorlac Turville-Petre.
Cambridge University Library's collection of illuminated manuscripts is of international significance. It originates in the medieval university and stands alongside the holdings of the colleges and the Fitzwilliam Museum. The University Library contains major European examples of medieval illumination from the ninth to the sixteenth centuries, with acknowledged masterpieces of Romanesque, Gothic and Renaissance book art, as well as illuminated literary texts, including the first complete Chaucer manuscript. This catalogue provides scholars and researchers easy access to the University Library's illuminated manuscripts, evaluating the importance of many of them for the very first time. It contains descriptions of famous manuscripts, for example the Life of Edward the Confessor attributed to Matthew Paris, as well as hundreds of lesser-known items. Beautifully illustrated throughout, the catalogue contains descriptions of individual manuscripts with up-to-date assessments of their style, origins and importance, together with bibliographical references.
Geoffrey of Monmouth’s immensely popular Latin prose Historia regum Britanniae (c. 1138), followed by French verse translations – Wace’s Roman de Brut (1155) and anonymous versions including the Royal Brut, the Munich, Harley, and Egerton Bruts (12th -14th c.), initiated Arthurian narratives of many genres throughout the ages, alongside Welsh, English, and other traditions. Arthur, Origins, Identities and the Legendary History of Britain addresses how Arthurian histories incorporating the British foundation myth responded to images of individual or collective identity and how those narratives contributed to those identities. What cultural, political or psychic needs did these Arthurian narratives meet and what might have been the origins of those needs? And how did each text contribute to a “larger picture” of Arthur, to the construction of a myth that still remains so compelling today?
Monarchy is an enduring institution that still makes headlines today. It has always been preoccupied with image and perception, never more so than in the period covered by this volume. The collection of papers gathered here from international scholars demonstrates that monarchical image and perception went far beyond cultural, symbolic and courtly display – although these remain important – and were, in fact, always deeply concerned with the practical expression of authority, politics and power. This collection is unique in that it covers the subject from two innovative angles: it not only addresses both kings and queens together, but also both the medieval and early modern periods. Consequently, this allows significant comparisons to be made between male and female monarchy as well as between eras. Such an approach reveals that continuity was arguably more important than change over a span of some five centuries. In removing the traditional gender and chronological barriers that tend to lead to four separate areas of studies for kings and queens in medieval and early modern history, the papers here are free to encompass male and female royal rulers ranging across Europe from the early-thirteenth to the late-seventeenth centuries to examine the image and perception of monarchy in England, Scotland, France, Burgundy, Spain and the Holy Roman Empire. Collectively this volume will be of interest to all those studying medieval and early modern monarchy and for those wishing to learn about the connections and differences between the two.
Crusades covers seven hundred years from the First Crusade (1095-1102) to the fall of Malta (1798) and draws together scholars working on theatres of war, their home fronts and settlements from the Baltic to Africa and from Spain to the Near East and on theology, law, literature, art, numismatics and economic, social, political and military history. Routledge publishes this journal for The Society for the Study of the Crusades and the Latin East. Particular attention is given to the publication of historical sources in all relevant languages - narrative, homiletic and documentary - in trustworthy editions, but studies and interpretative essays are welcomed too. Crusades appears in both print and online editions.
Borrowing its title from Madeline Harrison Caviness's influential work on the modes of seeing articulated by the twelfth-century cleric Richard of Saint Victor, this interdisciplinary collection brings together the work of thirty scholars from England, France, Germany, Italy, Switzerland, and the United States. Each author has contributed an original article that engages with ideas formulated in Caviness's wide-ranging scholarship. The historiographic introduction discusses themes in Caviness's publications and their importance for art historical and medieval studies today. The book's thematic matrix groups together essays concerned with: The Material Object, Documentary Reconstruction, Post-Disciplinary Approaches, Multiple Readings, Gender and Reception, Performativity, Text and Image, Collecting and Consumption, and Politics and Ideology. The contributors include curators, art historians, historians, and literary scholars. Their subjects range from medieval stained glass to the nineteenth-century Gothic Revival, the Sachsenspiegel, and Mel Gibson's The Passion of the Christ. Many foreground issues of gender, reception, and textuality, which have permeated Caviness's scholarship. Some also present approaches to sites that have been the subject of important studies by Caviness, including Canterbury, Chartres, Reims, Saint-Denis, Sens, and Troyes. The volume offers a broad range of methodological approaches to key topics in the study of medieval imagery and thus highlights the vitality of the field today.
An exploration of how power and political society were imagined, represented and reflected on in medieval English art