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Who were the medieval illuminators? How were their hand-produced books illustrated and decorated? In this beautiful book Jonathan Alexander presents a survey of manuscript illumination throughout Europe from the fourth to the sixteenth century. He discusses the social and historical context of the illuminators' lives, considers their methods of work, and presents a series of case studies to show the range and nature of the visual sources and the ways in which they were adapted, copied, or created anew. Alexander explains that in the early period, Christian monasteries and churches were the main centers for the copying of manuscripts, and so the majority of illuminators were monks working in and for their own monasteries. From the eleventh century, lay scribes and illuminators became increasingly numerous, and by the thirteenth century, professional illuminators dominated the field. During this later period, illuminators were able to travel in search of work and to acquire new ideas, they joined guilds with scribes or with artists in the cities, and their ranks included nuns and secular women. Work was regularly collaborative, and the craft was learned through an apprenticeship system. Alexander carefully analyzes surviving manuscripts and medieval treatises in order to explain the complex and time-consuming technical processes of illumination - its materials, methods, tools, choice of illustration, and execution. From rare surviving contracts, he deduces the preoccupation of patrons with materials and schedules. Illustrating his discussion with examples chosen from religious and secular manuscripts made all over Europe, Alexander recreates the astonishing variety and creativity ofmedieval illumination. His book will be a standard reference for years to come.
The Bibles Moralisées are by far the richest and most complex attempt at biblical illustration ever undertaken. Seven of them survive today, made primarily for the kings and queens of France between the early thirteenth and late fifteenth centuries. John Lowden's pioneering two-volume study brings new material to light and offers a wholly new approach to understanding the Bibles, which contain literally thousands of figures. Volume I, based on exhaustive codicological analysis, considers the making and the later history of use of each of the manuscripts. Volume II investigates in detail the treatment of one portion of the Bible, the Book of Ruth, in all the manuscripts. Discussion is supported by many new photographs in color and black and white. Together the two volumes challenge conventional wisdom about both the Bibles Moralisées and the relationship of word and image in medieval culture.
The Cultural Patronage of Medieval Women is the first volume exclusively devoted to an examination of the significant role played by women as patrons in the evolution of medieval culture. The twelve essays in this volume look at women not simply as patrons of letters but also as patrons of the visual and decorative arts, of architecture, and of religious and educational foundations. Patronage as a means of empowerment for women is an issue that underlies many of the essays. Among the other topics discussed are the various forms patronage took, the obstacles to women's patronage, and the purposes behind patronage. Some women sought to further political and dynastic agendas; others were more concerned with religion and education; still others sought to provide positive role models for women. The amusement of their courts was also a consideration for female patrons. These essays also demonstrate that as patrons women were often innovators. They encouraged vernacular literature as well as the translation of historical works and of the Bible, frequently with commentary, into the vernacular. They led the way in sponsoring a variety of genres and encouraged some of the best-known and most influential writers of the Middle Ages. Moreover, they were at the forefront in fostering the new art of printing, which made books accessible to a larger number of people. Finally, the essays make clear that behind much patronage lay a concern for the betterment of women.
The 11th and 12th centuries witnessed a transformation of European culture, from architecture and the visual arts to history, philosophy, theology and even law.
Early Modern Fire offers new perspectives on the history of fire in early modern Europe (ca. 1600–1800). Far from the background role that scholarship has traditionally assigned to fire, the essays in this volume demonstrate its centrality to understanding the entangled histories of science, technology, and society in the pre-industrial period. Analysing case studies ranging from alchemy to cooking and from firefighting to fireworks, the contributors show that the history of fire is not only one of change and progress, but also of continuity, characterised by the persistence of traditional know-how, small-scale innovation, and the coexistence of different paradigms. Contributors: Gianenrico Bernasconi, Catherine Denys, Hannah Elmer, Liliane Hilaire-Pérez, Olivier Jandot, Cyril Lacheze, Andrew M.A. Morris, Cornelia Müller, Bérengère Pinaud, Stefano Salvia, Marco Storni, Marie Thébaud-Sorger, and Simon Werrett.
The studies in the present selection of Giles Constable's work concentrate on culture and spirituality in the 11th and 12th centuries, though they also touch on the early and late Middle Ages. The cultural articles are concerned respectively with perceptions of time and the past, forgery (seen as a reflection of social and religious concerns), entry to religious life, preaching, and letters and letter-writing. The articles on spirituality deal with the themes of suffering and attitudes towards the self, especially the growing concentration on the individual in the religious life of the 12th century.