A methodologically ambitious, sumptuously illustrated, and erudite study of a twelfth-century monastery near Rome that offers a compelling biography of a neglected Romanesque jewel as well as evocative multisensory readings of its architecture, frescoes, and sculpture.
‘Silver Saints’ discusses the religious life of lay people in the late Middle Ages and the meaning of badges in books, both the painted motifs in beautifully decorated manuscripts and many traces of original badges.
Lavishly illustrated and containing the most recent images and research on this unique church, this is an essential resource for early medieval historians and archeologists working on Rome, the medieval West and Byzantium.
Honoring the scholarship of Richard K. Emmerson, this collection interrogates the concept of interdisciplinarity through a set of essays that traverse the traditional boundaries of various fields in medieval studies.
book demonstrates the relationships between images and indulgences in fifteenth- and early sixteenth-century Netherlandish art. In the Roman Catholic Church, indulgences served as a way to reduce temporal punishment in purgatory for one’s sins. Indulgences could be obtained by reciting prayers and performing devotional practices.
This collection of essays by leading scholars reflects new interest in how graphic devices contributed to the production of knowledge during a formative period of European history.
Very richly illustrated, this volume re-frames this exceptional library within its political, economic, historical and artistic context, examining closely both scholarly literature and more than sixty manuscripts considered to be the jewels of the Library.
Praised by his contemporaries, by later art historians, and by generations of viewers, Fra Angelico’s art is known for its exceptional combination of piety and painterly skill. In this book, Monsignor Verdon explores the spiritual and mystical foundations of the friar-painter’s work, and traces his artistic evolution from his early work, to the frescoes for the covent of San Marco in Florence, his Annunciations, and the chapel for Pope Niccolò V.
This book offers a way of reading maps of the Holy Land as visual imagery with religious connotations. Through a corpus of representative examples created between the sixth and the nineteenth centuries, it studies the maps as iconic imagery of an iconic landscape and analyses their strategies to manifest the spiritual quality of the biblical topography, to support religious tenets, and to construct and preserve cultural memory.
The volume offers an overview of metapictorial tendencies in book illumination, mural and panel painting during the Italian and Northern Renaissance. It examines visual forms of self-awareness in the changing context of Latin Christianity and claims the central role of the Renaissance in the establishment of the modern condition of art.