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Full-Text Articles in Arts and Humanities
From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale
From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale
Elizabeth C Teviotdale
A consideration of the origin of a group of cuttings contained in a 19th-century album (Collegeville, Hill Monastic Manuscript Library, Bean MS 3), with an analysis is the relationship of the initials' figural subjects to the texts they introduced. The cuttings, a series of historiated and decorated initials, were taken from one of a pair of choir books made in northern France or Flanders for a house of Cistercian nuns in the 13th century.
750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale
750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale
Elizabeth C Teviotdale
Examines the provenance and dissemination of a multivolume antiphonary produced for the Cistercian nunnery near Cambrai. The MS is presently dispersed through several collections. In 1983 the J. Paul Getty Museum, Los Angeles, purchased from the German art collectors Peter and Irene Ludwig 19 leaves and four cuttings from the MS (MS Ludwig VI 5). In 1992, the Museum acquired an additional 81 leaves (MS 44). One leaf is kept at the Cleveland Museum of Art (inv. no. 85.83), and cuttings are at the Nationalmuseum in Stockholm (B 1730-32) and in a private collection in Collegeville, Minnesota (Hill Monastic Manuscript …
Latin Verse Inscriptions In Anglo-Saxon Art, Elizabeth Teviotdale
Latin Verse Inscriptions In Anglo-Saxon Art, Elizabeth Teviotdale
Elizabeth C Teviotdale
This article identifies the corpus of surviving Anglo-Saxon works of art with newly composed Latin verse inscriptions: 19 paintings and drawings in seven manuscripts, one carved stone, and one engraved portable altar. A significant flourishing of the practice of including verse in works of art is associated with the Benedictine monastic reform movement of the mid-10th century. The nature of the relationship, both denotative and spatial, between the inscriptions and the images they accompany is explored through the examination of selected representative examples. It is proposed that the Anglo-Saxons understood this poetry to be an essentially written and visual art …