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Barbara Crooker's eighth book of poetry, The Book of Kells, focuses on the illuminated medieval manuscript with a series of meditations on its various aspects, from the ink and pigments used by the scribes and illustrators to the various plants, animals, and figures depicted on its pages, including the punctuation and use of decoration in the capital letters. It also contains poems on the flora and fauna of Ireland (swans, hares, magpies, fuchsia, gorse, crocosmia, etc.) that Crooker encountered during writing residencies at the Tyrone Guthrie Centre in County Monaghan. The third thread in this volume is a series of glosas, a fifteenth-century Spanish form that incorporates a quatrain from other poems; here, Irish writers (Yeats, Heaney, O'Driscoll) provide the embedded lines. In her work, Crooker considers the struggle to pin lines to the page, to tie experience to the written word, to wrestle between faith and doubt, to accept the aging body as it tries to be fully alive in the world. Crooker contrasts the age of faith, when the Book of Kells was created, to our modern age of doubt, and uses as her foundation the old stones of Irish myth and lore from pre-Christian times. She juxtaposes a time when the written word was laborious and sacred against our electronic world, where communication by pixel is easy and brief. Above all, she captures the awe that the word inspired in preliterate times: “The world was the Book of God. The alphabet shimmered and buzzed with beauty.”
Twenty-eight full-page, ready-to-color illustrations from one of the most beautiful books of the early Middle Ages depict Celtic spirals and interlacings, celestial figures, saints, Celtic crosses, and other finely detailed elements.
Explore Europe's top 100 works of art with America's most trusted travel authority, Rick Steves. Travel through time and discover Europe's most iconic paintings, sculptures, and historic buildings. From Venus to Versailles, Apollo to David, and Mona Lisa to The Thinker, Rick and co-author Gene Openshaw will have you marveling, learning, and laughing, one masterpiece at a time. Whether you're traveling to Europe or just dreaming about it, this book both stokes your wanderlust and kindles a greater appreciation of art, with historical context and information on where to see it for yourself. With Rick's trusted insight and gorgeous, full-color photos throughout, Europe's Top 100 Masterpieces celebrates nearly 20,000 years of unforgettable art.
A contemporary couple journeys back in time to ancient Ireland in this delightful fantasy by the author of Tea with the Black Dragon. John Thornburn is an artist, mild-mannered and nonviolent. To make ends meet, he teaches some courses in Celtic design. And although his background is half Micmac Indian, he lives in Ireland for two reasons: his far more confrontational and warrior-like girlfriend, Derval O’Keane, and his fascination with the beautiful illuminated manuscript known as the Book of Kells. But he’s about to take a journey to a far more distant place, one that he could not have imagined. Along with Derval, John will find himself in an ancient Celtic realm, where a Viking attack begs to be avenged and a fantastic—and sometimes terrifying—adventure awaits . . . From a master of magical fantasy, the author of the Damiano Trilogy and a winner of the John W. Campbell Award, this is a tale of warriors, love, danger, and Irish history that will cast a spell on anyone who dreams of discovering treasures in long-lost worlds.
'The Book of Kells' is a richly illustrated medieval manuscript version of the four Gospels, now held in Trinity College in Dublin. This text presents a selection of pages from the book, with explanatory notes placing the pages in context.
An extraordinary and beautifully illustrated exploration of the medieval world through twelve manuscripts, from one of the world's leading experts. Winner of The Wolfson History Prize and The Duff Cooper Prize. A San Francisco Chronicle Holiday Book Gift Guide Pick! Meetings with Remarkable Manuscripts is a captivating examination of twelve illuminated manuscripts from the medieval period. Noted authority Christopher de Hamel invites the reader into intimate conversations with these texts to explore what they tell us about nearly a thousand years of medieval history - and about the modern world, too. In so doing, de Hamel introduces us to kings, queens, saints, scribes, artists, librarians, thieves, dealers, and collectors. He traces the elaborate journeys that these exceptionally precious artifacts have made through time and shows us how they have been copied, how they have been embroiled in politics, how they have been regarded as objects of supreme beauty and as symbols of national identity, and who has owned them or lusted after them (and how we can tell). From the earliest book in medieval England to the incomparable Book of Kells to the oldest manuscript of the Canterbury Tales, these encounters tell a narrative of intellectual culture and art over the course of a millennium. Two of the manuscripts visited are now in libraries of North America, the Morgan Library in New York and the Getty Museum in Los Angeles. Part travel book, part detective story, part conversation with the reader, Meetings with Remarkable Manuscripts allows us to experience some of the greatest works of art in our culture to give us a different perspective on history and on how we come by knowledge.
The Book of Kells and the Art of Illumination brings together the Gospel of St. Mark from the 1200-year-old Irish masterpiece with a selection of medieval and Renaissance manuscripts which demonstrate the legacy of Kells throughout the centuries, both in terms of Gospel illustration and of the illuminated book. Not only does the Book of Kells testify to the vitality of Celtic art in the Early Middle Ages, but its fortunes also reflect the turbulent nature of the period in which it was created. This was an age in which the British Isles were ravaged by Viking raids, and monastic settlements, the cultural heart of the country, up-rooted. Yet, against these odds, the Book of Kells survived. In later times it suffered further disturbances, and in the middle of the 17th century, during Ireland's battles with Cromwell, it was transferred from the ruined parish of Kells to Trinity College, Dublin, where ever since it has had a secure and distinguished home.
"The 1641 Depositions are witness testimonies, mainly by Protestants, but also by some Catholics, from all social backgrounds, concerning their experiences of the 1641 Irish rebellion. The testimonies document the loss of goods, military activity, and the alleged crimes committed by the Irish insurgents. This body of material is unparalleled anywhere in early modern Europe. It provides a unique source of information for the causes and events surrounding the 1641 rebellion and for the social, economic, cultural, religious, and political history of seventeenth- century Ireland, England and Scotland. In total, 19,010 manuscript pages in 31 bound volumes held at Trinity College Dublin have been transcribed and are arranged for publication in 12 volumes from 2014 onwards. The depositions are available online at www.1641.tcd.ie ."--Provided by publisher.
"[The Book of Kells' contains almost 2000 decorated initials, the majority of which are formed by human figures, beasts, birds and fish. This title offers an in-depth examination of the smaller decorated initials, script layout, and marginalia of this book]"--Jacket cover.
Lying at Europe's remote western edge, Ireland long has been seen as having an artistic heritage that owes little to influences beyond its borders. This publication, the first to focus on Irish art from the eighth century AD to the end of the sixteenth century, challenges the idea that the best-known Irish monuments of that period-the high crosses, the Book of Kells, the Tara Brooch, the round towers-reflect isolated, insular traditions. Seventeen essays examine the iconography, history, and structure of these familiar works, as well as a number of previously unpublished pieces, and demonstrate that they do have a place in the main currents of European art. While this book reveals unexpected links between Ireland, Late-Antique Italy, the Byzantine Empire, and the Anglo-Saxons, its center is always the artistic culture of Ireland itself. It includes new research on the Sheela-na-gigs, often thought to be merely erotic sculptures; on the larger cultural meanings of the Tuam Market Cross and its nineteenth-century re-erection; and on late-medieval Irish stone crosses and metalwork. The emphasis on later monuments makes this one of the first volumes to deal with Irish art after the Norman invasion. The contributors are Cormac Bourke, Mildred Budny, Tessa Garton, Peter Harbison, Jane Hawkes, Colum Hourihane, Catherine E. Karkov, Heather King, Susanne McNab, Raghnall Floinn, Emmanuelle Pirotte, Roger Stalley, Kees Veelenturf, Dorothy Hoogland Verkerk, Niamh Whitfield, Maggie McEnchroe Williams, and Susan Youngs.