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This book catalogues the rich and mostly unstudied illumination of the fifteenth and early sixteenth centuries. Scott has made a selection of 140 illuminated books with perceptive insight; she includes those containing the finest works of art and also many illuminations that accompany some of the great masterpieces of Middle English literature. Among the magnificent liturgical works catalogued are the Carmelite, Abingdon, and Sherborne Missals, the Bedford Hours, and the Lovell Lectionary. Illustrated editions of Chaucer, Lydgate, and Gower are included; medical, botanical, and typographical books are represented, in addition to works of chivalry and chronicles of the Kings of England. Presenting a fifteenth-century view of court, church, and the taste for decoration and ornamentation, this book will interest historians of art and society.
The author is Helen Gould Sheppard Professor of Art History at New York University , Institute of Fine Arts, and a leading authority on English medieval manuscript illumination. This volume bring together twenty-six of Professor Sandler's studies, focusing on illustrated manuscripts produced in England in the thirteenth and fourteenth centuries, particularly on the illuminated psalters. The marginal illustrations in these psalters are a topic of particular interest, and there are a number of iconographic studies derived from this material. A separate section deals with the illustrated encyclopedias of the period, particularly the Omne bonum.
The first volume to focus on the communicative aspects of English manuscripts from the fourteenth to the nineteenth century. It demonstrates how these handwritten texts can be used to analyse the history of language as communication between individuals and groups, and discusses the challenges these documents present to present-day scholars.
`The Index of Middle English Prose when completed will be a monumental achievement' REVIEW OF ENGLISH STUDIES Two very different collections are surveyed in this volume. The manuscripts of Pembroke College, Cambridge are typical of a medieval foundation. Its core of books is a working library of that period, representing the interests andneeds of its Fellows, very often given or bequeathed by them to the College. The collection was substantially enlarged in 1599 through the gift by William Smart of Ipswich of a large number of manuscripts which until the Reformation had belonged to the Abbey of Bury St Edmunds. By contrast the emphasis of the Fitzwilliam Museum collection is to a great extent art historical. At its heart are the manuscripts bequeathed by Lord Fitzwilliam in 1816. These were supplemented throughout the 19th century by a series of gifts and bequests, culminating in 1904 in the largest bequest to date, from Frank McClean, of some 203 manuscripts. In spite of the different character of the two collections, both contain a range of Middle English prose items, among them Chaucer's Boece, a complete Wycliffite sermon cycle and several Paston letters [all from Pembroke], the Anlaby Cartulary, the "Canutus" pestilence tract, the Brut, Lydgate's Serpent of Division and Nicholas Love's Mirror of the Blessed Life of Jesus Christ (from the Fitzwilliam). KARI ANNE RAND is Professor of Older English Literature at the University of Oslo.
An investigation into the role of the high-ranking churchman in this period - who they were, what they did, and how they perceived themselves. High ecclesiastical office in the Middle Ages inevitably brought power, wealth and patronage. The essays in this volume examine how late medieval and Renaissance prelates deployed the income and influence of their offices, how they understood their role, and how they were viewed by others. Focusing primarily on but not exclusively confined to England, this collection explores the considerable common ground between cardinals, bishops and monastic superiors.Leading authorities on the late medieval and sixteenth-century Church analyse the political, cultural and pastoral activities of high-ranking churchmen, and consider how episcopal and abbatial expenditure was directed, justifiedand perceived. Overall, the collection enhances our understanding of ecclesiastical wealth and power in an era when the concept and role of the prelate were increasingly contested. Dr Martin Heale is Senior Lecturer inLate Medieval History, University of Liverpool. Contributors: Martin Heale, Michael Carter, James G. Clark, Gwilym Dodd, Felicity Heal, Anne Hudson, Emilia Jamroziak, Cédric Michon, Elizabeth A. New, Wendy Scase, Benjamin Thompson, C.M. Woolgar
Two themes uniting the essays in this collection are the provenance and history of medieval manuscripts during the Middle Ages, and the fates that befell them in England in the period after the invention of printing and the 16th-century dissolution of the religious houses and visitations of the universities. The section 'Libraries and collectors' includes papers on seven major English collectors of the 16th and 17th centuries, and the section 'Manuscripts' concerns the fates of five manuscripts or groups of manuscripts from England, Belgium and Italy. Of the other chapters one is concerned with the post-medieval history of the library of All Souls College, Oxford, and another with the provenance of hundreds of manuscripts in the Harleian collection in the British Library. For this volume Andrew Watson has provided extensive additional notes and indexes.
From the late-medieval period through to the seventeenth century, English theatrical clowns carried a weighty cultural significance, only to have it stripped from them, sometimes violently, by the close of the Renaissance when the famed "license" of fooling was effectively revoked. This groundbreaking survey of clown traditions in the period looks both at their history, and reveals their hidden cultural contexts and legacies; it has far-reaching implications not only for our general understanding of English clown types, but also their considerable role in defining social, religious and racial boundaries. It begins with an exploration of previously un-noted early representations of blackness in medieval psalters, cycle plays, and Tudor interludes, arguing that they are emblematic of folly and ignorance rather than of evil. Subsequent chapters show how protestants at Cambridge and at court, during the reigns of Henry VIII and Edward, patronised a clownish, iconoclastic Lord of Misrule; look at the Elizabethan puritan stage clown; and move on to a provocative reconsideration of the Fool in King Lear, drawing completely fresh conclusions. Finally, the epilogue points to the satirical clowning which took place surreptitiously in the Interregnum, and the (sometimes violent) end of "licensed" folly. Professor ROBERT HORNBACK teaches in the Departments of Literature and Theatre at Oglethorpe University.
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 British Archaeological Association's 2007 conference celebrated the material culture of medieval Coventry, the fourth wealthiest English city of the later middle ages. The nineteen papers collected in this volume set out to remedy the relative neglect in modern scholarship of the city's art, architecture and archaeology, as well as to encompass recent research on monuments in the vicinity. The scene is set by two papers on archaeological excavations in the historic city centre, especially since the 1970s, and a paper investigating the relationships between Coventry's building boom and economic conditions in the city in the later middle ages. Three papers on the Cathedral Priory of St Mary bring together new insights into the Romanesque cathedral church, the monastic buildings and the post-Dissolution history of the precinct, derived mainly from the results of the Phoenix Initiative excavations (19992003). Three more papers provide new architectural histories of the spectacular former parish church of St Michael, the fine Guildhall of St Mary and the remarkable surviving west range of the Coventry Charterhouse. The high-quality monumental art of the later medieval city is represented by papers on wall-painting (featuring the recently conserved Doom in Holy Trinity church), on the little-known Crucifixion mural at the Charterhouse, and on a reassessment of the working practices of the famous master-glazier, John Thornton. Two papers on a guild seal and on the glazing at Stanford on Avon parish church consider the evidence for Coventry as a regional workshop centre for high quality metalwork and glass-painting. Beyond the city, three papers deal with the development of Combe Abbey from Cistercian monastery to country house, with the Beauchamp family's hermitage at Guy's Cliffe, and with a newly identified stonemasons' workshop in the 'barn' at Kenilworth Abbey. Two further papers concern the architectural patronage of the earls and dukes of Lancaster in the 14th century at Kenilworth Castle and in the Newarke at Leicester Castle.