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Using the political and theological writings of the eleventh-century churchmen Gerard of Cambrai and Richard of Saint-Vanne, this study argues that the Flemish Saint-Vaast Bible's illuminations defended the continued hegemony of the then embattled offices of King and Bishop.
This book examines scriptural authority and its textual and visual instruments, asking how words and images interacted to represent and by representing to constitute authority, both sacred and secular, in Northern Europe between 1400 and 1700.
This is the first book to focus on Latin epic verse saints' lives in their medieval historical contexts. Anna Taylor examines how these works promoted bonds of friendship and expressed rivalries among writers, monasteries, saints, earthly patrons, teachers, and students in Western Europe in the central middle ages. Using philological, codicological, and microhistorical approaches, Professor Taylor reveals new insights that will reshape our understanding of monasticism, patronage, and education. These texts give historians an unprecedented glimpse inside the early medieval classroom, provide a nuanced view of the complicated synthesis of the Christian and Classical heritages, and show the cultural importance and varied functions of poetic composition in the ninth, tenth, and eleventh centuries.
In this volume, specialists in literature, theology, liturgy, manuscript studies, and history introduce the medieval culture of the Bible in Western Christianity. Emphasizing the living quality of the text and the unique literary traditions that arose from it, they show the many ways in which the Bible was read, performed, recorded, and interpreted by various groups in medieval Europe. An initial orientation introduces the origins, components, and organization of medieval Bibles. Subsequent chapters address the use of the Bible in teaching and preaching, the production and purpose of Biblical manuscripts in religious life, early vernacular versions of the Bible, its influence on medieval historical accounts, the relationship between the Bible and monasticism, and instances of privileged and practical use, as well as the various forms the text took in different parts of Europe. The dedicated merging of disciplines, both within each chapter and overall in the book, enable readers to encounter the Bible in much the same way as it was once experienced: on multiple levels and registers, through different lenses and screens, and always personally and intimately.
The Codex Amiatinus and its “Sister” Bibles examines the full Bibles (Bibles containing every scriptural text that producers deemed canonical) made at the northern English monastery of Wearmouth–Jarrow under Abbot Ceolfrith (d. 716) and the Venerable Bede (d. 735), and the religious, cultural, and intellectual circumstances of their production. The key manuscript witness of this monastery’s Bible-making enterprise is the Codex Amiatinus, a massive illustrated volume sent toward Rome in June 716, as a gift to St. Peter. Amiatinus is the oldest extant, largely intact Latin full Bible. Its survival is the critical reason that Ceolfrith’s Wearmouth–Jarrow has long been recognized as a pivotal center in the evolution of the design, structure, and contents of medieval biblical codices. See inside the book.
Discusses the techniques, uses, and aesthetics of medieval drawings; and reproduces work from more than fifty manuscripts produced between the ninth and early fourteenth century.
In The Jewish Bible: A Material History, David Stern explores the Jewish Bible as a material object—the Bibles that Jews have actually held in their hands—from its beginnings in the Ancient Near Eastern world through to the Middle Ages to the present moment. Drawing on the most recent scholarship on the history of the book, Stern shows how the Bible has been not only a medium for transmitting its text—the word of God—but a physical object with a meaning of its own. That meaning has changed, as the material shape of the Bible has changed, from scroll to codex, and from manuscript to printed book. By tracing the material form of the Torah, Stern demonstrates how the process of these transformations echo the cultural, political, intellectual, religious, and geographic changes of the Jewish community. With tremendous historical range and breadth, this book offers a fresh approach to understanding the Bible’s place and significance in Jewish culture.
This book contains ten previously published essays dealing with the development of Benedictine monasticism between c. 1050-1150. Relying on primary sources that originated in communities situated in the Southern Low Countries - one of the densest regions of Benedictine occupation and a crossroads of cultural and political influences - the essays are arranged in three thematic sections. The first looks at the societal background, methodologies, and intended outcomes of 'Cluniac' reform around 1100. The second section investigates reactions to reform, both within the monastic sphere and by outsiders. In the third section, the focus is on groups of monks, and how they, their supporters, and their enemies all developed strategies of self-representation and self-positioning in the face of growing competition over landed wealth, patronage, and positions of social privilege. (Series: Vita Regularis - Regulations and Interpretations of Religious Life in the Middle Ages. Treatises. / Ordnungen und Deutungen religiosen Lebens im Mittelalter. Abhandlungen - Vol. 54)
Across the nine thematic chapters of Experiencing Medieval Art, renowned art historian Herbert L. Kessler considers functional objects as well as paintings and sculptures; the circumstances, processes, and materials of production; the conflictual relationship between art objects and notions of an ineffable deity; the context surrounding medieval art; and questions of apprehension, aesthetics, and modern presentation. He also introduces the exciting discoveries and revelations that have revolutionized contemporary understanding of medieval art and identifies the vexing challenges that still remain. With 16 color plates and 81 images in all—including the stained glass of Chartres Cathedral, the mosaics of San Marco, and the Utrecht Psalter, as well as newly discovered works such as the frescoes in Rome’s aula gotica and a twelfth-century aquamanile in Hildesheim—Experiencing Medieval Art makes the complex history of medieval art accessible for students of art history and scholars of medieval history, theology, and literature.
Monasticism, in all of its variations, was a feature of almost every landscape in the medieval West. So ubiquitous were religious women and men throughout the Middle Ages that all medievalists encounter monasticism in their intellectual worlds. While there is enormous interest in medieval monasticism among Anglophone scholars, language is often a barrier to accessing some of the most important and groundbreaking research emerging from Europe. The Cambridge History of Medieval Monasticism in the Latin West offers a comprehensive treatment of medieval monasticism, from Late Antiquity to the end of the Middle Ages. The essays, specially commissioned for this volume and written by an international team of scholars, with contributors from Australia, Belgium, Canada, England, France, Germany, Italy, the Netherlands, Spain, Switzerland, and the United States, cover a range of topics and themes and represent the most up-to-date discoveries on this topic.